a. Photography in the African context as a European art in the service of colonialism (Landau and Kaspin 2002)b. The French colonialists used photography for census taking and controlling populationsc. As early as the 1840’s French adventurers, missionaries and ethnographers were “instrumental in affirming visual codes and stereotypes through which the West interpreted Africa and it’s peoples” (Lamuniere 2001)d. Contemporary photographers have grappled with this complex past rejecting the colonial fictions of ninetieth century photography and ethnographic and realist representations of the Continenti. Jijora: mimesis at midpoint p. 246ii. Work should exist between complete abstraction and individual likenessiii. Should resemble individual and display typical Yoruba characteristicsiv. Odo: prime of life, strength of pose and facial expression, maturity and wisdomv. Ifarahon: visibility, clarity and definition of form and line, clarity of identityvi. Isolation of subject against a neutral backgroundvii. Sculptural dimensions and symmetry of the figure, include of object symbolizing subject’s position in Yoruba societya. Mali at Independence (1960s): Seydou Keita and his assistant Malick Sidibei. Examples of appropriation of Western technology for local consumption and representationii. Images were produced by Africans for Africansiii. Artist or commercial photographers? Training, education?iv. Contemporary artist working in the medium of photography: Boubacar Toure Mandemorya. How were these images discovered and what accounts for their value in the global art market?b. Why are they in exhibitions of modernist art rather than ethnographic museums?c. What happens when they are taken out of their cultural contexts of viewing?i. When viewing is culturally inflected?d. Who is the author of these works?i. Why does Bigham have an interest in “authorship” and what does she mean by this term?e. Ownershipi. Art dealers extracted the works of these studio photographers from their social historical contexts and considered them as works of art in their own rightii. Who owns these photographs? The photographer, the subject or the art galleries?C103 1nd Edition Lecture 15Outline of Last Lecture I. ReflexivityII. EthicsIII. Data Analysisa. Reflexivity b. Photos Outline of Current LectureI. Colonialism & PhotographyII. Steven SpraugeIII. African PhotographyIV. AuthorshipCurrent Lecture I. Colonialism & Photographya. Photography in the African context as a European art in the service of colonialism(Landau and Kaspin 2002)b. The French colonialists used photography for census taking and controlling populationsc. As early as the 1840’s French adventurers, missionaries and ethnographers were “instrumental in affirming visual codes and stereotypes through which the West interpreted Africa and it’s peoples” (Lamuniere 2001)d. Contemporary photographers have grappled with this complex past rejecting the colonial fictions of ninetieth century photography and ethnographic and realist representations of the Continent II. Steven Spraugea. How have Yoruba appropriated photography and integrated it into localized practices?i. Used it in rituals, rural and urban settingsii. Substituting for traditional sculpture since 1930s to pass on an image for posterityb. How does Yoruba sculpture compare to formal portraiture?i. Head faces forward with respect to bodyThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.ii. When sculpture is viewed from front, both characteristically appear bilaterally symmetricaliii. Mounting photo of person on thin sheet of wood adding flat base to make it three dimensionalc. What should be included in Yoruban photography?i. Jijora: mimesis at midpoint p. 246ii. Work should exist between complete abstraction and individual likenessiii. Should resemble individual and display typical Yoruba characteristicsiv. Odo: prime of life, strength of pose and facial expression, maturity and wisdomv. Ifarahon: visibility, clarity and definition of form and line, clarity of identity vi. Isolation of subject against a neutral backgroundvii. Sculptural dimensions and symmetry of the figure, include of object symbolizing subject’s position in Yoruba societyIII. African Photographya. Mali at Independence (1960s): Seydou Keita and his assistant Malick Sidibei. Examples of appropriation of Western technology for local consumption and representationii. Images were produced by Africans for Africansiii. Artist or commercial photographers? Training, education? iv. Contemporary artist working in the medium of photography: Boubacar Toure Mandemory IV. Authorshipa. How were these images discovered and what accounts for their value in the global art market?b. Why are they in exhibitions of modernist art rather than ethnographic museums?c. What happens when they are taken out of their cultural contexts of viewing?i. When viewing is culturally inflected?d. Who is the author of these works?i. Why does Bigham have an interest in “authorship” and what does she mean by this term?e. Ownershipi. Art dealers extracted the works of these studio photographers from their social historical contexts and considered them as works of art in their ownright ii. Who owns these photographs? The photographer, the subject or the art