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ArtnetAfrica is a supplier of fine contemporary African art. Artnetafrica هو مورد للغرامة الفن الافريقي المعاصر. |
Latest additions to the gallery - Shona Art أحدث الاضافات إلى الشرفه -- شونا الفن Tonderai Chindowa Tonderai chindowa Tanya Chipfunde تانيا chipfunde | | ||||||||
Our aim is to provide a selection of the the best artwork from some of the finest African artists. Contact us for further information on any of the artwork shown in the galleries , or for any other queries that you may have. We would be more than happy to send you a brochure of the artwork available. ان هدفنا هو توفير مجموعة مختارة من افضل الصور من بعض من خيرة الفنانين الافارقه. اتصل بنا للحصول على مزيد من المعلومات عن اي من الصور تظهر في المعارض ، أو عن اي استفسارات اخرى لديك. سنكون اكثر من سعيدة ان أرسل اليكم كتيب من الصور المتاحة. Note that we only display on the site what, in our opinion, are the best works and, on request , are happy to provide further examples. See our current current special offers . الا اننا نلاحظ ان عرض على موقع ما ، في رأينا ، هي أفضل والاشغال ، بناء على طلبها ، وسعداء لتقديم المزيد من الامثله. انظر حالتنا الراهنة الحالية العروض الخاصة. | ||||||||||
"Shona
Sculpture is perhaps the most important art form to emerge from Africa
in this century." "الشونا النحت ولعل اهم شكل من اشكال الفن الى الخروج من افريقيا فى هذا القرن." "It
is extraordinary to think that of the leading ten sculptor-carvers in
the world perhaps five come from Zimbabwe." "ومن غير عادية الى الاعتقاد بان من ابرز عشرة النحات - النحاتون في العالم ربما حان خمسة من زيمبابوى." "The
hottest art form out of Africa continues to be the Shona stone carvings
from Zimbabwe. Considered to be among the best carvers in the world,
the top Shona sculptors have drawn critics' raves at various exhibits
in Europe - in London, Frankford, Paris, Vienna, Stockholm and the
Hague and even America." "احر
الفن شكل من اصل افريقيا لا يزال يتمثل في شونا المنحوتات الحجريه من
زيمبابوي. نظرت لتكون من بين أفضل النحاتون في العالم ، اعلى شونا
النحاتون استخلصنا النقاد' يهتاج في مختلف المعارض في اوروبا -- فى لندن ،
فرانكفورد ، باريس ، فيينا ، ستوكهولم ولاهاي وحتى الامريكية. " "Zimbabwe's
stone sculpture is unique, not only because of its individual form and
content, which is highly valued and acclaimed in the art centres of the
world, but because it springs from the indigenous talent that lay
hidden until the 1960's." "زيمبابوي
في نحت الحجر هو فريد ، ليس فقط بسبب اعماله الفرديه شكلا ومضمونا ، وهي
قيمة عالية ومرموقه في الفن المراكز من العالم ، ولكن لأنها نابعه من
السكان الاصليين المواهب الخفيه التي تكمن وحتى عام 1960's. " Published Monday, December 8, 2003 نشرت الاثنين ، 8 كانون الأول / ديسمبر ، 2003 Polk Museum Acquires Dozens Of Pieces of African Art بولك متحف يحصل عشرات قطعة من الفن الافريقي By Rebecca Mahoney به ريبيكا ماهوني Visitors to the Polk Museum of Art can now experience the beauty of African artwork, thanks to a gift from a Winter Haven couple. بولك الزوار الى متحف الفنون ويمكن الآن تجربة جمال الافريقيه الصور ، وبفضل هبة من احد الزوجين ملاذا الشتاء. Norma and William Roth recently gave the museum more than 50 pieces of African art, including authentic hats and capes, bags and vessels. نورما وليم روث مؤخرا اعطى المتحف اكثر من 50 قطعة من الفن الافريقي ، بما في الحجيه القبعات والرؤوس ، وأكياس السفن. The contribution marks the first significant expansion to the museum's collection in about 15 years. مساهمه يصادف اول توسع كبير الى المتحف في جمع ما يقرب من 15 عاما. "It's safe to say that most people haven't seen art like this before," said Todd Behrens, the museum's curator of art. "انه يمكن الاطمئنان الى القول ان معظم الناس لم نر مثل هذا الفن من قبل ،" قال تود behrens ، أمين متحف الفن. "It's going to have a significant impact in terms of education." "انه سوف يكون له اثر كبير في مجال التعليم." The collection includes 57 pieces from South Africa, Namibia and Zimbabwe, many of them beaded. مجموعة تتضمن 57 قطعة من جنوب افريقيا وناميبيا وزمبابوي ، وكثير منهم مطرز. It will be on display at the museum through Jan. 25, and museum workers hope to create a permanent display area on the building's second floor in the near future, Behrens said. وستكون معروضه في المتحف من خلال كانون الثاني / يناير 25 ، ومتحف العمال نأمل في ايجاد الدائم عرض المنطقة على المبنى في الطابق الثاني في المستقبل القريب ، وقال behrens. While the museum has acquired new pieces every year -- most notably a bench by renowned sculptor Albert Paley and a Miriam Schapiro painting -- this collection is so vast it allows the museum to branch out in a completely new direction, Behrens said. في حين ان المتحف قد اكتسب قطعة جديدة كل سنة -- ابرزها هيئة مؤلفة من جانب الشهره النحات البرت paley وميريام شابيرو اللوحه -- وهذه المجموعة الواسعه بحيث انها تسمح للمتحف من اصل لفرع في اتجاه جديد تماما ، وقال behrens. The museum has long focused on its collections of pre-Colombian, contemporary, Asian and European decorative arts, and this contribution allows the museum to broaden its scope in a fifth direction, he said. المتحف منذ فترة طويلة وركزت على مجموعاتها من pre-columbian ، المعاصرة ، والاسيويه والاوروبية والفنون الزخرفيه ، وهذا يتيح للمساهمه متحف لتوسيع نطاقها في الخامسة الاتجاه ، كما قال. The Roths are well-known art collectors, and have donated pieces from their collection to museums all over the East Coast. فان roths معروفة جامعي الاعمال الفنية ، ولقد تبرعت من جمع تلك القطع الى المتاحف في جميع انحاء الساحل الشرقي. They've PLEASE SEE AFRICAN ART, PAGE D6 انهم قد قمت يرجى الاطلاع على الفن الافريقي ، صفحة الفئة دال / given more than 200 pieces to the Polk Museum alone, Behrens said. وبالنظر الى اكثر من 200 قطعة الى المتحف بولك وحدها ، وقال behrens. Norma Roth said she and her husband donated the African pieces because they wanted to expose people to an art form they may not have seen before. روث نورما قالت انها وزوجها تبرعت الافريقي قطعه لانهم يريدون تعريض الناس الى شكل فني لا يجوز شهدت قبل. "I felt African art is an area this community has totally overlooked," she said. "شعرت الفن الافريقي هو مساحة هذا المجتمع قد اغفلت تماما ،" قالت. "We have a very large African-American population (in Polk County), and it occurred to me that this was a way of making a connection with a very vital and important part of our community." "لدينا كبير جدا الافريقى الامريكى السكان (في مقاطعة بولك) ، وأنها وقعت لي ان هذه هي وسيلة لجعل علاقة مع غاية الحيويه والهامة جزءا من جماعتنا". She said she hoped the museum would encourage schools to take advantage of the collection. وقالت انها تأمل في المتحف من شأنه تشجيع المدارس على الاستفادة من جمع. The artworks are primarily functional pieces -- items made mostly by women and worn and used by their owners. فإن الأعمال الفنية هي قطعة فنية في المقام الأول -- البنود ادلى بها فى الغالب النساء والبالية والتي يستخدمها اصحابها. They aren't meant to be only decorative, but they are beautiful, Roth said. فهي لا يقصد بها ان تكون زينة فقط ، لكنها جميلة ، وقالت روث. "They come from a heritage that is long, that is traditional," Roth said. "يأتون من ان التراث هو طويل ، وهذا هو التقليدي ،" وقال روث. "They come from an authenticity of experience." "انهم يأتون من اجراء اصالة التجربه". Other pieces in the collection include wedding capes, blankets, aprons, beaded animal horns and leather bags. القطع الأخرى في جمع عرس تشمل الرؤوس ، والبطانيات ، والمرايل ، مطرز القرون الحيوانيه والحقائب الجلديه. "This collection gives the community a foot out into the world of experience and cultural understanding," said Daniel Stetson, the museum's executive director. "جمع هذا يعطي للمجتمع الاقدام تخرج الى العالم من الخبرة والتفاهم الثقافي ،" وقال دانيال القبعه ، المدير التنفيذي للمتحف. "These are beautiful pieces. They add a significant diversity to what we were able to present prior to this." "هذه هي الجميلة قطعة. يضيفون الى تنوع كبير ما تمكنا من هذا قبل ذلك." Rebecca Mahoney can be reached at 863-802-7548 or rebecca.mahoney@theledger.com. ريبيكا ماهوني يمكن التوصل في 863-802-7548 او rebecca.mahoney @ theledger.com. Star sheds light on African 'Stonehenge' نجمة يلقي الضوء على افريقيا 'ستونهنج' (CNN) -- Mysterious ruins in Zimbabwe, nearly brushed this week by the shadow of a total solar eclipse, once served as an astronomical observatory to track eclipses, solstices and an elusive exploding star, a South African scientist said. (سى ان ان) -- الغامض على الاطلال فى زيمبابوى ، brushed تقريبا في هذا الاسبوع من قبل ذرة من مجموع كسوف الشمس ، ومرة واحدة بمثابة مرصد فلكي لمسار الكسوف ، وsolstices انفجار نجم بعيد المنال ، وهو مواطن من جنوب افريقيا وقال الباحث. The Great Enclosure in the archaeological site of Great Zimbabwe, a crumbling ring of stone walls and platforms about 250 