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VERSION:2.0
PRODID:-//NextToU//EN
CALSCALE:GREGORIAN
BEGIN:VEVENT
UID:0db3de6d-a14e-4f1e-aef7-dd390db885bc@nexttoyou
DTSTAMP:20261106T165140Z
DTSTART:20261112T200000Z
DTEND:20261112T210000Z
SUMMARY:DAAAS Fall Faculty Research Seminar(s)
LOCATION:Building 80 114\, 450 Jane Stanford Way\, Building 80\, Stanford\
 , CA 94305
DESCRIPTION:Please join DAAAS for the Fall Quarter Faculty Research Semina
 rs on first thursdays from 12-1.30pm.\n\nThe speaker line-up:\n\nOctober 
 8: Power\, Historiography\, Photography--Professor Joshua Cohen\, Associa
 te Professor of Art and Art History and\, by courtesy\, of African and Af
 rican American Studies.\n\nDescription: The place of photography in the h
 istoriography of African modernism raises significant questions for the d
 iscipline of art history and for African and postcolonial studies more br
 oadly. Independence-era portraits and nightlife scenes by the Malian phot
 ographers Seydou Keita and Malick Sidibé in Bamako\, and by the Angolan-b
 orn photographer Jean Depara in Léopoldville/Kinshasa\, among others\, ar
 e commonly accorded a documentary authority that anchors relationships be
 tween aesthetics and politics\, modern self-fashioning and decolonization
 . Yet to recall anthropologist Simon Ottenberg’s 1993 observation that Af
 rican art studies aimed mostly “to show the positive and cohesive view of
  African life in the face of so many negative stereotypes in the West” is
  to ask how much the field’s aesthetic and political parameters have real
 ly changed since that time. Even when independence-era photos are read in
  political terms\, they tend to imply a somewhat selective vision of the 
 political gleaned through the confidence and style of individual portrait
  subjects and image-makers. How do such readings mesh with the much more 
 complicated histories of African decolonization and the Cold War th\n\nht
 tp://next-to-u.app/events/0db3de6d-a14e-4f1e-aef7-dd390db885bc
URL:http://next-to-u.app/events/0db3de6d-a14e-4f1e-aef7-dd390db885bc
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