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https://hearstmuseum.berkeley.edu/wp-content/uploads/TeachingKit_YorubaArtAndCulture.pdf
YORUBA ART AND CULTURE 9 The Yoruba people live on the west coast of Africa in Nigeria and can also be found in the eastern Republic of Benin and Togo. Because the majority of the slaves brought to the Americas were from West Africa Yoruban descendants can also be found in Brazil, Cuba, the Caribbean, and the United States.
https://journals.ku.edu/jdtc/article/download/4369/4097
Art historians have done extensive work explaining Yorùbá systems of aesthetics, particularly with regard to the philosophy and practice of representation. Scholarship on Yorùbá aesthetics has produced a series of questions surrounding the relationship of audience to representation, the relationship of representation toCited by: 1
https://www.jstor.org/stable/3820233
voir of artistic criticism" (Thompson 19), while specifically, in the words of Farris Thompson, "Yoruba art critics are experts of strong mind and articulate voice who measure in words the quality of works of art" (20). However, while those obser-vations are tenable for Yoriuba art criticism, two complementary facts should also be noted.
https://rowlandabiodun.com/wp-content/uploads/2019/05/Review-10-Albert-Mosley.pdf
“absence of Yoruba art criticism or of a self-conscious Yoruba aesthetic is a myth” (22). Tradi-tional beliefs about the role of artifacts have been retained in Yoruba oral sources (15). Yet oral sources such as the oníṣègùn, iṣé-onàè, and Ifá divination are often ignored because foreign in-
https://www.mitpressjournals.org/doi/full/10.1162/AFAR_r_00293
Abiodun is not calling for the use of Yoruba language in writing art history, but for art history to base its analysis of Yoruba and African art on theories of cultural production sourced from African philosophy and languages. This distinction is critical.Author: Sylvester Okwunodu Ogbechie
https://corespirit.com/articles/yoruba-art-and-its-battle-methodologies
The focus of Blier’s book is on works she categorizes under Florescence and Post-Florescence eras. She ties the Florescence era to Obalufon II, an Ife king noted in Yoruba tradition as a major art patron and who Blier describes as the king and art patron that encouraged the marriage of old and new Ife, the period before and after the ‘emergence’ of Oduduwa.
https://africanpainters.blogspot.com/2006/11/art-artists-and-art-criticism.html
Nov 26, 2006 · The movement explores the decorative motifs, ornaments, patterns and design peculiar to the rich artistic culture of the Yoruba Filani 1998. One advantage of Ona approach to artistic expression according to Filani is the rich visual grammar it affords the artist to employ, resulting to melody of tones, forms and structure and also enriching the ...
https://static.lib.virginia.edu/artsandmedia/artmuseum/africanart/Bibliography.html
Yoruba: Nine Centuries of African Art and Thought. New York: The Center for African Art and Harry N. Abrams, Inc, 1989. Fagg, William, and John Pemberton III. Yoruba Sculpture of West Africa. New York: Alfred A. Knopf, 1982. Fischer, Eberhard, and Hans Himmmelheber. The Arts of the Dan in West Africa. Zurich: Museum Rietberg, 1984.
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