meters in circumference, was thought to have been a palace complex for regional rulers some 800 years ago. ضميمه الكبير في الموقع الاثري العظيم زمبابوي ، وانهيار الطوق من الجدران الحجريه ومنصات حوالى 250 متر في محيط ، وكان يعتقد انه تم قصر الاقليمية المعقده لبعض الحكام 800 سنة خلت. But Richard Wade of the Nkwe Ridge Observatory thinks that the enclosure was used in a similar capacity as the much older Stonehenge in Great Britain. ولكن ريتشارد ويد من nkwe ريدج المرصد يعتقد ان العلبه كانت تستخدم في وضع مماثل لبصفته الأكبر سنا بكثير ستونهنج في بريطانيا العظمى. The arrangement of the walls, the complicated symbols on stone monoliths and the position of a tall tower suggest that medieval Zimbabweans used the complex to track the moon, sun, planets and stars for centuries. الترتيب من الجدران ، ورموز معقدة على الحجر monoliths وموقف أ تال برج توحي بأن القرون الوسطى زيمبابويين المعقده المستخدمة لتتبع القمر ، الشمس ، الكواكب والنجوم لعدة قرون. "The importance of Great Zimbabwe is that it was the capital of the only known sub-Saharan African Empire that lasted almost 1,000 years. Everyone in southern Africa somehow relates to this nucleus cultural complex," Wade said. "اهمية كبيرة زمبابوي هو انها العاصمة الوحيدة المعروفة للالافريقيه الواقعة جنوب الصحراء الكبرى الامبراطوريه التي استمرت ما يقرب من 1000 سنة. الجميع في جنوب افريقيا بطريقة ما تتصل هذه النواه الثقافيه المعقده ،" قال واد. Several of the stone monoliths, for example, line up with certain bright stars in the constellation Orion as they rise on the morning of the shortest day of the year, the winter solstice. عدة من الحجر monoliths ، على سبيل المثال ، مع خط يصل في بعض مشرق نجوم كوكبة الجوزاء لانها ترتفع في صباح يوم من أقصر ايام السنة ، الشتاء solstice. Boosting an ancient legend زيادة قديم الاسطوره In his most controversial position, Wade suggests that a tower at the complex, whose purpose has baffled historians, was probably built to observe an exploding star in roughly 1300 AD. الاكثر اثارة للجدل في بلدة الموقف ، وأدى يوحي بأنه برج المعقده ، التي يكون هدفها وقد حير المؤرخون ، وربما كان بناؤها لمراقبة انفجار نجمة في حوالى 1300 الاعلانيه. "This large conical tower in the great enclosure stands directly in line with the rising supernova remnant when seen from the observation platform and court area of the time," Wade wrote in a paper to be submitted to the journals Science and Scientific American. "هذا البرج مخروطيه كبيرة في ضميمه كبرى تقف في خط مباشر مع ارتفاع السوبر بقايا عند النظر اليها من المراقبة ومنهاج المحكمه المجال للوقت ،" وادي كتبت في ورقة ستقدم الى العلم والمجلات العلميه الاميركية. "They requested that I send the work on completion," he said. "وطلبوا ان اقوم بارسال العمل على الانتهاء ،" قال. "I have been peer reviewed now for almost four years and only recently have I received a nod from the South African science community." "لقد كنت الأقران استعرض الآن لما يقرب من اربع سنوات والا مؤخرا وقد تلقيت الايماءه من علوم مجتمع جنوب افريقيا." Modern telescope observations indicate that a supernova lit up the sky at approximately the same time. تلسكوب الملاحظات الحديثة تشير الى ان ما يصل من السوبر اضاءت السماء تقريبا فى نفس الوقت. Historic records make no mention of it, an omission that does not surprise Wade since the dying star appeared over the Southern Hemisphere, which at the time had virtually no literate cultures. السجلات التاريخية أي إشارة اليها ، سهو ان لا مفاجاه واد منذ موت نجمة يبدو اكثر من النصف الجنوبي من الكرة الارضيه ، الذي كان في ذلك الوقت تقريبا لا يعرفون القراءة والكتابة الثقافات. But oral legends in the region lend credence to the supernova idea, Wade said. ولكن الاساطير الشفهيه في المنطقة تضفي مصداقيه على فكرة السوبر ، وقال واد. The Sena people of Zimbabwe hold that their ancestors migrated from the north by following an unusually bright star in the southern skies. وقد سينا شعب زيمبابوى عقد إن أجدادهم هاجروا من الشمال عن طريق اتباع غير عادي النجم الساطع في سماء الجنوب. Zimbabwean Sculpture - A reading list زيمبابوي النحت -- قراءة قائمة The African Workshop School / text by Frank McEwen; photography by Sylvia Beck. الافريقي ورشة المدرسة / النص من فرانك mcewen ؛ التصوير بها سيلفيا بيك. [Salisbury: National Gallery of Rhodesia, 1967]. [ساليسبري : المتحف الوطني روديسيا ، 1967]. [34]pp. [34] الصفحات. illus. Illus. NB1096.6.R5A25 AFA. Nb1096.6.r5a25 afa. OCLC 5993013. Oclc 5993013. This booklet, consisting mainly of photographs, is of interest as an historical document of the Zimbabwe stone sculpture movement. وهذا الكتيب ، الذي يتألف اساسا من الصور ، كما هو من مصلحة وثائق تاريخية من زيمبابوي حركة النحت الحجرى. The early photographs of sculptors, who have now aged along with the movement, are shown here at work or at play. في وقت مبكر من صور النحاتون ، والذين تتراوح اعمارهم الآن جنبا الى جنب مع الحركة ، ويرد هنا في العمل او اللعب. They and others are referred to by McEwen, familiarly and cryptically, with single names -- "Fly," "Ask," "Simon" -- we wonder who they really are. انهم وغيرهم يشار الى mcewen ، بطريقة حميمه وبغموض ، واحدة مع اسماء -- "يطير" ، "آسال" ، و "سيمون" -- ونحن نتساءل حقا انهم هم الذين. What is also interesting in retrospect is the veil of romanticism that was already being draped over the sculptors -- "mystically inclined and armed with endless patience...with an inherent belief in ancestor worship and the realm of the unseen." الأمر اللافت أيضا في التأمل هو الحجاب من الرومانسيه التي كان يجري بالفعل على مدى draped النحاتون -- "يميل بشكل باطني والمسلحه التي لا نهاية لها مع الصبر... مع اصيل المعتقد الجد في العبادة وعالم الغيب". The workshop school, ten years up and running by 1967, took pride in being self-supporting from sale of works. الحلقه الدراسيه ، وعشر سنوات على قائمة وعاملة قبل 1967 ، بالاعتزاز يجري الاكتفاء الذاتي من بيع الاشغال. Commerce was part and parcel of the movement from the very beginning. التجارة هى جزء لا يتجزأ من الحركة من البداية.
Arnold, Marion. أرنولد ، ماريون. Zimbabwean stone sculpture. زيمبابوي نحت الحجر. Bulawayo: Louis Bolze, 1986. بولاوايو : لويس bolze ، 1986. xxvi, 234pp. '26، 234pp. illus., map, bibliog. Illus. ، خريطه ، bibliog. OCLC 18909483. Oclc 18909483. Arnold's thesis was the first major study of contemporary Zimbabwean stone sculpture. ارنولد اطروحة كانت أول دراسة رئيسية من الحجر والنحت المعاصر زيمبابوي. The scope is somewhat broader in that she considers also ancient stone sculpture -- the stone birds and monoliths of Great Zimbabwe. هو نطاق اوسع الى حد ما في انها تعتبر ايضا النحت الحجرى القديم -- عصافير بحجر وmonoliths كبيرة من زيمبابوي. Her focus is on Shona iconography rather than on the art movement as a whole in all its sociological and commercial aspects (as Winter-Irving's 1991 book is). هو تركيزها على شونا iconography بدلا من التركيز على الحركة الفنية ككل في جميع اعماله السوسيولوجيه والجوانب التجارية (مع اقتراب فصل الشتاء 1991 - ارفينج 'sالكتاب). An art historical study, Zimbabwean stone sculpture discusses form and content, including human, animal and supernatural imagery, by looking at the work of a select group of Shona sculptors. فن الدراسه التاريخية ، زيمبابوي نحت الحجر ويناقش شكلا ومضمونا ، بما فيها الانسان والحيوان وخارق للصور ، من خلال النظر الى أعمال نخبة من شونا النحاتون. The biographies of these twenty-one sculptors are given in an appendix (pp. 183-197). السير من هذه احدى وعشرين النحاتون وترد في تذييل (pp. 183-197). Other stone sculptors, not discussed in the text but who have participated in exhibitions, are listed in a separate appendix. النحاتون حجر الاخرى ، لم تناقش في النص ولكن الذين شاركوا في المعارض ، وترد في تذييل مستقل. Although Arnold does not argue any direct connection between the ancient stone sculpture and the modern, she does suggest that Shona carving in wood and molding in clay of anthropomorphic and zoomorphic figures provided iconographical base and technical expertise on which the modern sculptors drew -- once the new incentive, an art for art's sake, was introduced. ورغم ان ارنولد لا يجادل اي صلة مباشرة بين النحت الحجرى القديم والحديث ، وقالت انها لا توحي بأن شونا في نحت الخشب والطين من صب في مجسم ومتعلق بتاليه الحيوان الارقام المقدمة iconographical قاعدة والخبرة التقنيه الحديثة التي النحاتون وجه -- متى حافز جديد ، فنا للفن في حد ذاته ، عرضه. The original research on which this book is based was the author's master's thesis entitled: Some aspects of iconography in selected Shona sculptures. البحث عن الاصلي الذي يستند هذا الكتاب كان المؤلف اطروحة الماجستير بعنوان : بعض الجوانب في اختيار iconography شونا النحت. This reprint of the 1981 edition (Bulawayo: Books of Zimbabwe) incorporates place-name changes and offers a new postscript. هذا من طبع طبعة 1981 (بولاوايو : كتب من زيمبابوي) يتضمن اسم المكان - التغييرات وعروض جديدة التذييل.
