John Peffer
Biographic Data
| ID | 88733 |
|---|---|
| NAME | John Peffer |
| GIVEN NAMES | John |
| FAMILY NAME | Peffer |
| SIGNATURE | PEFFER J |
| AFFILIATIONS | Ramapo College |
| ORCID | 0000-0002-6244-952X |
| VERIFIED | Yes |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 33 |
| AUTHOR COUNT | 16 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 4 |
What Is African Art? A Short History by Peter Probst
What is African Art? is a historiography of African art studies. It is a survey of how art from Africa has been defined by scholars, critics, and curators based in Europe and America that was developed out of a methods seminar led by Peter Probst at Tufts University. Today the advanced study of historical African art is becoming a phantom field—haunted by its past, overcome by presentism, and suffering from the general hollowing out of the humani…
Owners of their faces
Vernacular Recollections and Popular Photography in South Africa
South African history is usually illustrated by documentary photographs of state brutality or acts of resistance, images that brought the world&s;s sympathy to the anti-apartheid movement but were less often seen within South Africa itself. African art scholars sometimes shy away from terms like Vernacular&s; and &s;popular&s; in case they may imply that Africa does not have a history of fine art equivalent to Europe&s;s. Bogumil Jewsiewicki&s;s …
How Do We Look
In South Africa under apartheid, portrait images displayed in private homes emphasised the dignity of their subjects and the stability of family life during a period of indignity and social upheaval. But when interviewing families about them, one often encounters sensitivity issues of the sort too often passed over by scholars and curators who valorise studio practices without consulting the actual subjects of the images. These include a range of…
Portraiture and Photography in Africa
The cultural, social, and political practice of portraiture
La diaspora des images de l'Afrique
Que se passerait-il si nous commencions à considérer les objets d'art d'Afrique comme étant eux-mêmes une diaspora, par opposition à la conception traditionnelle des diasporas qui concerne la dispersion des personnes, à travers le globe, avec leurs spécificités culturelles ? Cet essai propose de conceptualiser une histoire des objets d'art africains en les pensant comme véhicules, à travers le temps et l'espace, des « diasporas d'images ». John P…
Réflexions sur la photographie sud-africaine et l'extra-photographique
More on Place, Practice, and Nationalist Gestures
Modernism against Modernity
(2008). Modernism against Modernity. Critical Interventions: Vol. 2, Interrogating African Modernity, pp. 245-255
The Grey Areas of Modernism and “Black Art” in South Africa
Snap of the Whip/Crossroads of Shame
This article examines the recurrent iconography of the black body under the whip, and its ambivalent reception among British evangelical Christians during the colonial era. Flogging images have often been mixed signs, generating variously sympathetic, antipathetic, and even voyeuristic responses toward those pictured as being in pain. They are linked to a wider world of images of pain used variously, both publicly and privately, as an accusation …
L'Exposition du Congo and Edouard Manduau's la Civilisation au Congo (1884–1885)
(2007). L'Exposition du Congo and Edouard Manduau's la Civilisation au Congo (1884–1885) Critical Interventions: Vol. 1, Is African Art History?, pp. 125-140
Africa’s Diasporas of Images
This article seeks to bridge gaps between the production of visual objects in Africa and their reception abroad, and to destabilise the distinction of ‘traditional’ from ‘contemporary’ in African a
Notes on African Art, History, and Diasporas Within
hat is Afri can time? Or perhaps we should ask instead, What time w is Africa's? Is it now? Has it passed? Where, and when, is African art history? In his 1984 book Art History in Africa, the venerable historian of Central Africa, Jan Vansina, famously chided his colleagues for being too shallow when it came to studying the art of the continent. Again, at the land mark 1987 symposium at the National Mu seum of African Art, African Art Studies: Th…
Censorship and Iconoclasm
Animal Bodies/Absent Bodies
The Burden Of Global Art
Snap of the Whip/Crossroads of Shame
This article examines the recurrent iconography of the black body under the whip, and its ambivalent reception among British evangelical Christians during the colonial era. Flogging images have often been mixed signs, generating variously sympathetic, antipathetic, and even voyeuristic responses toward those pictured as being in pain. They are linked to a wider world of images of pain used variously, both publicly and privately, as an accusation …
Africa’s Diasporas of Images
This article seeks to bridge gaps between the production of visual objects in Africa and their reception abroad, and to destabilise the distinction of ‘traditional’ from ‘contemporary’ in African a
Notes on African Art, History, and Diasporas Within
hat is Afri can time? Or perhaps we should ask instead, What time w is Africa's? Is it now? Has it passed? Where, and when, is African art history? In his 1984 book Art History in Africa, the venerable historian of Central Africa, Jan Vansina, famously chided his colleagues for being too shallow when it came to studying the art of the continent. Again, at the land mark 1987 symposium at the National Mu seum of African Art, African Art Studies: Th…
