African Renaissance: New Forms, Old Images in Yoruba Art describes, analyzes, and interprets the historical and cultural contexts of an African art renaissance using the twentieth- and twenty-first-century transformation of ancient Yoruba artistic heritage. Juxtaposing ancient and contemporary Yoruba art, Moyo Okediji defines this art history through the lens of colonialism, an experience that served to both destroy ancient art traditions and revive Yoruba art in the twentieth century.
With vivid reproductions of paintings, prints, and drawings, Okediji describes how Yoruba art has replenished and redefined itself. Okediji groups the text into several broadly overlapping periods that intricately detail the journey of Yoruba art and artists: first through oppression by European colonialism, then the attainment of Nigeria’s independence and the new nation’s subsequent military coup, and ending with present-day native Yoruban artists fleeing their homeland.

Res: Anthropology and Aesthetics is a journal of anthropology and comparative aesthetics dedicated to the study of the object, in particular cult and belief objects and objects of art. The journal brings together, in an anthropological perspective, contributions by philosophers, art historians, archaeologists, critics, linguists, architects, artists, and others. Its field of inquiry is open to all cultures, regions, and historical periods. Res also publishes textual and iconographic documents important to the history and theory of the arts.