Coming of age: zeitgenössische Kunst aus Zimbabwe: Chikonzero Chazunguza, Doreen Sibanda, Voti Thebe, Ishmael Wilfred, Craig Wylie und die Bildhauer: Bernard Matemera, Nicholas Mukomberanwa, Joseph Muzondo, John Takawira. بلوغ سن الرشد : zeitgenössische تجارة استرالي زيمبابوي : chikonzero chazunguza ، دورين سيباندا ، voti تيبي ، ويلفرد اسماعيل ، ويلي كريغ und يموت bildhauer : برنارد matemera ، نيكولاس mukomberanwa ، جوزيف muzondo ، جون takawira. Aschaffenburg: Städtische Galerie Jesuitenkirche, 1998. Aschaffenburg : städtische الصور jesuitenkirche ، 1998. 96pp. 96pp. illus. Illus. (color). (لون). (Forum Aschaffenburg, 20). (منتدى Aschaffenburg ، 20). [not available for review] [لا تتوفر لاستعراض]
Contemporary stone carving from Zimbabwe : [exhibition] Yorkshire Sculpture Park, 22 July-25 November 1990. نحت الحجر المعاصرة من زيمبابوي : [المعرض] يوركشر النحت بارك ، في 22 تموز / يوليه - 25 تشرين الثاني / نوفمبر 1990. [Wakefield, England]: Yorkshire Sculpture Park, 1990. [ويكفيلد ، انكلترا] : يوركشر النحت بارك ، 1990. 60pp. 60pp. chiefly illus. اساسا illus. (pt. color). (Pt. لون). qNB1209.Z55C76 1990 AFA. Qnb1209.z55c76 1990 afa. OCLC 23359729. Oclc 23359729. Yorkshire Sculpture Park was an elegant setting for what was the largest exhibition of Zimbabwe stone sculpture ever assembled. يوركشر النحت بارك كأن انيقه لتحديد ما هو اكبر معرض للنحت الحجر زيمبابوي على الاطلاق. Thirty-six artists were featured, early masters and younger sculptors alike; their works are photographed in situ at Yorkshire Sculpture Park. ستة وثلاثون الفنانين عرضت ، في اوائل الماجستير والنحاتون الاصغر على حد سواء ؛ اعمالهم يتم تصويرها في الموقع في يوركشر النحت بارك. The catalog text offers three perspectives on the Zimbabwe stone sculpture phenomenon. نص الكاتالوج عروض ثلاثة مناظير على زيمبابوي ظاهرة النحت الحجرى. Frank McEwen, who was present at the creation of this art movement, but has now departed from the scene, shares some personal reflections from his unique vantage point. Mcewen فرانك ، الذي كان حاضرا في انشاء هذه الحركة الفنية ، ولكن الآن قد رحلوا عن الساحة ، وتشاطر بعض الافكار الشخصيه من له وجهة نظر فريدة. Art critic Michael Shepherd assesses the work from the opposite pole: an outsider who has never been to Zimbabwe. ناقدة فنية مايكل شبرد يقيم عمل من القطب المعاكس : من الخارج الذين لم تكن ابدا لزيمبابوي. Thirdly, Joram Mariga, sometimes credited with being the original Zimbabwe stone carver, certainly one of the first, speaks of his own work. ثالثا ، joram mariga ، احيانا الفضل يجري الاصلي زيمبابوي الحجر كارفر ، ومن المؤكد أن واحدة من أولى ، يتحدث عن عمله. Artists' biographies and a glossary of stone of Zimbabwe are included. الفنانين سير ومعجم للحجر زيمبابوي مدرجة. Exhibition reviewed by Gemma Nesbitt, "Captivating sculpture," Southern African economist (Harare) 3 (5): 45-46, October-November 1990. معرض استعرضها برعم Nesbitt ، "الأسر النحت ،" الايكونوميست للجنوب الافريقى (هراري) 3 (5) : 45-46 ، تشرين الأول / اكتوبر - تشرين الثاني / نوفمبر 1990.
Cousins, Jane. أبناء العم ، جين. "The making of Zimbabwean sculpture," Third text; Third World perspectives on contemporary art and culture (London) no. "صنع زيمبابوي النحت ،" النص الثالث ؛ زاويه العالم الثالث على الفن المعاصر والثقافة (لندن) لا. 13: 31-42, winter 1991. 13 : 31-42 ، شتاء 1991. illus., notes. Illus. المذكرات. NX1.T445 AFA. Nx1.t445 afa. The commodification of Zimbawean stone sculpture has been a problem right from the beginning both for its promoters and its detractors. تجارية zimbawean نحت الحجر وكانت المشكلة منذ البداية على حد سواء للمروجين والمنتقدين. Since Independence it has become a political commodity as well, symbolizing a national cultural identity and promoted as such by the National Gallery of Zimbabwe and others. منذ الاستقلال بعد أن أصبح سلعة سياسية كذلك ، ترمز الى وطنية الهوية الثقافيه وشجعت على هذا النحو من جانب المتحف الوطني زيمبابوي وغيرها. Yet for most Zimbabweans, "traditional" stone sculpture remains alien, or rather, they remain notably indifferent to it. ولكن بالنسبة لمعظم زيمبابويين ، "التقليديه" نحت الحجر ما زال الاجنبي ، او بالاحرى ، لا سيما أنها لا تزال غير مبال. Its commercial success is international, not local. أعماله هو النجاح التجاري الدولي ، وليس المحلية. Cousins explores why this is so and why the handful of artists who are trying to break out of this mold are finding it so hard to do. أبناء العم يستكشف ماذا يحدث هذا والسبب حفنة من الفنانين الذين يحاولون الخروج من هذا القالب وتجد انه من الصعب القيام بذلك. Among these younger artists pursuing their own intellectual visions are Tapfuma Gutsa and Vote Thebe. ومن بين هؤلاء الفنانين الاصغر سنا اتباع الرؤى الفكريه الخاصة بهم هي tapfuma gutsa والتصويت تيبي.
Kennedy, Jean. كينيدي ، جان. "The sculptors of Zimbabwe: artists with an old legacy," pp. "النحاتون من زيمبابوي : مع الفنانين إرث قديم ،" الصفحات. 158-168. 158-168. In: New currents, ancient rivers: contemporary African artists in a generation of change. في : التيارات الجديدة ، القديمة انهار : افريقيا المعاصرة الفنانين في جيل من التغيير. Washington, DC: Smithsonian Institution Press, 1992. واشنطن ، العاصمة : معهد سميثونيان للصحافه ، 1992. illus., bibl. Illus. ، Bibl. refs. Refs. (page 192). (الصفحه 192). N7391.65.K46 1992X AFA. N7391.65.k46 1992x afa. OCLC 22389510. Oclc 22389510. The stone sculpture movement in Zimbabwe has provoked much discussion about authenticity, quality, commercialism, and imitation in art, but after almost four decades it remains a vital and successful movement, like it or not. النحت الحجرى فى زيمبابوى حركة اثارت الكثير من النقاش حول الاصاله ، والجوده ، والنشاط التجاري ، والتقليد في الفن ، ولكن بعد ما يقرب من أربعة عقود وهي لا تزال حيوية وحركة ناجحه ، شئنا أم أبينا. Kennedy's retelling of the story of Zimbabwe stone sculpture focuses on the formative period, during which the first generation of artists emerged. كنيدي من اعادة رواية قصة زيمبابوي نحت الحجر ويركز على فترة تكوينها ، وخلالها الجيل الأول من الفنانين برزت. Many of them are still (or until recently were) active -- Sylvester Mubayi (1942- ), Joseph Ndandorika (1940- ), the late John Takawira (1938-1989), Henry Munyaradzi (1931- ), and Joram Mariga (1927- ). ولا يزال العديد منهم (او كانوا حتى عهد قريب) النشطه -- سيلفستر mubayi (1942 --) ، جوزيف ndandorika (1940 --) ، الراحل جون takawira (1938-1989) ، هنري munyaradzi (1931 --) ، وjoram mariga (1927 --).
Kennedy, Jean. كينيدي ، جان. "Sky and land in Zimbabwe," pp. "السماء والارض في زيمبابوي ،" الصفحات. 155-157. 155-157. In: New currents, ancient rivers: contemporary African artists in a generation of change. في : التيارات الجديدة ، القديمة انهار : افريقيا المعاصرة الفنانين في جيل من التغيير. Washington, DC: Smithsonian Institution Press, 1992. واشنطن ، العاصمة : معهد سميثونيان للصحافه ، 1992. illus., bibl. Illus. ، Bibl. refs. Refs. (page 192). (الصفحه 192). N7391.65.K46 1992X AFA. N7391.65.k46 1992x afa. OCLC 22389510. Oclc 22389510. The genesis of modern art in Zimbabwe was in the Workshop School at the National Gallery, the brain child of Frank McEwen (1907-1994). نشأة الفن الحديث في زيمبابوي كان في الحلقه الدراسيه في المتحف الوطني ، مخ الطفل من mcewen فرانك (1907-1994). In the beginning (in the late 1950s) painting and woodcarving were taught, but eventually stone carving predominated, according to the gospel of McEwen. في البداية (في اواخر الخمسينات) لوحة حفر الخشب وحصلوا على تعليمهم ، ولكن في نهاية المطاف هي الغالبه في نحت الحجر ، وفقا لانجيل mcewen. This abortive effort at painting did produce one painter of note -- Thomas Mukarobgwa (1924- ). فاشل في هذا الجهد لم تنتج لوحة للرسام واحد علما -- mukarobgwa توماس (1924 --). Though he, too, abandoned painting for stone sculpture, he has, interestingly, been encouraged to return to this medium in the 1990s. رغم انه ، ايضا ، من اجل التخلي عن لوحة حجريه منحوتة ، لديه ، للاهتمام ، تم التشجيع على العودة الى هذا المتوسط في التسعينات.
Kileff, Clive and Maricarol Kileff. Kileff ، كليف وmaricarol kileff. Street sellers of Zimbabwe stone sculpture: artists and entrepreneurs. الشارع بائعي زيمبابوي نحت الحجر : الفنانون ورجال الاعمال. Gweru: Mambo Press, 1996. Gweru : مامبو الصحافة ، 1996. xii, 68pp. ثاني عشر ، 68pp. illus. Illus. (pt. color), bibliog. (Pt. لون) ، bibliog. (pp. 67-68). (Pp. 67-68). HF5459.Z55K55 1996X AFA. Hf5459.z55k55 1996x afa. OCLC 35948827. Oclc 35948827. The Zimbabwe stone sculpture movement has always been as much about commerce as about art. وقد نحت الحجر زيمبابوى حركة كما كان دائما الكثير عن التجارة باعتبارها عن الفن. From its inception in the late 1950s, the debates have centered on issues of authenticity, fine art versus tourist art, and distinguishing the "real" artists from the imitators and hacks. منذ بدايتها في اواخر الخمسينات ، وقد تركزت المناقشات على قضايا من أصالة ، الفنون الجميلة مقابل السياحيه الفن ، والذي يميز بين "الحقيقي" من الفنانين المقلدون والمأجورون. No one has really focused on the lower end of the high art-low art spectrum -- the street sellers, entrepreneurs who earn a livelihood from making and hawking sculpture. وليس لأحد حقا تركز على الطرف الأدنى من الفن الرفيع - منخفض الفن الطيف -- الباعه في الشوارع ، ورجال الاعمال الذين الرزق من صنع والبيع المتجول والنحت. The Kileffs' short study is a refreshing look at the small business end of art production in Zimbabwe. فان kileffs 'قصيرة منعشه الدراسه هو القاء نظرة على الاعمال التجارية الصغيرة نهاية الفن الانتاج في زيمبابوي. It begins with the premise that this business is perfectly legitimate and worthy. وهي تبدأ مع افتراض أن هذه الأعمال هي مشروعة تماما وتستحق. Far from adopting a dismissive stance toward these individuals, the Kileffs admire the artist-entrepreneurs for their industriousness and initiative. الآن من اعتماد موقف رافض تجاه هؤلاء الافراد ، kileffs معجبون الفنان - أصحاب المشاريع لالاجتهاد والمبادرة. The authors side-step the concerns of the art establishment, and squarely investigate what goes on outside the air-conditioned art gallery. المؤلفون الجانب - خطوة اهتمامات فن انشاء ، ومباشرة التحقيق في ما يجري خارج المكيفه الهواء معرض الفنون. From this vantage point it is all about economics and survival strategies in a competitive marketplace. من هذا المنطلق ومن كل شيء عن علم الاقتصاد واستراتيجيات للبقاء في سوق تنافسية. Seven marketing strategies are identified and discussed: solo street walkers, roadside stand, rented overnight stand, collective ownership stand, curio shop, diversified communal venture, and gallery. سبعة استراتيجيات التسويق يتم تحديدها ومناقشتها : سولو الشارع مشاة ، والوقوف جانب الطريق ، بين عشية وضحاها تقف المستاجره ، والملكيه الجماعية الوقوف ، التحفه متجر متنوع الطوائف الاستثماري ، وصالة العرض. Consumer behavior is carefully scrutinized by the sellers, and they adapt their selling pitch and negotiating patter accordingly: the soft sell, one upmanship, name your price, privately under-cutting the going prices, the absent sculptor represented by another who cannot adjust prices, and mass bombardment. سلوك المستهلك هو تمحيص دقيق من قبل البائعين ، وتتكيف على بيع رمية والتفاوض وبناء على الكلام السريع : سخافه براءات الاختراع ، واحد المزايده ، اسم سعرك ، والقطاع الخاص وكيل قطع الذهاب الاسعار ، وغابت نحات آخر يمثله الذين لا يستطيعون ضبط الاسعار ، والقصف الجماعي. The vignettes of life stories of individual artist-entrepreneurs, which the Kileffs have collected, speak to aspirations, acquired skills, and economic realities. فإن المقالات القصيره من قصص الحياة الفرديه للفنان اصحاب المشاريع ، التي جمعت kileffs ، اتكلم لتطلعات ، والمهارات المكتسبه ، والواقع الاقتصادي. Many of the artists are school-leavers seeking to make an honest dollar; several are women; some are family enterprises; a few are venturing as far afield as Cape Town, South Africa, to sell their wares. كثير من الفنانين تاركي المدرسة تسعى لجعل امينا الدولار ؛ العديد من النساء ؛ هي بعض المؤسسات العاءليه ؛ قليلة المخاطرة كما هي الآن خارجها كما كيب تاون ، جنوب افريقيا ، لبيع منتجاتهم. Although only a tiny fraction of Zimbabwe street sellers will ever make it to the art gallery circuit, most dream of doing so. ورغم ان جزءا ضئيلا فقط من زيمبابوي الشوارع البائعين سوف يجعل من أي وقت مضى الى معرض فني الدائرة ، أكثر من حلم بذلك. But in a postmodern world, issues of quality are being swept aside, as elite cultural authority is challenged. ولكن في Postmodern العالم ، وقضايا نوعية يجري اكتسحت جانبا ، كما النخبه الثقافيه والتحدي الذي يواجه السلطة. Commodification of art is a great leveler. الفن الى سلعة هو مستوى كبير. Does it matter who makes art or where art is sold? وهل الامر الذي يجعل من الفن او الفن حيث يباع؟ Despite a postscript on "A post-modern evaluation of the quality of street sellers' art," this is not a study weighted down with heavily-worded analysis and lots of statistics; it reads almost anecdotely, like an essay that grows out of personal interest rather than academic necessity. على الرغم من تذييل على "ما بعد الحداثة تقييم نوعية الشوارع البائعين الفن ،" وهذه ليست الدراسه مرجح يسقط بشدة - تحليل وصياغه الكثير من الاحصاءات ؛ نصها تقريبا anecdotely ، مثل مقال ان تنبثق من الشخصيه بدلا من الاهتمام الاكاديمي الضروره. Illustrated with photographs of the artist-entrepreneurs. ويتضح مع الصور الفوتوغرافيه للفنان اصحاب المشاريع. Reviewed by MFC Bourdillon in Zambezia (Harare) 24 (2): 201-202, 1997. استعرض bourdillon من قانون الزواج والاسرة فى زامبيزيا (هراري) 24 (2) : 201-202 ، 1997. Reviewed by Murray McCartney in Gallery; the art magazine from Gallery Delta (Harare) no. استعرض موراي مكارتني في معرض ؛ المجله الفنية من معرض دلتا (هراري) لا. 10: 22, December 1996. 10 : 22 ، كانون الاول / ديسمبر 1996. qN1.G168 AFA. Qn1.g168 afa. OCLC 33161032. Oclc 33161032.
Kuhn, Joy. كن فرحا. Myth and magic: the art of the Shona of Zimbabwe. السحر والاسطوره : فن من شونا من زيمبابوي. Cape Town: Don Nelson, 1978. كيب تاون : دون نيلسون ، 1978. 112pp. 112pp. illus. Illus. (pt. color). (Pt. لون). NB1096.6.R5K83X AFA. Nb1096.6.r5k83x afa. OCLC 5661113. Oclc 5661113. Joy Kuhn's perspective on Zimbabwe stone sculptors and their mentors, Frank McEwen, Ned Patterson, and Tom Blomefield, is a highly personalized one; her narrative is downright chatty. كن الفرح منظور زيمبابوي على الحجر النحاتون والموجهون ، فرانك mcewen ، نيد باترسون ، وتوم blomefield ، هو شخصية واحدة ؛ سردها هو اكيد مهذار. But beneath all the first-person singular, one can glean some insights into these early pre-independence years of the movement, when Harare was still Salisbury, Zimbabwe was Rhodesia and "terrorists" were abroad in the land. ولكن تحتها جميع اول شخص الواحد ، ويمكن للمرء أن أجمع بعض هذه الرؤى الى اوائل سنوات ما قبل الاستقلال للحركة ، عندما كان لا يزال ساليسبري هراري ، زيمبابوي روديسيا وكان "الارهابيين" كانوا في الخارج في الارض. Annoying, however, is the total absence of captions to identify the photographs; no names, no places; no dates; nothing, except a note that most are from the private collection of Tom Blomefield and so, presumably illustrate Tengenenge sculptures. مزعج ، ولكن ، هو الغياب الكامل للتعليق عليها لتحديد الصور ؛ أي اسماء ، أي الأماكن ؛ اي تواريخ ؛ شيئا ، باستثناء ملاحظه ان معظم من القطاع الخاص هي جمع توم blomefield وبذلك ، ويفترض ان توضح tengenenge النحت.
Legacies of stone: Zimbabwe past and present. تركات الحجر : زيمبابوي في الماضي والحاضر. Volume 2 / curated and edited by Geert G. Bourgois, assisted by Els De Palmenaer; foreword by George P. Kahari. المجلد 2 / جمعهم وحرره Geert غ بورجوا ، يساعده ايلس دي palmenaer ؛ المقدمة من جورج ص kahari. Tervuren: Royal Museum for Central Africa, 1997. Tervuren : المتحف الملكي لأفريقيا الوسطى ، 1997. illus. Illus. (pt. color), map, bibliog. (Pt. لون) ، خريطه ، bibliog. (pp. 190-194). (Pp. 190-194). N7396.6.R5L44 1997 volume 2 AFA. N7396.6.r5l44 1997 المجلد 2 afa. OCLC 38742939. Oclc 38742939. A major exhibition on Zimbabwe was held at the Musée royal de l'Afrique centrale in 1997, half of which was devoted to modern art. معرضا كبيرا على زيمبابوي وكان عقد في Musée الملكي لوسط افريقيا فى عام 1997 ، ونصف الذي خصص لالفن الحديث. Volume 2 contains nine essays which cover stone sculpture, mission art, painting, "outsider art," tourist art, and art education. المجلد 2 يتضمن تسعة المقالات التى تغطى بحجر والنحت ، بعثة فنية ، والطلاء ، "الفن من الخارج ،" السياحيه الفن ، والفن والتعليم. This panoramic view of the contemporary art scene in Zimbabwe is intended not as a "who's who," but as a "what's what." هذه رؤية شاملة للفن المعاصر في الساحة ليس المقصود زيمبابوى بانها "منظمة الصحة العالمية ومنظمة الصحة العالمية ،" وانما باعتبارها "ما ما". Originally it was planned to include only stone sculpture, but the organizers were persuaded that that would do a disservice to artists of Zimbabwe as well as to visitors to the exhibition. اصلا كان مقررا ان تشمل فقط نحت الحجر ، ولكن المنظمون اقناعهم ان ذلك من شأنه ان يسيء الى القيام الفنانين من زيمبابوي وكذلك لزوار المعرض. Two essays on the stone sculpture lead off, followed by a "scientific interlude" by geologist Georges Stoops. اثنين المقالات النحت على الحجر من ان يؤدي ، تليها "العلميه الفاصل" جيولوجى جورج الانحناءات. His analysis of the rocks used by Zimbabwe's stone sculptors shows that the names of stone referred to in the literature do not correspond to reality. تحليله للصخور التي تستخدمها زيمبابوي حجر النحاتون ان يبين اسماء الحجر المشار اليها في الأدب لا يتفق مع الواقع. The most commonly used stones, chlorite, sericite, serpentinite and steatite, are all relatively soft and easy to carve with simple tools but are sufficiently tough to guarantee firmness. الاكثر شيوعا الحجارة ، chlorite ، sericite ، سربنتينيت وsteatite ، كلها ميسرة وسهلة نسبيا لنحت مع أدوات بسيطة ولكن قاسيه بما يكفي لضمان ثبات. The early mission-based art schools, Cyrene and Serima, provide the substance of an important historical chapter in the history of modern art in Zimbabwe. اوائل البعثة القائم على مدارس الفن ، cyrene وserima ، تقديم مضمون الفصل تاريخيا هاما في تاريخ الفن الحديث في زيمبابوي. The well-illustrated catalog portion (volume 2, pp. 141-184) mirrors the sequence of essays showing examples of all types of art. خير دليل يوضح الجزء (المجلد 2 ، الصفحات 141-184) المرايا تسلسل المقالات عرض امثلة من جميع انواع الفن. Not every work in the exhibition is illustrated, however. ليس كل عمل في معرض يتضح ، ولكن. Contents: Paul Wade, Contemporary art in Zimbabwe; – Jonathan Zilberg, The Western reception of a modern African art: the case of Zimbabwean stone sculpture; – Geert Gabriël Bourgois, Twentieth-century stone sculpture in Zimbabwe; – Georges Stoops, Petrography of the rocks used for Zimbabwean sculpture; – Elizabeth Randles, Mission art in Zimbabwe; – Timothy O. McLoughlin, Zimbabwean landscapes and cityscape: some examples from Zimbabwean painters and writers in English; – Pip Curling, Outsider art: subject and style; -- Geert Gabriël Bourgois, Tourist art: a blessing in disguise?,; – Neo Matome and Stephen Williams, Bridging cultural boundaries: a school of art and design for the Southern African Development Community (SADC) region. المحتويات : بول واد ، للفن المعاصر في زمبابوي ؛ -- جوناثان zilberg ، الغربي استقبال حديثة الفن الافريقي : حالة زمبابوي نحت الحجر ؛ -- Geert gabriël بورجوا ، في القرن العشرين النحت الحجرى فى زمبابوي ؛ -- جورج الانحناءات ، petrography لل الصخور المستخدمة لزيمبابوي النحت ؛ -- اليزابيت randles ، بعثة فنية في زمبابوي ؛ -- تيموثي سين mcloughlin ، زيمبابوي والمناظر الطبيعيه منظر المدينة : بعض الامثله من زيمبابوي الرسامين والكتاب باللغه الانكليزيه ؛ -- الضفر برنامج تطبيق السلام ، من الخارج الفن : الموضوع والأسلوب ؛ -- Geert Gabriël بورجوا ، السياحيه الفن : نعمة في ثوب؟ ، ؛ -- النيو matome وستيفن وليامز ، في سد الحدود الثقافيه : مدرسة الفن والتصميم من اجل الجماعة الانماءيه للجنوب الافريقى (سادك) فى المنطقة. Reviewed by Gary van Wyk in African arts (Los Angeles) 32 (1): 17, 88-89, spring 1999. استعرض غاري فان wyk في الفنون الافريقيه (لوس انجلوس) 32 (1) : 17 ، 88-89 ، ربيع 1999.
Leyten, Harrie M. Tengenenge: een beeldhouwersgemeenschap in Zimbabwe / Harry Leyten. Leyten ، harrie م tengenenge : een beeldhouwersgemeenschap فى زيمبابوى / هارى leyten. Baarn, Netherlands: Kasteel Groeneveld, c1994. Baarn ، هولندا : kasteel groeneveld ، c1994. 120pp. 120pp. illus. Illus. (pt. color), bibl. (Pt. لون) ، bibl. refs (page 119). Refs (الصفحه 119). NB1209.Z55L49 1994 AFA. Nb1209.z55l49 1994 afa. OCLC 37343584. Oclc 37343584. This catalogue was published to accompany the exhibition "Tengenenge Old-Tengenenge New" at Kasteel Groeneveld, Baarn and in the Africa Museum, Berg en Dal, Netherlands, May 19-September 26, 1994. وقد نشر هذا الدليل لمرافقة المعرض "tengenenge القديمة - الجديدة tengenenge" في kasteel groeneveld ، Baarn ومتحف في افريقيا ، ان شركة دال بيرغ ، هولندا ، في 19 ايار / مايو - 26 أيلول / سبتمبر ، 1994. The "old and new" refer to three generations of stone sculptors who have worked at Tengenenge Sculpture Community in northern Zimbabwe from its establishment in 1966 to the present. "القديمة والجديدة" تشير الى ثلاثة اجيال من الحجر النحاتون الذين عملوا في tengenenge النحت المجتمع في شمال زيمبابوي منذ انشائها في 1966 وحتى الوقت الحاضر. Tom Blomefield, former tobacco farmer with an artistic bent, recounts how Tengenenge came into being following the Universal Declaration of Independence in Rhodesia in 1965 and the collapse of the tobacco business. توم blomefield السابق مزارع التبغ مع بنت فني ، ويسرد كيف tengenenge خرجت الى حيز الوجود في اعقاب الاعلان العالمي لاستقلال روديسيا فى عام 1965 وانهيار تجارة التبغ. The farm laborers became sculptors to eke out a livelihood. عمال المزرعه اصبح النحاتون الى دبر بها الرزق. Chrispen Chakanyuka and Lemon Moses were the first. Chrispen chakanyuka والليمون موسى كانت الاولى. The war of the 1970s shut down Tengenenge but by 1980 it revived. حرب السبعينات اغلقت tengenenge ولكن بحلول عام 1980 ومن احيائها. Harrie Leyton writes a thoughtful well informed essay on the history and growth of Tengenenge Sculpture Community through these three phases: 1966-1978, 1981-1987, and 1988 to the present. Harrie يتون يكتب مدروس جيدا وابلغ مقاله عن تاريخ ونمو tengenenge النحت المجتمع من خلال هذه المراحل الثلاث : 1966-1978 ، 1981-1987 ، 1988 والى الوقت الحاضر. It is not generally realized that Tengenenge artists have come from Malawi, Angola and Mozambique as well as from Zimbabwe. والامر لا يتعلق عموما ادركت ان tengenenge فنانين اتوا من ملاوي وموزامبيق وانغولا وكذلك من زيمبابوي. The now legendary feud between Tom Blomefield and Frank McEwen set Tengenenge on an independent course to make its own name apart from the art establishment in Harare, which was dominated by McEwen. الآن الاسطوريه عداء بين توم blomefield وفرانك mcewen مجموعة tengenenge على مستقلة بطبيعة الحال الى جعل باسمه وبصرف النظر عن وضع الفن في هراري ، الذي كان يهيمن عليه mcewen. With commercial success came the questions of authenticity, repetition, innovation, and quality. مع النجاح التجاري جاءت الاسءله من أصالة ، والتكرار ، والابتكار ، والجوده. Zimbabwe stone sculpture has both succeeded and failed on these points, and Tengenenge Sculpture Community is no exception. زيمبابوي نحت الحجر وقد نجحت وفشلت كل هذه النقاط ، وtengenenge النحت المجتمع ليست استثناء. The sculptures in the present exhibition are lent by the Chupungu Sculpture Park in Msasa, Harare. النحت في هذا المعرض هي اعار به chupungu النحت بارك في msasa ، هراري. Photographs and biodate are included for the sculptors. صور وbiodate مدرجة لالنحاتون. -------------------------------------------------------------------------------- ---------------------------- ------------------------------ McEwen, Frank. Mcewen ، فرانك. "Return to origins: new directions for African art," African arts (Los Angeles) 1 (2): 18-25, 88, winter 1968. "العودة الى الاصول : الاتجاهات الجديدة للالفن الافريقي ،" الفنون الافريقيه (لوس انجليس) (1) (2) : 18-25 ، 88 ، شتاء 1968. illus. Illus. To McEwen the artists associated with his Workshop School in Harare (then Salisbruy) are the only truly authentic modern artists in Africa. لmcewen الفنانين المرتبطه صاحب الورشه المدرسة في هراري (ثم salisbruy) هم وحدهم حقا حجيه الحديث الفنانين في افريقيا. Unlike the sappy, uninspired, homogenzied work coming out of the third-rate art schools in Africa, the Zimbabwe art arises "from the bowels of Africa." وخلافا عصيري ، غير مستلهم ، homogenzied العمل الخروج من الثالثة - معدل مدارس الفن في افريقيا ، وزمبابوي الفن يثور "من الامعاء من افريقيا." Nurtured and protected, "a dormant genius has revived." الرعايه والحمايه ، "ناءمه عبقريه وقد احيت". McEwen is unabashed in his defense of the role of the National Gallery in promoting, housing, and sponsoring artists of talent. Mcewen هو بلا حرج في دفاعه من دور من المتحف الوطني في تعزيز والاسكان ، ورعايه المواهب من الفنانين. What is interesting in this early manifestation of Zimbabwean talent is the number of painters -- works by Thomas Mukarobgwe, Charles Fernando, and Joseph Ndandarika are illustrated here. ومما يثير الاهتمام في هذه المرحلة المبكره من مظاهر زيمبابوي المواهب عدد من الرسامين -- يعمل بها توماس mukarobgwe ، تشارلز فرناندو ، وجوزيف ndandarika موضحه هنا. That part of the Zimbabwe art movement seems to have died out in favor of the stone carving. ان جزءا من حركة الفن زيمبابوي يبدو لقوا مصرعهم في مصلحة من نحت الحجر. The sculptors Bernard Manyandure, Boira Mteki, Barakinya, Lemon Moses, Joram Mariga, and Kumberai Mapanda are also illustrated in this article. فان النحاتون برنارد manyandure ، boira mteki ، barakinya الليمون موسى ، joram mariga ، وkumberai mapanda موضحه ايضا في هذا المقال.
