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FESTAC

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Journal Article
Nka Journal of Contemporary African Art (1 November 2018) 2018 (42-43): 154–163.
Published: 01 November 2018
... vision and effort that have gone into manufacturing and formalizing a global black consciousness. The author offers a case that directly links the global articulation of black consciousness in Lagos, Nigeria, at the Second World Black and African Festival of Arts and Culture (FESTAC ’77) with an earlier...
Journal Article
Nka Journal of Contemporary African Art (1 November 2018) 2018 (42-43): 164–168.
Published: 01 November 2018
... In January 1977, Lagos, Nigeria, was hosting the Second World Black and African Festival of Arts and Culture (FESTAC). It was a grander version of the first World Festival of Black Arts (FESMAN), held in Dakar, Senegal, in 1966, and gathered fifteen thousand participants coming from more than...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 4–7.
Published: 01 November 2011
... ideological concerns val of Negro Arts in Dakar 1966 and FESTAC ’77 that dominated the works of these artists. These in Lagos, Nigeria, exposed African American art- have ranged from responding to the visual tropes ists to African masters such as Skunder Boghossian, of racist and stereotypical...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 68–75.
Published: 01 May 2012
... Olugebefola and associate Ed Sherman 1986–1990 represent the United States as part of a delegation to Several Weusi artists’ designs are published on FESTAC ’77 — the Second World Festival of African Kwanzaa greeting and note cards, then distributed and Black Art and Culture in Lagos and Kaduna...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 114–129.
Published: 01 May 2012
... this, is FESTAC in 1977. The one in 1966 in Dakar, I heard about but I was young and on the West Coast and no one sent for me. I could not make it to first base...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 84–89.
Published: 01 May 2012
.... Travel to many of most salient features of the AfriCOBRA aesthetic these locales has led to significant contacts between approach. Stylistic characteristics of this work can AfriCOBRA and kindred spirits at home and also be found in the offerings of many of their com- abroad: FESTAC ’77 in Nigeria...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 118–127.
Published: 01 November 2011
... received, drawing visitors from all the where I took samples of WWA artworks for display. New York boroughs. It was particularly meaning- The following year, at FESTAC — an international ful because it finally made clear that a cooperative exhibition held in Nigeria to celebrate black art- spirit...
Journal Article
Nka Journal of Contemporary African Art (1 November 2014) 2014 (35): 32–41.
Published: 01 November 2014
...!” Department of Los Angeles. During the same year Jeff Donaldson came to the city to personally invite A. M. Weaver is an independent curator and art Outterbridge to ’Festac 77, the second World Black journalist residing in Philadelphia, Pennsylva- and African Festival of Arts and Culture. Outter- nia...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 140–151.
Published: 01 November 2011
... incorporated snippets designs from Zaire. Similarly, the acrylic col- of African masks from magazines in his signature lage Moon Masque (1971), exhibited at FESTAC collages of the 1960s and 1970s, such as Village of in Nigeria in 1977, has at its center a white-­faced Yo (1964). Even Ringgold’s soft...
Journal Article
Nka Journal of Contemporary African Art (1 May 2009) 2009 (24): 16–29.
Published: 01 May 2009
... 1974/1975 and traveled to Lagos, Nigeria, in 1977 for FESTAC demonstrated over and over again integrity in his '77 (the Second World Black and African Festival of Arts and Culture). In the early 1990s he met Fela and...