... the many vernaculars he used. © 2020 by Nka Publications 2020 Norman Lewis abstract expressionism Harlem Artists’ Guild Studio 35 Processional Journal of Contemporary African Art 47 November 20206 Nka DOI 10.1215/10757163-8719604 © 2020 by Nka Publications Lucy H. Partman M usician...

... Copyright © 2015 Nka: Journal of Contemporary African Art 2015 Erratum for Fo Wilson, “Seeing Black and the Col- or of Representation,” Nka no. 29 (2011): 110–17. The caption accompanying the figure on page 114 of this article should read: Artist Session, Studio 35, n.d. Photo...

... As magazine pieces and he brought them to a meeting older artists, Lewis, Woodruff, and Bearden had a and he wanted everybody to work on them together. history of working with white artists culled from This was a form of dealing with negritude, and he involvement with downtown groups like Studio 35...

..., and curator. He at Studio 35." Also in the photograph is Alfred Barr, then cofounded ALJIRA, a center for contemporary art in Newark, curator at the Museum of Modern Art; Hans Hofmann, New Jersey. He lives in Brooklyn...

... artists to protest Works Progress Administration cutbacks that he knew would affect black artists Artist session, Studio 35, April 1950. Left to right: Brooks, disproportionately. Reinhardt, Pousette-­Dart, Bourgeois, Ferber, Tomlin, Biola, Even after...

... artists, which is unusual.3 She said that Norman was a member of the “club” of big white boys—which would include Jackson Pollock and that whole— CJM: It was the Thirtyve Club. Studio 35. EA: Yeah. Right. Norman would go there. Gibson says that Norman would say something to the group very ar...

... of the Bronx Museum of the Arts. More recently, Jeff Konigsberg, Michael's studio mate at Michael's life-size figurative sculptures set readymades the Lower Manhattan Cultural Council's World Trade of ancient and modern mythologies within a contempo• Center Studio Program...

...Olu Oguibe Copyright © 1998 Nka: Journal of Contemporary African Art 1998 Studio Call [journal of Con temporary African Art Nari Ward...

... compare Samuel Fosso to a run-of• the-m ill neighb orhood studio ph otograph er, bu t his self• portraits have nothing in common with their works, in spite of the fact he him self spent many years in that profession. This persistent lumping togeth er, however, makes one won• der whether...

... that this paradox of prevailing racism and ignorance is one of the most challenging tasks for future black artists and academics. Copyright © 2016 Nka: Journal of Contemporary African Art 2016 post-black Afropolitan temporalities generation Studio Museum in Harlem POST-POST- BLACK? Nana Adusei...

... primarily for his linocuts. He is a big presence in what I’m doing. His works were documentary narratives CP: Obviously, it’s completely different. I see drawings as in their nature; you can get a sense of his time through his performance works, since I am performing in the studio as I work...

...Daniel Haxall In 1997 Kehinde Wiley made his first trip to Africa to meet his father, a Nigerian man he had never known. This journey resonated deeply with the artist, who returned several times and established a studio practice there. Wiley documented each visit through portraiture, creating...

..., textile MS from the Illinois Institute of Technology (IIT). Her work designers, and sculptors—was conceived by artist and has been in numerous exhibitions in museums and galleries scholar Jeff Donaldson in 1968 in Chicago. This was also across the country, including the Studio Museum in Harlem...

... clippings suggest that it featured mostly portraiture and landscapes.11 Photography belonged primarily to the elite, who could afford to take it up as a hobby and/or frequent professional studio photographers, who were nearly all foreign (mostly European) residents. Throughout the 1920s, however...

... with the Arte teach the people themselves to dance. It is Folklorico de Mexico. She was invited to Rivera's their lives, their frustrations and their studio and asked to model, and ended up living at hopes, that her own work expresses so the Rivera estate...

... on British Telecom phone bills,120"x 60 1999 - 2000 changed, even with the advances of previous clusters of Black Okudzeto has described post-black as a "call to arms" for artists. For the Studio Museum, of which she is a part, post-black black artists and the viewing...

... and at the King Smith Studio, and exhibiting his work at the Dupont Movie Theater, the first racially integrated theater in DC, when it opened in 1948. Although precisely which works he showed in these early exhibitions remains unclear, his sister saved the program from the Washington Water Color Club exhibition...

... with tensions between Western modernism and classical African art and the trope of “primitivism” in Eurocentric art historical discourses. This article foregrounds Jantjes’s multiple roles, both in and outside of the studio and gallery spaces, by examining his paintings, prints, and drawings, as well...

... concerning signs and signifiers pre- work is Pretty Standard (1996). Originally executed vailed in art schools and exhibits. Evans remem- as a painting in 1995, Evans created a larger ver- bers prominent artists like Victor Burgin and Matt sion as a studio installation the following year. No Mullican...

.... A 1983 photograph of Jones taken in her studio by the famed Scurlock brothers of Washington, DC, shows the artist in her element, surrounded by images, objects, and pieces of history...