Mawdsley, Joceline. Zimbabwe stone sculpture: the second generation : Dominic Benhura, Arthur Fata, Jonathan Gutsa, Tapfuma Gutsa, Kakoma Kweli, Wonder Luke, Colleen Madamombe, Fabian Madamombe, Eddie Masaya, Anderson Mukomberanwa, Alice Musarara, Joseph Muzondo, Agnes Nyanhongo, Gedion Nyanhongo, Brighton Sango, Norbert Shamuyarira, Staycot Tahwa / [designed and written by Joceline Mawdsley]. Zimbabwe stone sculpture: the second generation : Dominic Benhura, Arthur Fata, Jonathan Gutsa, Tapfuma Gutsa, Kakoma Kweli, Wonder Luke, Colleen Madamombe, Fabian Madamombe, Eddie Masaya, Anderson Mukomberanwa, Alice Musarara, Joseph Muzondo, Agnes Nyanhongo, Gedion Nyanhongo, Brighton Sango, Norbert Shamuyarira, Staycot Tahwa / [designed and written by Joceline Mawdsley]. Harare, Zimbabwe: Chapungu Sculpture Park, 1994. [48]pp. illus. (pt. color), bibliog. (page 48). Notes: "A touring exhibition, launch venue, 1994, Atkinson Gallery, CRMA Fine Arts Centre, Millfield School Street, Somerset, England." Includes artists' biographies. NB1209.Z55M46 1994 AFA. OCLC 34126628. Thirty-five years after the beginning of the Zimbabwe stone sculpture movement, one can speak of the emergence of a second generation of sculptors. Most emerged as artists from the late 1970s. With the coming of independence in 1980 and with the support and encouragement of the first generation of sculptors, these newer (mainly younger) sculptors have flourished. The second generation, according the Mawdsley, are pushing the boundaries of Zimbabwe stone sculpture in innovative and important ways, such as combining stone with wood and other materials. The forms, too, are changing, and there is a move away from the overall highly polished stone surfaces.
Mor, Ferdinand. Shona sculpture / photographs by David Hartung; preface by Robert Mugabe; translated from the Italian by Belinda McKay. Harare: Jongwe, 1987. 160pp. illus. (color), map, bibliog. NB1096.6.R5M82 1987 AFA. OCLC 18537957. Mor, a former Italian ambassador to Zimbabwe, has encapsulated the Shona sculptural tradition for nonspecialists in what he calls "a text and an invitation." An informed layperson, he wrote this non-scholarly but thoughtful and sincere essay, obviously, as a labor of love. Although Mor uses the designation "Shona" sculpture, now generally discarded as misleadingly narrow, the list of artists (pp. 152-158) mentions several who are of Yao, Chewa and other non-Shona origins. Mor's focus, however, is the "Harare school," and he interviewed a number of Harare-based artists. He discusses origins and developments -- Frank McEwen, Vukutu and Tengenenge communities -- characteristics and tendencies, even the stone itself as a medium of sculpture. Singling out John Takawira, Henry Munyaradzi and Nicholas Mukomberanwa as the three luminaries of the tradition, he also briefly discusses several others. One hundred sculptures are illustrated in color. Extensive bibliography, including newspaper articles, and list of exhibitions of Zimbabwe stone sculpture are appended.
Noy, Ilse. The art of the Weya women. Harare: Baobab Books, 1992. 184pp. illus. (pt. color). [distributed: African Book Collective, Oxford]. N7396.6.R5N94 1992 AFA. OCLC 29293467. This attractively produced book, with many color photographs, is a collaboration between rural Zimbabwean women and a German artist and art teacher, Ilse Noy. Noy originally taught Zimbabwean women in the Weya Communal Area sewing and painting, to help them supplement their subsistence farming earnings. Through their art, the women revealed aspects of their lives and traditions. They talk about their work in the captions with the color photographs of the best of their artwork. In the accompanying text, the women talk about their worlds of marriage and children, sexuality and death, spirits and ancestors, hopes and worries. The book is at once a book about the art of the women, and a glimpse into the fabric of the artists' lives. Reviewed by Janet L. Stanley in African book publishing record (Oxford) 20 (3): 181, 1994; by Victoria Scott in African studies review (Atlanta) 38 (1): 168-169, April 1995.
Pearce, Carole. "The myth of `Shona sculpture,'" Zambezia; the journal of the University of Zambia (Harare) 20 (2): 85-107, 1993. table, notes, bibl. refs. Abstract, page 85. H1.Z35X AFA. Zimbabwe stone sculpture was so delimited and channeled by Frank McEwen and subsequently by other promoters that it was inevitable that the sculpture has become homogenized, commercial and formulaic. Its "authenticity" is the modernist vision imposed by McEwen, whose insistence on shielding the artists -- rural, largely uneducated men -- from pernicious outside influences has in fact stunted their growth as artists. "Shona sculpture" has remained remarkably consistent over the years in theme and content -- conservative, rural, idealized, detached from realities of life in Zimbabwe. Working the stone is conceptually easier than formulating an idea in a two-dimensional painting. McEwen preferred stone as the medium best able to express this "authentic" African creativity. The market demands and taste for Zimbabwe stone sculpture have perpetuated these formulaic and conventional artistic solutions.
Ponter, Anthony and Laura Ponter. Spirits in stone: the new face of African art. Sebastopol, CA: Ukama Press, 1992. 202pp. illus. (color), bibliog. NB1096.6.R5P814 1992 AFA. OCLC 26610101. Lavishly produced, Spirits in stone is a cross between a glossy coffee-table book, a slick sales catalog from an upscale department store, and a save-the-planet environment magazine. Art history this is not. One should place this book at the opposite pole from serious art history. Generic sculptures -- the owl symbolizes this, the lion symbolizes that -- are offered up for potential buyers, and a remote, exotic setting is evoked to complete the picture, with requisite wild animals and rainbow over Victoria Falls. Reader beware. Enjoy the pictures, which are suitably impressive and all in color, but skip the text, which is patronizing and preoccupied with making the reader feel good about Zimbabwe and Zimbabwe stone sculpture rather than understanding what it is all about.
Spirit in stone: Zimbabwe Shona sculpture: the Cleveland Museum of Natural History, June 1-August 4, 1991 . [Cleveland: Cleveland Museum of Natural History, 1991]. 24pp. illus., bibl. refs. qNB1096.6.R5S75 1991 AFA. OCLC 24169497. For this American exhibition, Roy Cook selected nine Zimbabwe sculptors whose work represents for him the most outstanding and most seasoned of that country's stone sculpture. In so doing, he hoped to spark the interest of the American public (and other museums) in this art form. That these sculptures were shown in a natural history museum instead of an art museum raised a few eyebrows. The larger dilemma for Cook and others, who appreciate Zimbabwe stone sculpture as a truly fine art, is its rapid commercialization and consequent dilution by inferior imitations. Art critics here and in Zimbabwe have failed so far to draw the line: most viewers genuinely cannot see the difference between the good, the bad and the mediocre. Perhaps we should rely on Cook's judgment. His nine are: Edronce Rukodzi, Henry Munyaradzi, Joseph Ndandarika, John Takawira, Moses Masaya, Nicholas Mukomberanwa, Sylvester Mubayi, Norbert Shamuyarira, and Richard Mteki. Frank McEwen, the instigator of this artistic phenomenon, contributes an essay to this catalog entitled "Rebirth of an art." Exhibition reviewed by Evelyn Castillo, "Spirit in stone: Shona sculpture," Real deal (Cleveland, OH) 1 (2): 5-7, June 21, 1991.
Stanislaus, Grace. "Frozen spirit: Zimbabwean stone sculpture," Sculpture (Washington, DC) 11 (1): 44-47, January-February 1992. illus., bibl. refs. VF -- Artists -- Zimbabwe. Zimbabwe stone sculpture has been praised as "authentic tribal art," marketed as "spirits in stone," decried as "airport art." That it has been threatened by commercialism almost from the very beginning in the late 1950s is not in dispute. In fact, those who cry loudest are the art dealers. Stanislaus singles out three sculptors, whom she feels rise above the angry debates and whose work speaks eloquently for itself. The three are Nicholas Mukomberanwa and Henry Munyaradzi of the first generation of Zimbabwe's sculptors, and Tapfuma Gutsa, a younger, more experimental sculptor.
