Search Results for American art historiography

...Tanya Sheehan True to its cultural roots in the United States, the field of American art history has been slow to recognize centuries of slavery’s shaping of visual production and has only begun to address historiography’s persistent devaluation of Black lives. This article explores how scholars...

... the Unspeak• it within American art history and lit• it is interesting to acknowledge the able, the author provides a method• erary culture. Exploring the history author's omission of seminal writings ological approach that looks beyond...

... but artists, American African as status canonical enjoy already Wilson and Simpson, Ligon, Green, that argue might One players. nonwhite of tion participa the neglect that canons art and chronicles historical narrow tles • 34 As much...

... for consumption. Perhaps more troubling is the slippage (or fissure) between contemporary identity-based art (especially African 76 • Nka Journal of Contemporary African Art American art) and the historiography...

... at hip-hop with the opulent artificiality of classical the 2003 Venice Biennale's American pavilion sim• painting, Wiley has openly articulated ambiva• ilarly excavated Western art history—but more lence toward cultural allegiances. Preferring to specifically the history and visual...

... and the conceptual Logoligi Logarithm, 2019. © El Anatsui. Courtesy the artist and Jack Shainman Gallery, New York. Photo: Maximilian Geuter RE V IE W S Journal of Contemporary African Art 47 November 2020128 Nka DOI 10.1215/10757163-8719704 © 2020 by Nka Publications RE V IE W S challenges the Euro-American...

... did so precisely because it seemed to offer an insistently temporal analytical framework. Thus, since the early 1990s, Africanists and critics have pioneered a new subfield of African art history in the North American and European academy: the study of African modernity and modernism.3 These studies...

... would tell an interviewer in the summer Image of a garden party for American performers from Moneta Sleet, World Festival of Negro Arts, Ebony, July 1966. Johnson Publishing Company Archive. Courtesy J. Paul Getty Trust and Smithsonian National Museum of African American History and Culture. Made...

... the Primal Stage, 1948. Ink on paper. Private collection of Naguib Sawiris, Cairo, Egypt. Courtesy Laila Effat. Photo: Alex Dika Seggerman 44 Nka Journal of Contemporary African Art 49 November 2021 Euro-American art history and museums have become increasingly interested in diversifying...

..., “The York: Abrams, 1994). For modern art in China, see the discussion Talking Tree,” Bulletin of the American Institute for Persian Art of Craig Clunas, Art in China (Oxford: Oxford University Press, and Archaeology 4 (1935 – 36): 67 – 72. For a recent study on the Waq 1997); see also Shanghai Modern...

... Nka-187 Biographies of Roundtable Participants: Chika Okeke-Agulu is Assistant Professor in the Clive Kellner is Director of the Johannesburg Art Department of Art & Archaeology, and Center for Gallery, and formerly the Director of the African American Studies, Princeton...

...-garde film community. ric of Euro-American artistic culture and in so doing ruptured These discomforts raged around Handsworth Songs, which, more the historiography and self-image of the '80s even as the decade than any other work of the decade, realigned the terms of criti...

... to a certain moment in time, both in terms of its orientation to capital H History and to the history of art. In the case of the former mode of temporalization, Pop stood as a parodic critique of the globalization of American consumer capitalism in the decades after the end of the Second World War...

... African American English plays in relation to standard American English. Beate Thill, the German translator of Glissant s works, lists some of these tactics of intervention: doubling of syllables, assonances, metrical shifts, deliberate relocation of vowels in certain words.17 This is not language ame...