Censorship and Iconoclasm
How Do We Look
In South Africa under apartheid, portrait images displayed in private homes emphasised the dignity of their subjects and the stability of family life during a period of indignity and social upheaval. But when interviewing families about them, one often encounters sensitivity issues of the sort too often passed over by scholars and curators who valorise studio practices without consulting the actual subjects of the images. These include a range of…
Réflexions sur la photographie sud-africaine et l'extra-photographique
More on Place, Practice, and Nationalist Gestures
The Grey Areas of Modernism and “Black Art” in South Africa
L'Exposition du Congo and Edouard Manduau's la Civilisation au Congo (1884–1885)
(2007). L'Exposition du Congo and Edouard Manduau's la Civilisation au Congo (1884–1885) Critical Interventions: Vol. 1, Is African Art History?, pp. 125-140
Animal Bodies/Absent Bodies
The Burden Of Global Art
Africa’s Diasporas of Images
This article seeks to bridge gaps between the production of visual objects in Africa and their reception abroad, and to destabilise the distinction of ‘traditional’ from ‘contemporary’ in African a
Notes on African Art, History, and Diasporas Within
hat is Afri can time? Or perhaps we should ask instead, What time w is Africa's? Is it now? Has it passed? Where, and when, is African art history? In his 1984 book Art History in Africa, the venerable historian of Central Africa, Jan Vansina, famously chided his colleagues for being too shallow when it came to studying the art of the continent. Again, at the land mark 1987 symposium at the National Mu seum of African Art, African Art Studies: Th…
Censorship and Iconoclasm
L'Exposition du Congo and Edouard Manduau's la Civilisation au Congo (1884–1885)
(2007). L'Exposition du Congo and Edouard Manduau's la Civilisation au Congo (1884–1885) Critical Interventions: Vol. 1, Is African Art History?, pp. 125-140
Modernism against Modernity
(2008). Modernism against Modernity. Critical Interventions: Vol. 2, Interrogating African Modernity, pp. 245-255
The Grey Areas of Modernism and “Black Art” in South Africa
Snap of the Whip/Crossroads of Shame
This article examines the recurrent iconography of the black body under the whip, and its ambivalent reception among British evangelical Christians during the colonial era. Flogging images have often been mixed signs, generating variously sympathetic, antipathetic, and even voyeuristic responses toward those pictured as being in pain. They are linked to a wider world of images of pain used variously, both publicly and privately, as an accusation …
More on Place, Practice, and Nationalist Gestures
Réflexions sur la photographie sud-africaine et l'extra-photographique
Portraiture and Photography in Africa
The cultural, social, and political practice of portraiture
La diaspora des images de l'Afrique
Que se passerait-il si nous commencions à considérer les objets d'art d'Afrique comme étant eux-mêmes une diaspora, par opposition à la conception traditionnelle des diasporas qui concerne la dispersion des personnes, à travers le globe, avec leurs spécificités culturelles ? Cet essai propose de conceptualiser une histoire des objets d'art africains en les pensant comme véhicules, à travers le temps et l'espace, des « diasporas d'images ». John P…
Vernacular Recollections and Popular Photography in South Africa
South African history is usually illustrated by documentary photographs of state brutality or acts of resistance, images that brought the world&s;s sympathy to the anti-apartheid movement but were less often seen within South Africa itself. African art scholars sometimes shy away from terms like Vernacular&s; and &s;popular&s; in case they may imply that Africa does not have a history of fine art equivalent to Europe&s;s. Bogumil Jewsiewicki&s;s …
How Do We Look
In South Africa under apartheid, portrait images displayed in private homes emphasised the dignity of their subjects and the stability of family life during a period of indignity and social upheaval. But when interviewing families about them, one often encounters sensitivity issues of the sort too often passed over by scholars and curators who valorise studio practices without consulting the actual subjects of the images. These include a range of…
What Is African Art? A Short History by Peter Probst
What is African Art? is a historiography of African art studies. It is a survey of how art from Africa has been defined by scholars, critics, and curators based in Europe and America that was developed out of a methods seminar led by Peter Probst at Tufts University. Today the advanced study of historical African art is becoming a phantom field—haunted by its past, overcome by presentism, and suffering from the general hollowing out of the humani…
Owners of their faces
Art (12 works) · African history and culture studies (11 works) · History (8 works) · Geography (5 works) · Sociology (5 works) · Visual arts (5 works) · Aesthetics (4 works) · History (4 works) · Photography and Visual Culture (4 works) · Political science (4 works)