Masks and Modernities
Bibliographic Data
| ID | 9022765 |
|---|---|
| Authors | Charles Gore (0000-0002-4315-9113, Art Institute of Chicago, corresponding author) |
| Year | 2008 |
| Volume | 41 |
| Issue | 4 |
| Pages | 1-4 |
| Publication date | 2008-12-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | African Arts (JOURNAL) |
| Journal identifiers | ISSN: 0001-9933 • E-ISSN: 1937-2108 |
| Publisher | MIT Press (PUBLISHER • US) |
| DOI | 10.1162/afar.2008.41.4.1 |
| OpenAlex | W1971172858 |
| Language | EN |
| Citations received | 2 |
Masquerade and masking traditions in Africa have been an iconic subject of African art studies throughout the twentieth century and often have served to underline historical continuities with a precolonial past. At the beginning of the twentieth century such artifacts were a key aspect of African, and especially West African, traditions of visual (and performance) practice that became entwined with a new modernist avant garde developing in Paris. These European artists were seeking new modes of representation that challenged the naturalistic conventions of mainstream art. They looked at African art that could be found museums, such as the Muse d'Ethnographie du Trocadero founded in 1878 (now the Muse de l'Homme) as well as in curio shops, and found parallels, if not inspiration, in the rendering of form with their own projects
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| Unique citing works | 2 |
|---|---|
| Citations per year | 0,14 |
| Citation span | 2012 - 2019 (8) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |