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Black American artist

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Journal Article
Nka (2015) 2015 (36): 48–61.
Published: 01 May 2015
.... Courtesy the artist. © Berni Searle largely black, elite. Yet, its aim seems as ahistori- Slavoj Žižek’s thoughts on protest failure: “This is the cal and presentist as the twenty-four-hour media fatal weakness of recent protests: they express an au- stream. Appropriating imagery from the past does...
Journal Article
Nka (2013) 2013 (33): 80–91.
Published: 01 November 2013
..., Disparities and Deformations, 16. and teaches on the visual arts of the black diaspora, 21. Jeffrey Jerome Cohen, ed., Monster Theory: Reading Culture examining African American, Caribbean, and black (Minneapolis: University of Minnesota Press, 1996), 4. British artists in modern and contemporary...
Journal Article
Nka (2013) 2013 (32): 96–113.
Published: 01 May 2013
... closet, a trumpet, and even a Miles’s cool, composed concentration. In the early gun — toy, or not. The custom- made black trumpet shots, Barboza found the erotic pride of muscula- is not, in these images, of a wholly di erent order ture; in the later, the skeletal emergence that means from...
Journal Article
Nka (2012) 2012 (30): 104–113.
Published: 01 May 2012
... Spiral, founded in 1963 by Romare Bearden, Norman Lewis, and Charles Alston, was a group of black American artists in New York. This interview with Emma Amos addresses her reasons for joining Spiral, her role as the group’s only woman, the effect of her involvement in Spiral on her artwork...
Journal Article
Nka (2011) 2011 (29): 78–85.
Published: 01 November 2011
...Jeanne Siegel Spiral, founded in 1963 by Romare Bearden, Norman Lewis, and Charles Alston, was a group of black American artists in New York. This article, originally published in ARTnews in 1966, explores the attitudes of Spiral’s membership about civil rights, Negro art, the “Negro Image...
Journal Article
Nka (2011) 2011 (29): 86–99.
Published: 01 November 2011
...Courtney J. Martin Spiral, founded in 1963 by Romare Bearden, Norman Lewis, and Charles Alston, was a group of black American artists in New York. This group has been credited with fostering Bearden’s entry into collage, launching a debate around the political function of abstraction and figuration...
Journal Article
Nka (2017) 2017 (41): 14–29.
Published: 01 November 2017
... im­portant cultural moment at which many black art ‘made in America the artist would have con- Americans first embraced their African heritage as curred with Schuyler that it was indeed “hokum” an ancestral legacy worthy of celebration, Countée that this art should have its thematic basis in Africa...
Journal Article
Nka (2017) 2017 (41): 198–202.
Published: 01 November 2017
... and 1970s. Cahan’s research into four museums—the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art, and the Studio Museum in Harlem—reveals how art institutions responded incrementally to black artists’ demands for equity. Despite the different degrees...
Journal Article
Nka (2018) 2018 (42-43): 164–168.
Published: 01 November 2018
... and the African diaspora, thus possessing an archive of images of late twentieth-century African American life, especially African American spiritual culture. Her work can be found in the collections of the Smithsonian American Art Museum, the Schomburg Center for Research in Black Culture, and the Library...
Journal Article
Nka (2017) 2017 (41): 30–42.
Published: 01 November 2017
... Stephanie Smallwood’s concept of “anomalous intimacies,” articulated in her book Saltwater Slavery: A Middle Passage from Africa to American Diaspora , in order to think about how these two artists are in conversation with one another and how they represent the black community after the slave trade. I...
Journal Article
Nka (2016) 2016 (38-39): 22–30.
Published: 01 November 2016
...Michelle Stephens “Defacing the Gaze and Reimagining the Black Body: Contemporary Caribbean Women Artists” examines works by visual artists Oneila Russell, Holly Bynoe, Patricia Kaersenhout, and Ebony Patterson, exploring how these contemporary artists wrestle with the terms in which we see black...
Journal Article
Nka (2012) 2012 (30): 44–59.
Published: 01 May 2012
...Salah M. Hassan In 1986 Gallery 1199 in New York and the Muse Community Museum in Brooklyn jointly organized a two-part exhibition for “Where We At” Black Women Artists, the collective of African American women artists. The exhibition was an initiative of “Where We At,” when its members decided...
Journal Article
Nka (2011) 2011 (29): 118–127.
Published: 01 November 2011
...Kay Brown Although the Black Arts movement of the 1960s and 1970s signaled one of the most significant developments in recent American art history, black women artists, for the most part, were underrepresented in major gallery and museum exhibitions at the movement’s inception. “Where We At” Black...
Journal Article
Nka (2022) 2022 (51): 86–97.
Published: 01 November 2022
... of these developments and reckon with the implications and meanings of these changes in conditions for those suffering their consequences. Often central to and reflected in the artist’s work is a critique of narratives of progress. This article examines the ways The Notion of Family series bears witness to Black life...
Journal Article
Nka (2011) 2011 (29): 32–41.
Published: 01 November 2011
... complex. adapt it to their broader effort to bring into the world Even when black artists deliberately transformed of visual art the questions posed by the Black Power African elements, they often did so in conscious movement’s cultural critique of American life. homage or with deliberate pan...
Journal Article
Nka (2011) 2011 (29): 50–61.
Published: 01 November 2011
..., transforming Ringgold herself into a black feminist. At the same time, the Black Light series displays her formalist and aesthetic concerns regarding the larger American art scene, with which she was thoroughly familiar as a well-trained artist conversant with the European and American modernist canons...
Journal Article
Nka (2018) 2018 (42-43): 124–135.
Published: 01 November 2018
...Penny M. Von Eschen This article explores implicit as well as explicit debates over modernity among African American artists at the 1966 World Festival of Black Arts held in Dakar, Senegal, honing in on moments that reveal tensions among the artists as well as between artists and the US officials...
Journal Article
Nka (2016) 2016 (38-39): 14–21.
Published: 01 November 2016
... implicit metanarrative of black female agency and civil rights–era cultural defiance. The social contract between the photographer and “the sitter” is also explored in this article, arguing that when the sitter is an imposing African American artist/performer/observer, the photographer—and by extension...
Journal Article
Nka (2012) 2012 (30): 36–43.
Published: 01 May 2012
... of archiving black American culture and the lives of Hatch and Camille Billops, the artists who have made it their life’s work. Copyright © 2012 Nka: Journal of Contemporary African Art 2012 The Art of remembering Camille Billops and James Hatch...
Journal Article
Nka (2018) 2018 (42-43): 154–163.
Published: 01 November 2018
... and Langley in Chicago made by the Organization of Black American Culture that expressed the ethos of black liberation. In looking at the relationship between these two particular events, Crawford considers how the photographic representation of gatherings of black people and congresses is significant...