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Leurs œuvres sont provocantes, radicales, poétiques ou ironiques… Présentant les travaux de 64 femmes artistes, ce livre dévoile comment, dans les années 1970, celles-ci ont repris contrôle de la représentation féminine dans la photographie, la vidéo et l’art de la performance. Opérant un changement drastique dans la perception des femmes dans l’art, et à rebours de la projection traditionnelle des fantasmes masculins, ces artistes ont donné à voir une nouvelle « image de la femme ». L’ouvrage, à travers cinq thématiques phares (Femme au foyer/Mère/Épouse ; Enfermement/Évasion ; Dictat de la beauté/Corps féminin ; Sexualité féminine ; Identité/Jeu de rôle), présente ainsi une large variété d’œuvres, qui tour à tour dénoncent le sexisme, les inégalités sociales ou les structures du patriarcat. La conservatrice et fondatrice de la Collection Sammlung Verbund, Gabriele Schor, se réfère à ce moment charnière comme à l’« avant-garde féministe », soulignant le rôle pionnier joué par ces artistes qui ont rejeté ce qui avait toujours précédé. Donnant naissance à de nouveaux modes d’expression dans tous les domaines artistiques, celles-ci ont porté une voix émancipatrice qui continue encore aujourd’hui à inspirer la génération contemporaine.

Photographie --- Art vidéo --- Performance --- Avant-garde --- Féminisme --- Photography --- feminism --- vrouw in de kunst --- anno 1970-1979

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"In 1947, as the first demonstrations calling for Ghana's independence were taking place, the young James Barnor began training in a photographic studio in Accra. His career was launched. In 1987, it took a last change of direction after he ceased working as an official government photographer. Over the next four decades, driven by his limitless curiosity for the photographic medium, but also by sometimes difficult economic conditions that compelled him to reinvent himself, Barnor constantly moved around the gamut of photographic professions. His trajectory has revolved between the two poles of a world he has made for himself: Accra, his birthplace, and London, his adopted city. For his first retrospective in France, James Barnor has assembled, with LUMA, a completely original portfolio of his favourite images. These were selected by re-examining his vast archive of 30,000 negatives and several hundred prints and period documents. The exhibition has been organised to allow a comparison of the images and archives so as to cast light on the context of their production. It also gives plentiful space to the comments of the photographer, now ninety-three years old and a veritable archive of information that enlivens the myriad stories represented in his images. Following a chronological sequence, we travel from Ghana in the 1950s to the United Kingdom in the 1960s, then back to Ghana from the 1970s onwards. Whereas his work joins that of other West African photographers of the same generation, who are now well known, his continual departures and returns have made him part of a transcontinental history of photography that has not yet received great attention. Barnor's images bring to life the utopia of a shared world, one that transcends the nationalisms of the second half of the 20th century. Long side-lined, today these images inspire a new generation of artists who are fighting to represent blackness around the world."--

Portrait photography --- Africans --- Photography, Artistic --- Photographers, Black --- Photographers, Black --- Barnor, James --- Barnor, James