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ART CONTEMPORAIN EN ET HORS D'AFRIQUE |
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DIALOGUE TRANSATLANTIQUE:
panafricanisme et impact de l'art contemporain occidental |
| Artist | Works |
| Moyo Okediji
ne en 1956 nigeria |
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| Ouattara
ne en Cote-d'Ivoire Winnie Owens-Hart nee / usa |   |
| Charles Searles
ne en 1937/usa Al Smith ne / usa |    |
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Syncopes et Rythmes Kate Dobbs Ariail |
Harris has put together a group of 40 works by 14 contemporary black artists, 7 from the United States, 7 from Africa. All of them hold teaching positions in America.
The oldest is John Biggers. He went to Ghana in 1957 on a UNESCO fellowship to study traditional cultural patterns. The second Jeff Donaldson, influenced by Biggers was a founder of the art group AfriCobra and a leader of the Black Arts Movement. His paintings embody the importance of music as rhythmic pattern for all these artists. By syncopating rhythms, Harris defines this pattern aesthetic coming out of Africa. The most dynamic is Moyo Okediji who magnifies multiple overlaid and interlocking patterns that work together in very musical ways. But the music does not always flow and float. That's why in Jean-Michel Basquiat and Ouattara works, it bumps ans stutters and interrups itself with the bludgeoning bass rhythm of rap running beneath the complex hip-hop figures. While this exhibition makes clear the influence of Africa on these works, it also demonstrates the influence of the west on African artists. Sokari Camp makes collection of figures in highly expressive postures that come from the masquerades of her culture,and "choregraphs" them as if they were part of a performance. |
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