... emanate from the icons as cosmic rays or halos. The harmony and unity in Gatson’s work empowers us to think of a brighter future, one that accepts and scrutinizes the past. Vigorous power lines—the meeting of two forces opposed to each other by their very nature, formally and conceptually—guide the viewer...

... in the exploration of works in the 1960s. HisJumaa (196AnaMmuo, line in most of the 1970s drawings gives way to a the Uli idiom. The scale of the work is overpow• 1961 and Aba Revolt, 1965 remain powerful visual certain tentativeness in the early 90s that may...

... (Woman Series), Mixed media, 1997 relations, is an attempt to propose recovery of the lost power.^ The Woman Series demonstrates Kure's mastery of draw• ing—the sweeping lines arc and layer over one another and dark, heavily worked areas give way to swaths of clean white paper...

... next to one another. In her work, the artist often address• es issues such as marginalization and power relationships, the important influence. human condition...

... that she is a prostitute, that their intimacy can- poem with the phonetic lines “Fy-­ah, / Fy-­ah, Lawd, / not be separated from the power relation of the Fy-­ah gonna burn ma soul.”29 Whereas Locke money exchange, spurs Cordelia to become a pros...

... grave, indeed muck. Yet the power of spring also conveys the money the possibility of strength in regeneration. the grass, the ground The motif of grieving is pursued in Harper’s...

... in Chicago in 1968, this group evolved out the rhetoric of black nationalism, with its chants of of what once was the Organization for Black Ameri- “Black power,” “Black pride,” and “Black is beauti- can Culture, or OBAC, the collective responsible for ful”; more daydream balloons drifted in the sky...

... and France to reassert their tradition and modernity, past histories and future position in North Africa and gave rise to powerful possibilities are mapped out in the work of con• articulations of a new postcolonial, pan-African, temporary artists. and non-aligned world...

.... Altogether the new Nearby on the wall above, Wilson places the inte• globe is a condensed expression of Wilson's line of rior design of the slave ship. In the midst of the artistic development that culminates in this insis• "Flora of Jamaica" collection with its elaborate tent vision of the power...

... of of power and the intrigues of a concern for the prey/predator with splendid energy. Her long• South Eastern Nigeria with which...

... — artists the of practices multiple the of image an of — power the that us reminds Smith way this In photograph. family said the to reacted have colleagues and friends contrasting inthe introduction her foregrounds Smith Furthermore, States. United inthe society and race...

..., great depth and dizzying weightlessness, counterbalanced by the when the concept of a "first lady" had become more powerful. In solidity of the columns. It hints at suffering and danger (in the the works on display, the lines of the figures are simple and blood red corner of the "sky") yet also...

... reveal William Kentridge’s long. power of development as he moves from his initial crude experiment through in-­depth exploration to Where does that leave me, with neither a belief in reach an uneasy resolution...

... drawings leaving once powerful symbols as accidental traces. As a result, Rhode's drawings appear as simple quotes, annotations in a discourse that for being fully articulated does• n't want to tell the whole story in lengthy details and relies upon the viewer's ability to fill in the gaps...

... of how a formal aes - leged collective creativity and solidarity. Both Don - plinary artists ’ group , the Organization of Black based in political or social power. Douglas asserts thetic articulates political and social meaning. In aldson and Abrams were instrumental in founding American...

... such words as “nails” or “brass taks” [sic], he comprises several Congolese power figures, which now switches to use these references as actual tools. were most likely on display during the time of Scratching several rows of perforated lines into the Twombly’s visit.27 The minkisi (of the type nkondi...

..., and mobility of ideas and material cultures within and beyond ethnic, national, continental, and racial boundaries. Examined within this framework, the art of Boghossian, Ampofo-Anti, and Ekpuk tells us that Africa remains for its artists a site of powerful imaginaries, a historical place to which...

...Holiday Powers This article looks at French-Moroccan artist Yto Barrada’s artwork and her role at the Cinémathèque de Tanger (CdT) in response to the mutating cosmopolitanisms of contemporary Tangier, Morocco. The article focuses on her projects A Life Full of Holes: The Strait Project , Iris...

... to his work stands a variations—has since been exhibited at various concern with power and the crude binaries that it shows, but always resurrects a middle-class interi• spawns: good/evil, friend/foe, sacred/profane, or expressive of a rather desperate respectability sanctioned/rejected, order...

..., photographers, and power in the Cape Colony, beyond which lay the television crews who told the South African story hostile hinterland of an unruly and untamed con• around the world were foreigners—brought in tinent. As token of this geographical belligerence, from the countries...