Zoë S. Strother | |
---|---|
Occupation | Art historian |
Title | Riggio Professor of African Art |
Awards | Guggenheim Fellow (2000) |
Academic background | |
Alma mater | Yale University |
Academic work | |
Discipline | African Art |
Institutions | Columbia University |
Zoë S. Strother is an art historian. She serves as Riggio Professor of African Art at Columbia University. Her work focuses on 20th and 21st-century Central and West African art history.
She graduated from Yale University. [1]
Strother was a 2000 Guggenheim Fellow. [2] Her book Inventing Masks [3] [4] [5] [6] won the 2001 Arnold Rubin Outstanding Publication Award from the Arts Council of the African Studies Association. [7] In it she describes masks as part of a larger performance and thus creative process. [5] Against the Franz Boas vein of interpreting African art such as masks as a conservative matter of tradition, Strother’s fieldwork finds they are a site of invention and novelty, demonstrating the agency of the creators and wearers. [5] Critics praised the book, saying the cover blurbs were “not hyperbole”. [5]
Zoë S. Strother | |
---|---|
Occupation | Art historian |
Title | Riggio Professor of African Art |
Awards | Guggenheim Fellow (2000) |
Academic background | |
Alma mater | Yale University |
Academic work | |
Discipline | African Art |
Institutions | Columbia University |
Zoë S. Strother is an art historian. She serves as Riggio Professor of African Art at Columbia University. Her work focuses on 20th and 21st-century Central and West African art history.
She graduated from Yale University. [1]
Strother was a 2000 Guggenheim Fellow. [2] Her book Inventing Masks [3] [4] [5] [6] won the 2001 Arnold Rubin Outstanding Publication Award from the Arts Council of the African Studies Association. [7] In it she describes masks as part of a larger performance and thus creative process. [5] Against the Franz Boas vein of interpreting African art such as masks as a conservative matter of tradition, Strother’s fieldwork finds they are a site of invention and novelty, demonstrating the agency of the creators and wearers. [5] Critics praised the book, saying the cover blurbs were “not hyperbole”. [5]