“Giorgis has assembled the archive of Ethiopian modernism that she brilliantly critiques. With deep personal knowledge, she takes us from magical healing scrolls to miniskirts, from monarchy to socialist tyranny, from Paris to Oklahoma. The details are fascinating and the artists’ works themselves extraordinary, but the real revelation is Giorgis’ understanding of the politico-cultural cross currents that converged in Ethiopia. Her presentation of them with an unflinchingly critical eye does more to celebrate Ethiopia’s singular achievements than any narrowly national story could provide.”
Susan Buck-Morss, author of Hegel, Haiti, and Universal History
“Giorgis succeeds in giving a sense of the tumultuous reality in which these artists worked. Modernist Art in Ethiopia is a valuable scholarly introduction to 20th-century Ethiopian art history.”
“Modernist Art in Ethiopia is a necessary addition for libraries that hold collections in Non-Western art, postcolonial studies, or modern art…. While parts of the book are complex/theoretical, it also presents a linear historical account of modernist art in Ethiopia which can serve as an introductory text or starting point for further research.”
ARLIS/NA (Art Libraries Society of North America)
“A landmark study on Ethiopian modernism and experiences of modernity beyond the West. (Modernist Art in Ethiopia)presents a vital and under-documented history of the experience of modernity and the artistic movements surrounding Modernism, coming from a unique place that will appeal to a wide-ranging readership and is likely to become an important and treasured text.”
Africa at LSE blog (London School of Economics)
If modernism initially came to Africa through colonial contact, what does Ethiopia’s inimitable historical condition—its independence save for five years under Italian occupation—mean for its own modernist tradition? In Modernist Art in Ethiopia—the first book-length study of the topic—Elizabeth W. Giorgis recognizes that her home country’s supposed singularity, particularly as it pertains to its history from 1900 to the present, cannot be conceived outside the broader colonial legacy. She uses the evolution of modernist art in Ethiopia to open up the intellectual, cultural, and political histories of it in a pan-African context.
Giorgis explores the varied precedents of the country’s political and intellectual history to understand the ways in which the import and range of visual narratives were mediated across different moments, and to reveal the conditions that account for the extraordinary dynamism of the visual arts in Ethiopia. In locating its arguments at the intersection of visual culture and literary and performance studies, Modernist Art in Ethiopia details how innovations in visual art intersected with shifts in philosophical and ideological narratives of modernity. The result is profoundly innovative work—a bold intellectual, cultural, and political history of Ethiopia, with art as its centerpiece.
Elizabeth W. Giorgis is the former director of the Institute of Ethiopian Studies and the dean of the College of Performing and Visual Art of Addis Ababa University. She is currently associate professor of critical theory and criticism as well as art history at the College of Performing and Visual Art and the Center of African Studies at Addis Ababa University. More info →
Introduction and Table of ContentsDownload
Review in the Journal of African History, Vol. 61 No. 1 (March 2020)Download
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Reel Pleasures brings the world of African moviehouses and the publics they engendered to life, revealing how local fans creatively reworked global media—from Indian melodrama to Italian westerns, kung fu, and blaxploitation films—to speak to local dreams and desires.
From 1952 to 1981, South Africa’s apartheid government ran an art school for the training of African art teachers at Indaleni, in what is today KwaZulu-Natal. The Art of Life in South Africa is the story of the students, teachers, art, and politics that circulated through a small school, housed in a remote former mission station.
Together, the Royal Museum for Central Africa in Tervuren, Belgium, and the Institut des Musées Nationaux du Zaire (IMNZ) in the Congo have defined and marketed Congolese art and culture. In Authentically African, Sarah Van Beurden traces the relationship between the possession, definition, and display of art and the construction of cultural authenticity and political legitimacy from the late colonial until the postcolonial era.
Emperor Haile Selassie was an iconic figure of the twentieth century, a progressive monarch who ruled Ethiopia from 1916 to 1974. This book, written by a former state official who served in a number of important positions in Selassie’s government, tells both the story of the emperor’s life and the story of modern Ethiopia.After a struggle for the throne in 1916, the young Selassie emerged first as regent and then as supreme leader of Ethiopia.
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