Sylvester Okwunodu Ogbechie
Biographic Data
| ID | 268803 |
|---|---|
| NAME | Sylvester Okwunodu Ogbechie |
| GIVEN NAMES | Sylvester Okwunodu |
| FAMILY NAME | Ogbechie |
| SIGNATURE | OGBECHIE S O |
| AFFILIATIONS | University of California, Santa Barbara |
| VERIFIED | No |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 2 |
Knowledge, Ethics, and Power: Publishing African Objects Without Clear African Provenance
October 01 2020 Knowledge, Ethics, and Power: Publishing African Objects Without Clear African Provenance Lisa Homann, Lisa Homann Guest Dialogue Editor; Associate Professor, Department of Art & Art History, UNC Charlotte; UNC Editorial Board Member, African Arts Consortium Search for other works by this author on: This Site Google Scholar UCLA Editorial Board, UCLA Editorial Board Search for other works by this author on: This Site Google Schola…
Momentum Builds for the Restitution of African Art
Western museums are under pressure to return cultural artifacts looted during the colonial period, as world-class African institutions emerge to claim rights to lost heritage
Art, African Identities, and Colonialism
This chapter reviews the impact of colonialism on African art and identities, especially in the emergent modernity of African artists such as Gerard Sekoto (1913–1993), Ben Enwonwu (1917–1994), Gazbia Sirry (1925–), Afewerk Tekle (1932–2012), Irma Stern (South Africa 1894–1966), and Iba Ndiaye (1928–2008). The unfolding of colonial rule differed in various regions of Africa and impacted the development of new visual languages for modern African a…
Art/Histories in Transcultural Dynamics: Narratives, Concepts, and Practices at work, 20th and 21st Centuries
Transcultural Interpretation and the Production of Alterity: Photography, Materiality, and Mediation in the Making of “African Art”
Transcultural Interpretation and the Production of Alterity: Photography, Materiality, and Mediation in the Making of “African Art”
Transcultural Interpretation and the Production of Alterity: Photography, Materiality, and Mediation in the Making of "African Art"
Mediating Visions
Compagnons d'Armes: L'Avant-garde africaine au premier Festival Mondial des Arts Nègres de Dakar en 1966
Modernism against Modernity: A Tribute to Susanne Wenger
(2008). Modernism against Modernity. Critical Interventions: Vol. 2, Interrogating African Modernity, pp. 245-255
From Masks to Metal Cloth: Artists of the Nsukka School and the Problem of “Ethnicity“
(2008). From Masks to Metal Cloth. Critical Interventions: Vol. 2, Interrogating African Modernity, pp. 133-146
The Historical Life of Objects African Art History and the Problem of Discursive Obsolescence
his essay evaluates how the field of African art history deals with the problem of cultural and discursive changes de riving from its canoni zation of specific objects of African art by inter rogating the Mbari architecture of the Owerri-Igbo, a ritual complex of distinc tive practices that is largely extinct, and whose archival inscription and contem porary interpretations are thus open to debate. It interrogates the increasing gap between the c…
Ways of the Rivers
Are We There Yet
El Anatsui: A Sculpted History of Africa
Exhibiting Africa: "Curatorial Attitudes and the Politics of Representation in "Seven Stories about Modern Art in Africa
The Historical Life of Objects African Art History and the Problem of Discursive Obsolescence
his essay evaluates how the field of African art history deals with the problem of cultural and discursive changes de riving from its canoni zation of specific objects of African art by inter rogating the Mbari architecture of the Owerri-Igbo, a ritual complex of distinc tive practices that is largely extinct, and whose archival inscription and contem porary interpretations are thus open to debate. It interrogates the increasing gap between the c…
Exhibiting Africa: "Curatorial Attitudes and the Politics of Representation in "Seven Stories about Modern Art in Africa
Knowledge, Ethics, and Power: Publishing African Objects Without Clear African Provenance
October 01 2020 Knowledge, Ethics, and Power: Publishing African Objects Without Clear African Provenance Lisa Homann, Lisa Homann Guest Dialogue Editor; Associate Professor, Department of Art & Art History, UNC Charlotte; UNC Editorial Board Member, African Arts Consortium Search for other works by this author on: This Site Google Scholar UCLA Editorial Board, UCLA Editorial Board Search for other works by this author on: This Site Google Schola…
From Masks to Metal Cloth: Artists of the Nsukka School and the Problem of “Ethnicity“
(2008). From Masks to Metal Cloth. Critical Interventions: Vol. 2, Interrogating African Modernity, pp. 133-146
Exhibiting Africa: "Curatorial Attitudes and the Politics of Representation in "Seven Stories about Modern Art in Africa
El Anatsui: A Sculpted History of Africa
Are We There Yet
Ways of the Rivers
The Historical Life of Objects African Art History and the Problem of Discursive Obsolescence
his essay evaluates how the field of African art history deals with the problem of cultural and discursive changes de riving from its canoni zation of specific objects of African art by inter rogating the Mbari architecture of the Owerri-Igbo, a ritual complex of distinc tive practices that is largely extinct, and whose archival inscription and contem porary interpretations are thus open to debate. It interrogates the increasing gap between the c…
Compagnons d'Armes: L'Avant-garde africaine au premier Festival Mondial des Arts Nègres de Dakar en 1966
Modernism against Modernity: A Tribute to Susanne Wenger
(2008). Modernism against Modernity. Critical Interventions: Vol. 2, Interrogating African Modernity, pp. 245-255
From Masks to Metal Cloth: Artists of the Nsukka School and the Problem of “Ethnicity“
(2008). From Masks to Metal Cloth. Critical Interventions: Vol. 2, Interrogating African Modernity, pp. 133-146
Mediating Visions
Transcultural Interpretation and the Production of Alterity: Photography, Materiality, and Mediation in the Making of “African Art”
Transcultural Interpretation and the Production of Alterity: Photography, Materiality, and Mediation in the Making of “African Art”
Transcultural Interpretation and the Production of Alterity: Photography, Materiality, and Mediation in the Making of "African Art"
Art/Histories in Transcultural Dynamics: Narratives, Concepts, and Practices at work, 20th and 21st Centuries
Art, African Identities, and Colonialism
This chapter reviews the impact of colonialism on African art and identities, especially in the emergent modernity of African artists such as Gerard Sekoto (1913–1993), Ben Enwonwu (1917–1994), Gazbia Sirry (1925–), Afewerk Tekle (1932–2012), Irma Stern (South Africa 1894–1966), and Iba Ndiaye (1928–2008). The unfolding of colonial rule differed in various regions of Africa and impacted the development of new visual languages for modern African a…
Momentum Builds for the Restitution of African Art
Western museums are under pressure to return cultural artifacts looted during the colonial period, as world-class African institutions emerge to claim rights to lost heritage
Knowledge, Ethics, and Power: Publishing African Objects Without Clear African Provenance
October 01 2020 Knowledge, Ethics, and Power: Publishing African Objects Without Clear African Provenance Lisa Homann, Lisa Homann Guest Dialogue Editor; Associate Professor, Department of Art & Art History, UNC Charlotte; UNC Editorial Board Member, African Arts Consortium Search for other works by this author on: This Site Google Scholar UCLA Editorial Board, UCLA Editorial Board Search for other works by this author on: This Site Google Schola…
African history and culture studies (11 works) · Art (10 works) · Sociology (9 works) · Aesthetics (7 works) · History (5 works) · Epistemology (4 works) · Philosophy (4 works) · Political science (4 works) · Visual arts (4 works) · Alterity (3 works)