Sultan, Olivier. Life in stone: Zimbabwean sculpture; birth of a contemporary art form. Harare: Baobab Books, 1992. x, 86pp. illus. NB1096.6.R5S95 1992 AFA. OCLC 27981056. Sultan has organized exhibitions of Zimbabwe stone sculpture in Harare and in Paris; he sees his role without apology as art promoter and is quite keen to bring this work to European audiences. This book serves his goal. His audience is one of non-specialists, who want a reliable, accurate introduction to the subject and are willing to spend more than a few minutes leafing through photographs (although his book is comprised mainly of photographs). The photographs are all black and white. Sultan discusses the origins of the art movement and the seminal (some would say, domineering) role of Frank McEwen, director of the then National Gallery of Rhodesia, in its formation and international promotion. An alternative center developed at Tom Blomefield's tobacco farm, Tengenenge, and another center later emerged at Roy Guthrie's Chapungu. Sultan sees three phases in the evolution of this young movement: the early years under McEwen's tutelage (1957-1973), the war years after McEwen's departure (1973-1980), and the post-independence era. He devotes less attention to the recent period. He highlights the work of fifteen sculptors: John Takawira, Henry Munyaradzi, Nicholas Mukomberanwa, Bernard Takawira, Tapfuma Gutsa, Lazarus Takawira, Joseph Ndandarika, Bernard Matemera, Fanizani Akuda, Brighton Sango, Joram Mariga, Norbert Shamuyarira, Sylvester Mubayi, Richard Jack, and Eddie Masaya. He highlights the work of fifteen sculptors: John Takawira, Henry Munyaradzi, Nicholas Mukomberanwa, Bernard Takawira, Tapfuma Gutsa, Lazarus Takawira, Joseph Ndandarika, Bernard Matemera, Fanizani Akuda, Brighton Sango, Joram Mariga, Norbert Shamuyarira, Sylvester Mubayi, Richard Jack, and Eddie Masaya. Reviewed by Janet L. Stanley in African book publishing record (Oxford) 19 (4): 229, 1993; by Johnston AK Njoku in Africa today (Denver) 41 (2): 98-99, 1994; by Stephen Williams in Africa today (Denver) 41 (2): 100-101, 1994; by Carlo Magee-Curtis in African arts (Los Angeles) 27 (3): 24, July 1994. Reviewed by Janet L. Stanley in African book publishing record (Oxford) 19 (4): 229, 1993; by Johnston AK Njoku in Africa today (Denver) 41 (2): 98-99, 1994; by Stephen Williams in Africa today (Denver) 41 (2): 100-101, 1994; by Carlo Magee-Curtis in African arts (Los Angeles) 27 (3): 24, July 1994.
Talking stones / a Granada Television Production for ITV; narrated by John Bowe; produced and directed by Tony Bulley. 60 minutes. Videocassette. VHS. sd., color, ½in. Title on cover: Zimbabwe: talking stones. Distributed by Films for the Humanities & Social Sciences, PO Box 2053, Princeton, NJ 08543-2053. video 000228 AFA. OCLC 28287035. A look at the Shona stone sculpture movement and how it has evolved. Frank McEwen, founding director of the Workshop School at the Rhodes National Gallery, is clearly the protagonist in this story -- present at the creation and instrumental in its development. Interviewed at the end of his life, McEwen can look back with some of the same uncompromising spirit that made him a controversial figure throughout his life and career in Rhodesia. Talking stones also includes segments with Roy Guthrie, of Chapunga Sculpture Park, Tom Blomefield, rogue tobacco farmer-turned-sculptor and founded of Tengenenge Sculpture Community, and several of the artists, who speak about their work and inspirations. Among those interviewed are Tapfuma Gutsa, Joram Mariga, Lemon Moses, Sylvester Mubayi, Nicholas Mukomberanwa, Bernard Takawira, and Lazarus Takawira. The issue of commercialization of the stone sculpture is also addressed and how it affects both established artists and the copyists seeking to earn an honest dollar.
Winter-Irving, Celia. Stone sculpture in Zimbabwe: context, content and form. Harare: Roblaw Publishers, 1991. xviii, 210pp. illus., bibliog. NB1096.6.R5W78 1991 AFA. OCLC 26124120. Zimbabwe's stone sculptors have found an able and enthusiastic publicist in Celia Winter-Irving, a transplanted Australian sculptor and former gallery director, who has taken up the cause of this "home-grown movement" with an intensity and vigor that makes us sit up and take notice. Zimbabwe's stone sculptors have found an able and enthusiastic publicist in Celia Winter-Irving, a transplanted Australian sculptor and former gallery director, who has taken up the cause of this "home-grown movement" with an intensity and vigor that makes us sit up and take notice. Her sincere enthusiasm comes through clearly in these pages as she addresses the origins of the sculpture, its formal qualities and relationship to other sculptural traditions in Africa and elsewhere, the cultural origins of the sculpture's subject matter (rejecting the appellation "Shona sculpture"), the seminal role of Frank McEwen and the National Gallery of Zimbabwe, and the contributions of the Tengenenge Sculpture Community. Her sincere enthusiasm comes through clearly in these pages as she addresses the origins of the sculpture, its formal qualities and relationship to other sculptural traditions in Africa and elsewhere, the cultural origins of the sculpture's subject matter (rejecting the appellation "Shona sculpture"), the seminal role of Frank McEwen and the National Gallery of Zimbabwe, and the contributions of the Tengenenge Sculpture Community. One long chapter is turned over to the artists to voice their own perceptions of their art. Based on interviews, twenty-three sculptors are profiled, presumably selected as representing some of the best and brightest (though not all are household names). Included are: Sanwell Chirume, Barankinya Gosta, Tapfuma Gutsa, Makina Kameya, Wazi Maicolo, Amali Mailolo, Damien Manuhwa, Josia Manzi, Joram Mariga, Moses Masaya, Bernard Matemera, Richard Mteki, Thomas Mukarombwa, Nicholas Mukomberanwa, Joseph Muli, Henry Munyaradzi, Joseph Ndandarika, Locardia Ndandarika, Agnes Nyanhongo, Brighton Sango, Bernard Takawira, John Takawira, and Lazarus Takawira. Included are: Sanwell Chirume, Barankinya Gosta, Tapfuma Gutsa, Makina Kameya, Wazi Maicolo, Amali Mailolo, Damien Manuhwa, Josia Manzi, Joram Mariga, Moses Masaya, Bernard Matemera, Richard Mteki, Thomas Mukarombwa, Nicholas Mukomberanwa, Joseph Muli, Henry Munyaradzi , Joseph Ndandarika, Locardia Ndandarika, Agnes Nyanhongo, Brighton Sango, Bernard Takawira, John Takawira, and Lazarus Takawira. By way of deep background, Winter-Irving offers some views on Zimbabwe's cultural and artistic past -- Great Zimbabwe and San rock art. Moving forward in time, she considers next the colonial impact on the visual arts in Zimbabwe, then contemporary arts other than stone sculpture. Finally, she tackles the thorny question of quality and its opposite pole: over-commercialization of the art. Private, foreign and corporate patronage and government sponsorship are all key elements in this discussion. All in all, Stone sculpture in Zimbabwe is probably the most useful book to begin a study of the subject.
Winter-Irving, Celia. Contemporary stone sculpture in Zimbabwe: context, content and form. Tortola, BVI: Craftsman House, 1993. 203pp. illus. (pt. color), bibliog. NB1096.6.R5W78c 1993 AFA. OCLC 28397803. A more lavish, larger format and better illustrated edition of Stone sculpture in Zimbabwe was published in 1993 by Craftsman House under the slightly modified title. The text is the same. Reviewed: "The speaking stones of Zimbabwe," Caribbean times/African times (London) June 29, 1993, page 16.
Zilberg, Jonathan Leslie. Zimbabwean stone sculpture: the invention of a Shona tradition / by Jonathan Leslie Zilberg. PhD dissertation, University of Illinois at UrbanaChampaign, 1996. xiv, 332 leaves : illus., map, bibliog. (leaves 300323). NB1209.Z55Z5 1996a AFA. OCLC 37149185. This thesis details how Zimbabwean stone sculpture has been creatively conceived in terms of a "tribal" renaissance by the first director of the National Gallery in Harare, Zimbabwe, Frank McEwen. Despite the complexity belying the movement's history, McEwen initiated the Shona sculpture discourse through drawing upon theories about artistic revivals developed by French art historian Henri Focillon as well as the pedagogical techniques of the nineteenth century symbolist painter Gustave Moreau. In doing so, McEwen presented the works created during his tenure (1957-1973) as the re-emergence of an ancient Shona tradition. He heralded Shona sculpture as a cultural revival that would stimulate a return to the spiritual in modern European art which he construed as hopelessly trivialized. Through a critical analysis of his writings, the dissertation reveals the complexity subsumed in the construction of a tradition rooted in essentialist conceptualizations of ethnicity and history and heavily inflected by early modernist and symbolist ideas of art as sacred. In contrast to the McEwen's widely accepted conceptualization that there have been no foreign influences on this tradition, the dissertation demonstrates African influences other than Shona. In addition to revealing these influences and the links to early modern European art through McEwen's inspirational role, the dissertation describes how the tradition is linked to the British Arts and Crafts Movement through the life-works of Canon Edward Paterson, an Anglican missionary who trained the first modern Zimbabwean stone sculptors. In addition to revealing these influences and the links to early modern European art through McEwen's inspirational role, the dissertation describes how the tradition is linked to the British Arts and Crafts Movement through the life-works of Canon Edward Paterson, an Anglican missionary who trained the first modern Zimbabwean stone sculptors. The dissertation situates Shona sculpture in a specific relation to the study of tourist art as Frank McEwen defined it to be the unique historical antithesis of tourist art--or, as he termed it "airport" art. Hence this study details an ongoing debate over the need to differentiate "real" from "fake" Shona sculpture. Beyond problemizing the issue of authenticity, the thesis concludes that while many artists do perceive their works to be expressive of Shona culture, others struggle to transcend the ethnic label so as to be accepted in the modern art world as contemporary international artists in their own right. Beyond problemizing the issue of authenticity, the thesis concludes that while many artists do perceive their works to be expressive of Shona culture, others struggle to transcend the ethnic label so as to be accepted in the modern art world as contemporary international artists in their own right . -- original abstract.
Zimbabwe Heritage (1986: National Gallery of Zimbabwe). Zimbabwe heritage: contemporary visual arts: [commemorative catalogue for the 8th summit of Non-Aligned States, Zimbabwe: National Gallery of Zimbabwe annual exhibition -- Nedlaw contemporary sculpture, Baringa contemporary painting, graphics, ceramics, textiles, and photography, 25 August-28 September 1986]. Zimbabwe heritage: contemporary visual arts: [commemorative catalogue for the 8th summit of Non-Aligned States, Zimbabwe: National Gallery of Zimbabwe annual exhibition -- Nedlaw contemporary sculpture, Baringa contemporary painting, graphics, ceramics, textiles, and photography, 25 August- 28 September 1986]. Harare: [National Gallery of Zimbabwe], 1986. 80pp. illus. (color), bibliog. qN5290.Z55Z71 1986 AFA. OCLC 15095188. This is the first in a new annual exhibition of contemporary Zimbabwean art juried by an international panel; it combines the annual Nedlaw sculpture exhibition, begun in 1981, and the Baringa exhibition which recognizes painting, graphics, ceramics, textiles and photography. The overall grand prize winner for 1986 was sculptor Bernard Matermera. Gillian Wylie, curator at the National Gallery of Zimbabwe, introduces the exhibition. Includes color illustrated section and short biographies of the artists.
