...Cherise Smith In this article the author questions Carrie Mae Weems’s use of conceptualist and appropriative strategies to conjure the persistent unresolved feelings that result from the historical and continued trauma of black people. Weems’s series From Here I Saw What Happened and I Cried (1995...

... Ha, 1995, from the series Cook, 1995, from the series Here I Saw What Happened and I Cried, 1995. Here I Saw What Happened and I Cried, 1995. Chromogenic color print with Chromogenic color print with sand-blasted text on glass. Courtesy the artist sand-blasted text on glass. Courtesy the artist...

... are useless. “It was a phenomenon, what happened here; everyone wanted to leave for Spain,” says Jeanno. “My cousin and So he was ready to sacrifice his life and he took the boat. He is now in Spain, but he doesn’t work. Despite every - friend Alioune, with whom I shared this room, also left. He...

... vibrant. What we saw at this conference were mostly fiction films, and that's what I find inter...

... in the same way that it is here in the United States. Returning from Tanzania, coming to the United States, was very abrupt and shocking in this regard. So I think that the second film in The Paulding Avenue Trilogy, E Minha Cara/That's My Face, was really a search for that kind of space in the same...

... showing all these affinities between Breton and the editors of Tropiques, questions still persisted: What was Caribbean surrealism? And how was it different from the surrealism in continental France? One could ask the same questions of Egyptian surrealism. As I have attempted to show above with Suzanne...

... would get an opportunity to shoot him, that he had a hairdresser there whom I knew, by the but one day Essence magazine called. They wanted name of Finney, who was credited for popularizing me to do a spread on him and his fashion. the style of cornrowing to the United States from I asked...

... in pain. Yet it also raises States citizens—and as human beings. As Sontag the ethics of not looking, of choosing not to points out, "the horror of what is shown in the pho• acknowledge or take responsibility for what is plain• tographs cannot be separated from the horror that ly...

...; I was aware when photographing from also how they articulate the relationship of the past to the as if what I was looking at was a screen for something question of my own position, as a photographer, in a place the edge of Roque Santeiro looking across Boa Vista, of present and how...

... order that would arise Globalization and its impact is a theme that phoenix-like from the ashes of colonial struggles underpins this assemblage of artworks, but global• throughout the continent. ization here is understood not purely in terms of the exchange of global commodities and the ero...

...; there is a lot to be appreci- Lange from the WPA] … so you can imagine what ated. My daughter and I witnessed a deluge, a fantas- is what like to be colored.”3 His father, a fireman, tic thunderstorm in which the lightning and thunder shook the house. Lightning...

... is moving outwards and can no longer be structured in terms of the centre/periphery relation. It has to be defined in terms of a set of interesting centres, which are both different from and related to one another. . . . [I]f you think about where important movements are being made, sometimes they happen...

... created site-specific performances as cri• is causing you, just as I am sure you regret away from focus on the physicality of the tiques these processes. In 1991, Fred Wilson the discomfort your racism is causing me. body and on process to a renewed concern donned...

.... There is a since I live and work here, and these questions of sticky ethnocentricism, including nativist nostalgia, what others do and think sometimes seem very in overzealous assertions of context and origins that removed from my scholarly lived experience. But of play into precast divisions reaching...

... was conceived not as an exhibition but ways and from various vantage points, remained as a constellation of public spheres. The public sphere skeptical of Enwezor s capacity to counter hege- of the exhibition gesture is rearticulated here as a new monic perceptions of center and periphery without understanding...