..., 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...

... reference to machetes as code for Black criminality). Other associations, ones that Sinclair is keen to advance in his work, relate to the African diaspora, Caribbean history (particularly that of Haiti), and the machete as a symbol of enslavement and a tool in insurrections against slavery. The article...

...Erica Moiah James Critiques of anachronism have been used to dismiss art made in the Caribbean since the arrival of Christopher Columbus. This article argues that in order to render Caribbean art in the critical imagination, one must first decolonize notions of time foundational to the discipline...

... and personal ancestry, including the American History of African Americans in the Military (Novato, CA: Presi- South, the Caribbean, and the Bronx, and draw- dio, 1998); and Bernard C. Nalty, Strength for the Fight: A History ing on the relational currents of the Black Atlantic, of Black...

...Laurel Jean Fredrickson This article explores the immersive audio-visual and sculptural art installations in the 59th Venice Biennale (2022) of three transnational contemporary women artists with familial ties to former colonies and protectorates. The Afro-Caribbean artist Sonia Boyce, MBE...

... for examples of the reemergence of these forms into contemporary artistic practices with inspiration in Caribbean and African American public performance tradition. Copyright © 2014 Nka: Journal of Contemporary African Art 2014 TAKING it to the STREETS Lorraine O’Grady, Art...

... and college students from African and Caribbean nations who were in residence on the campus. Historical events that led to the opening of the gallery are woven into the text. Founded during the growth of the Black Arts movement, the Brockman Gallery provided early exposure to a number of artists who are today...

... in which the black female body in particular has been represented. Christopher Cozier describes the genre of Caribbean portraiture produced against the background of a long history of colonized representation as “a visual territory not exclusively of our own making.” This article presents a number...

.... Life Between Islands is organized chronologically and thematically and split into sections: Arrivals; Pressure; Ghosts of History; Caribbean Regained: Carnival and Creolisation; Past, Present, and Future. The first few works in the exhibition are by the first wave of Caribbean artists who arrived...

... acclaimed projects For those that remained in the Caribbean, Lost Histories (1997) and Memory and Skin Europe still represents a mythical, faraway place, a (1998).3 Over five months, Gregory traveled fantasyland and an unattainable dream, according extensively...

... sense of self as a black British person of Afri- at London’s October Gallery. The exhibition brought can and Caribbean heritage. together several artists based in Jamaica and pre- She gained a theology, history, and sociology BA sented their work alongside a number of Jamaican...

...? Claire Tancons 60. Nka Journal of Contemporary African Art ho still believes that Paradise can be found in the should be no need for precise authentication. To capture the idyl• W Caribbean? Charter-loads of tourists who do...

... Edward Kamau Brathwaite, History of the Voice: The Development of Nation Language in Anglophone Caribbean Poetry (London: New Beacon Books, 1984). 23 Ibid., 24. 24 Stuart Cosgrove, “The Zoot-Suit and Style Warfare,” History Workshop, no. 18 (1984): 77–91. 25 Alford, “The Zoot Suit,” 233. 26...

... that tion would bring new life and engage• his work is about "the seathe FEBRUARY 19 - JUNE 5, 2005 ment to the Museum's historical mar• Atlantic/Caribbean which churns up...

... (2004). Shown most recently at significance to present-day Maroons remains. Her the Studio Museum in Harlem as part of the 2012 spirit is believed to keep outsiders away, and her Caribbean: Art at the Crossroads of the World exhi- presence in Jamaican history and popular culture bition...

... of such artists. This making vis- ible of marginalized, excluded, or not widely known histories was what characterized the first substantial attempt at chronicling a black British history: the 1989 90 exhibition The Other Story: Asian, African, and Caribbean Artists in Post-War Britain.1 Given the historical...

... as a subversive tool and as a miraculous weapon, as Aimé Césaire would put it.5 One can derive a similar impression from the history of Egyptian surrealism. Publications like Al-Tatawwur (Evolution) and the Art and Liberty group had similar counterparts in the Caribbean. Each was going through the same kinds...

..., hovers, almost invisible, in the into sharper relief.”3 background. In stark contrast, Olympia’s defiant Caribbean women visual artists, in wrestling gaze has gained distinction in the history of the with this dis-appearing of woman from the realms nude, demonstrating...

... 1949 was a moment of intensifying international interest in Haiti, when visitors of various kinds tourists, anthropologists, artists, diplomats, investors, and others found reason to travel to the Caribbean nation. Not long after he arrived, Cortor found his way to Le Centre d Art, joining the rotating...

...: at the Bronx Museum and The Studio AFRICAN, ASIAN, & Museum. This made it tough to tell CARIBBEAN ARTISTS IN where one...