...Nicholas Miller This article examines AfriCOBRA cofounder Jeff Donaldson’s painting Ala Shango (1969) in relation to the 1968 Chicago riots and the militaristic and Pan-Africanist rhetoric of the Black Nationalist movement. Specifically, I discuss the artist’s appropriation and incorporation...

...,” in Beautiful Democracy: Aesthetics and Anarchy in a Global Era (Chicago: University of Chicago Press, this continuing violence, the collective memory that 2002), 106–135; Amy Helene Kirschke also discusses the motiva- people like Walter White sought to foster...

... not affect change. We do not mean change in the physical appearance of things, but change in the behavior of human beings.”1 And the third was the Jeff Donaldson–led, Chicago-based AfriCOBRA group, which firmly aligned itself with the Black Arts movement and outlined a formal style and community...

... famously convulsed Harlem in 1964, Watts a woman’s upraised arm. Across the composition, in 1965, and Chicago in 1966. The most devastat- the figures’ rhyming costumes and physiognomies ing episodes of 1967 occurred in July in Newark, make it almost as easy to read their engagements as New Jersey...

... the gagging of Black Panther leader Bobby Seale during the Chicago 8 trial. Another piece, The Door (Admissions Office), featured an inked body outline of a face, arms...

... video installation produced by the Detroit's riot began. Seemingly provoked by news of a police raid on Renaissance Society in Chicago, the video examined the climate of an illegal bar in an inner city neighborhood, the city went through a political, cultural and social turmoil of the 1960s through...

... is a leg made of wood with an antique metal foot, and an After returning to North Carolina in 1955, old rusted metal connector serves as the kneecap. Outterbridge returned to his peripatetic lifestyle, The foot is possibly from the turn of the century; first migrating to Chicago and ultimately mov...

...Claire Tancons From “Black Collectivities: A Conference,” held May 3–4, 2013, at Northwestern University’s Mary and Leigh Block Museum of Art, the Museum of Contemporary Art Chicago, and the University of Chicago’s Arts Incubator. Bookended theoretically between a reassessment of the black radical...

...• Chicago. it here an extremely rare intact photo album with souvenir trophy photographs of dead black bodies from the 1921 Tulsa Oklahoma race riot, inter• Notes spersed among everyday, domestic photographic...

..., The Voice of Egypt: Umm Kulthum, Ara- bic Song, and Egyptian Society in the Twentieth Century (Chicago: University of Chicago Press, 1997), p. 176. 30. Lucy R. Lippard, “Unforgettable: Whitfield Lovell as Histo- rian of Memory,” in Lippard, Art of Whitfield Lovell, p. 11. 31. Danielson, Voice...

...Romi Crawford From “Black Collectivities: A Conference,” held May 3–4, 2013, at Northwestern University’s Mary and Leigh Block Museum of Art, the Museum of Contemporary Art Chicago, and the University of Chicago’s Arts Incubator. This article attends to the various loci that promote black...

... and AfriCOBRA in Chicago. Faith’s art during this his death also inspired many artists to launch proj- period forms a silent (and at that time largely invis- ects in the black community.4 ible) bridge between the many different camps of Remembering how such development in the civil an entirely male...

... spared by the crowd. He later memories in music, see Adam Gussow, Seems Like Murder became an outspoken crusader against lynching, opening the Here: Southern Violence and the Blues Tradition (Chicago: American Holocaust Museum in Detroit. For a full account• University of Chicago...

... of Chicago. It is a musical char• its erotic implications. At this point where the erotic, the politi• acter script that connotes headiness, rashness, sobriety, reserve, cal, the financial, and the fashionable overlap, left critics tend to cunning, mawkishness, triumph, and fear. All at once...

... is Associate Professor of Visual and Critical Studies at the School of the Art Institute of Chicago. “Smith is our foremost scholar of nineteenth- and early-twentieth- century American photographyELSPETH H. BROWN, author of e Corporate Eye: Photography and the Rationalization...

... Black Power movement. The common ground, however, between Wright’s Black Power Wall of Respect, 43rd Street and and the textual production of the Black Arts move- Langley Avenue, Chicago, 1969. ment...

... of Interroga• and England were nevertheless paired after the reve• tion," Amanda Ripley quotes an unnamed "U.S. lation of the Abu Ghraib images. The May 25, 2004 Army official" who declares: '"When women have cover of RedEye, the Chicago Tribune's newspaper power and control over you...

... and from St. Laurence Catholic Church in Chicago’s Martyr (2014) is a beautiful example. This multime- South Side included in the installation; they are dia installation addresses the recurring dissolution given new life and significance as sculptural objects of and demolition of church parishes...

... Till, a black teenager of the Chicago Eight. Framed by the edges of the American flag, from the North who was accused and lynched for whistling at a white Hammons chilling image of his contorted body is eerily reminiscent woman while visiting a relative in the south is a modern...

... Greg Tate, Midnight Lightning: Jimi Hendrix and the Black and manipulated the parameters of a given cultural Experience (Chicago: Chicago Review Press, 2003). identity and its representation? 6 Nam June Paik uses this expression during a panel discus...