Published by Yale University Press with texts by Zoë S Strother takes as it's starting point the moment in 1907 when Picasso walked into the Trocadero in Paris and first encountered African Art.
As a white African artist however, Kendell Geers, considers himself to be connected to the histories of both Europe and Africa and so he puts the mask back on and looks right back at Picasso from an African perspective. The Afro-Futurist mask is held in place by a web of golden threads that resemble a border fence across a constructivist pattern. It is not clear whether the mask is looking from the Colonial past through Post Colonial present towards the viewer in an abstract future or the other way around.
AniMystikAKtivist can be read as a portrait of the artist’s struggle with identity, history, faith and form through the prism of opposites shaped through the power of imagination into the fabric of art. The book looks at the work of Kendell Geers from 1988 until the present from an Afro-Centric point of view, considering the cross influences of Avant Garde tradition and African Art.