Zimbabwe Heritage (1987: National Gallery of Zimbabwe). Zimbabwe heritage 1987. Harare: National Gallery of Zimbabwe, 1987. 48pp. illus. (color). qN5290.Z55Z71 1987 AFA. OCLC 17515993. The second comprehensive competition of Zimbabwean art followed the lines of the original 1986 one with two exhibitions in one: the Nedlaw exhibition for sculpture and the Baringa exhibition for painting, graphics, ceramics and textiles. Tapfuma Gutsa won the Nedlaw with his smoldering grass engulfing a wood bird, which turned into a performance piece. Berry Bickle won the Baringa competition for his mixed media work. Elimo Njau, one of the panel of jurors, makes some overall comments on the strengths and weaknesses of "Zimbabwe Heritage" 1987.
Zimbabwe Heritage (1988: National Gallery of Zimbabwe). Zimbabwe Heritage 1988: annual Baringa-Nedlaw exhibition. Harare: National Gallery of Zimbabwe, 1988. 48pp. color illus., ports. qN5290.Z55Z71 1988 AFA. OCLC 19882457. The third annual juried art competition, "Zimbabwe Heritage" awarded prizes in painting/graphics, textiles, ceramics, photography and sculpture. Overall winner was Bernard Takawira. Nedlaw award for best sculptural work went to July Nyengera. The Baringa prize for best painting, graphics, ceramics, textiles or photography went to painter Bert Hermsteed. The competition, organized by the National Gallery of Zimbabwe, fields a growing number of artists each year. Awards of merit and highly commended works are illustrated in color. Very brief biographies of the artists are included.
Zimbabwe Heritage (1989: National Gallery of Zimbabwe). Zimbabwe Heritage 1989: Baringa/Nedlaw annual exhibition of contemporary visual arts: National Gallery of Zimbabwe; [exhibition held October 1989]. Harare: National Gallery of Zimbabwe, 1989. 60pp. illus. (pt. color), ports. qN5290.Z55Z71 1989 AFA. OCLC 21400145. The fourth annual juried art competition, "Zimbabwe Heritage," awarded prizes in painting/graphics, textiles, ceramics, photography and sculpture. Sculptor Nicholas Mukomberanwa received the top award. The Nedlaw awards for outstanding sculpture went to three sculptors: Nicholas Mukomberanwa (again), Bernard Takawira (last year's grand prize winner), and metal sculptor Paul Machowani. The Baringa award went to an outsider, Fidgie Ngombe, a painter of promise, who has come up the hard way. Organized by the National Gallery of Zimbabwe, the competition fields a growing number of artists each year; in 1989 alone, there were 548 works submitted with sculpture being the largest category. Awards of merit and highly commended works are illustrated in color. Very brief biographies of the artists are included. Some of the 1989 entries were to be re-exhibited in Auckland, New Zealand, at the Commonwealth Games, January 1990.
Zimbabwe Heritage (1990: National Gallery of Zimbabwe). Zimbabwe Heritage 1990: Mobile Oil Zimbabwe annual exhibition of contemporary visual arts: National Gallery of Art Zimbabwe; [exhibition, October 1990]. [Harare]: National Gallery of Zimbabwe, 1990. 60pp. illus. (pt. color), ports. N5290.Z55Z71 1990 AFA. OCLC 26118015. This was the fifth "Zimbabwe Heritage" exhibition, now a well established annual event in Harare. The international panel of judges selected more than four hundred works from among those submitted. Although the category of stone sculpture still predominates, other areas, such as painting and textiles, show increased vitality and creativity. In addition to awards by medium, the judges also honored young artists of promise and women artists (trained and self-taught). The top award in 1990 went to painter Helen Lieros. The works of winners are reproduced in color in this catalog, and short biographies of all the artists are given. Exhibition reviewed by Celia Winter-Irving, "Zimbabwe Heritage 1990 annual exhibition of contemporary visual arts," Artist (Harare) 1 (9): 4-5, November/December 1990.
Zimbabwe Heritage (1991: National Gallery of Zimbabwe). Zimbabwe Heritage 91: commemorative catalogue. [Harare]: National Gallery of Zimbabwe, 1991. 64pp. illus. (pt. color). N5290.Z55Z71z 1991 AFA. OCLC 25769391. The sixth "Zimbabwe Heritage" exhibition introduced a new feature: invited artists. In addition to the open competition, five recognized and established artists were invited to show works. They included painters Berry Bickle and Helen Lieros and sculptors Bernard Matemera, Bernard Takawira and Agnes Nyanhongo. Grand prize winner in 1991 was Nicholas Mukomberanwa. Further awards were made in each of the media categories and others were given for outstanding women artists and young artists. Artists' biographies are included.
Zimbabwe Heritage (1992: National Gallery of Zimbabwe). Zimbabwe Heritage 1992: annual exhibition of contemporary visual arts sponsored by Mobil: National Gallery of Zimbabwe; [exhibition, National Gallery of Zimbabwe, Harare, October 1991-October 1992]. [Harare]: National Gallery of Zimbabwe, 1992. 56pp. illus. (pt. color). N5290.Z55Z71 1992 AFA. OCLC 27916976. "Zimbabwe Heritage" for 1992 continued the feature introduced in 1991 of inviting artists of distinction to exhibit alongside the competitors. This year's invitees each represented different media: Babette Fitzgerald ("textilist"), Never Kayowa (painter), Nicholas Mukomberanwa (sculptor), Linos Mushambi (graphics), and Estelle Zimi (ceramicist). The grand prize winner was Bernard Takawira and the top two director's awards went to Rashid Jogee and Steven Williams. The works of these and other award winners in the media categories are illustrated.
Zimbabwe Heritage (1993: National Gallery of Zimbabwe). Zimbabwe Heritage 1993: annual exhibition of contemporary visual arts sponsored by Mobil: National Gallery of Zimbabwe; [exhibition, National Gallery of Zimbabwe, Harare, November 1993-1994]. [Harare]: National Gallery of Zimbabwe, 1993. 47pp. illus. (pt. color). qN5290.Z55Z71 1993 AFA. OCLC 31926253. The eighth "Zimbabwe Heritage" exhibition with its ever more complex array of "invited," "selected," "award-winning," and "highly commended" artists remains a good barometer of the national art scene. In the 1993 exhibition, there were 307 entries, representing a cross section of established and emerging artists. Stone sculpture continues to dominate the field, but the painting, graphics, and metal sculpture sections show more innovation. Among those singled out for awards of distinction were Luis Meque (painting), Kier Turner (graphics), Gladman Zinyeka (stone sculpture) and Martin Mushonga (metal sculpture). The president's award of honor in 1993 went to invited artist Nicholas Mukumberanwa.
Zimbabwe Heritage (1994: National Gallery of Zimbabwe). Zimbabwe Heritage 1994: annual exhibition of contemporary visual arts sponsored by Mobil: National Gallery of Zimbabwe; [exhibition, National Gallery of Zimbabwe, Harare, October 1994-January 1995]. [Harare]: National Gallery of Zimbabwe, 1994. 47pp. illus. (pt. color). qN5290.Z55Z71 1994 AFA. OCLC 32767098. The ninth annual "Zimbabwe Heritage" exhibition was smaller than in previous years -- 258 entries -- but equally dynamic and diverse. The president's award of honor went to Bulawayo sculptor Adam Madebe, and the honored artist was the venerable Thomas Mukarombwa (aka Thomas Mu). Some new names emerged in the awards of distinction: Fasoni Sibanda (painting), Mary Davies (graphics), Sure Try Katinhimure (stone sculpture), and Tapiwa Vambe (metal sculpture).
Zimbabwe Heritage (1996 : National Gallery of Zimbabwe). Zimbabwe Heritage 96: annual exhibition of contemporary visual arts; [November 1995-November 1996] / National Gallery of Zimbabwe, [sponsored by Mobil, AAC]. [Harare]: National Gallery of Zimbabwe, 1996. 43pp. chiefly color illus., portraits. N5290.Z55Z71 1996 AFA. OCLC 38075001. The eleventh annual "Zimbabwe Heritage" exhibition seemed more selective than in previous years -- only 226 entries in paintings and graphics, textiles, ceramics, photography, and sculpture from just over one hundred artists. The president's award of honor went to the venerable Bernard Matemera; other awards of distinction and merit went to Ishmael Wilfred, Shepherd Mahufe, Joseph Muzonda, Godfrey Machinjiei, Martin Kafara, and Anderson Mukomberanwa. Their works and those of lesser award winners are illustrated in color. Biodata is included for all artists.
Zimbabwe, Skulpturen 1986-1988 ; [exhibition held at the Forum für Kulturaustausch in Stuttgart] / [text by Hermann Pollig and Monika Winkler]. Stuttgart: Institut fur Auslandsbeziehungen, [1988]. 86pp. illus. (pt. color), bibliog. NB1209.Z55Z56 1989X AFA. OCLC 21375011. The Zimbabwe stone sculpture movement continues to gather new practitioners, but is a young enough tradition that some of the original artists are still quite active. The recent work of established artists, such as Bernard Takawira, Henry Munyaradzi, and Bernard Matemera, are featured in this exhibition alongside that of a younger generation of artists; seventy works in all are illustrated. In the catalog essay, Harrie Leyten recounts the history and evolution of this stone carving tradition; its very commercial success carries the risk of attracting imitators and "airport artists." The two major centers of Zimbabwe stone sculpture -- the National Gallery of Zimbabwe in Harare (originally under Frank McEwen and now the BAT School) and Tengenenge Farm (Tom Blomefield) -- have evolved on parallel yet distinct lines. A clue to the future of this tradition is offered in the work of Stanford Dereres, whose choice of political themes and use of new combinations of materials, suggest a departure from the usual repertoire of animal, human and mythological forms. | ||||||||||
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