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activism

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Journal Article
Nka Journal of Contemporary African Art (1 November 2014) 2014 (35): 74–83.
Published: 01 November 2014
... probe the “consequences of such acts on the poetic and political dimensions of representation, difference, and visibility.” This essay examines the role that social activism plays in the work of all nine contributing artists and the underlying critique of the archive as a politicized framework...
Journal Article
Nka Journal of Contemporary African Art (1 November 2015) 2015 (37): 70–79.
Published: 01 November 2015
.... Furthermore, data ture and a participant in these online spaces. on social-media usage shows even greater growth The term natural—first used in a beauty-culture with women and people of color among its most context in the 1950s and ’60s to denote a short, active participants.5 While there may not be...
Journal Article
Nka Journal of Contemporary African Art (1 November 2010) 2010 (27): 62–69.
Published: 01 November 2010
... so fortunate. In ten years I see myself as a well-­established, success- Maria Magdalena Campos-­Pons is an artist active at ful artist. I will have made contributions to the canon by international and local projects, a professor at the School adding new perspectives to the conversation of art...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 118–127.
Published: 01 November 2011
... and promotional activities. There were also commit- aquatint on cream woven paper, 19¾ × 15¾ in. Proof, from tees for fund-­raising and public relations and an an intended edition of 50. Courtesy the artist Brown Nka...
Journal Article
Nka Journal of Contemporary African Art (1 May 2013) 2013 (32): 50–61.
Published: 01 May 2013
...Kerr Houston In Extra Candice Breitz blurs the distinction between active producer and passive consumer. Her decision to insert herself, playfully and awkwardly, into the plotted action of a popular South African soap opera literalizes Breitz’s long-standing interest in occupying or invading the...
Journal Article
Nka Journal of Contemporary African Art (1 November 2015) 2015 (37): 6–15.
Published: 01 November 2015
... separating “skin” from a biological schema in order to consider its ability to reflect and activate different states of racialized consciousness and corporeality. Through a study of Baker’s intricate and performative relations to various fashionable surfaces—from modern buildings to modern dress to her own...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 162–167.
Published: 01 November 2016
... people and people of color are under-represented as visitors to museums. As museums throughout the world re-evaluate their roles as active agents of social transformation, as learning institutions, and as public spaces for engagement, how are they ensuring that black people not only feel represented and...
Journal Article
Nka Journal of Contemporary African Art (1 November 2010) 2010 (27): 22–27.
Published: 01 November 2010
... postproduction on the film, on April 11, 2004, Sembène graciously granted Samba Gadjigo this interview in Rabat, Morocco. Their conversation covers diverse issues such as women in Africa, the role and responsibility of the artist, art and pleasure, cinema and political activism, and Africa and globalization...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 22–31.
Published: 01 November 2011
...Amiri Baraka This essay outlines the development and activities of the Black Arts Repertory Theater/School. Its members set up classes on history, politics, and drama; hosted plays, poetry readings, and new music concerts; and stalked through the community preaching about Blackness. Despite its...
Journal Article
Nka Journal of Contemporary African Art (1 May 2011) 2011 (28): 96–105.
Published: 01 May 2011
...-centered , multilocated area of artistic inquiry makes it possible for artists like El, with the deepest commitment to their practice and to specificity of their work, to remain creatively and actively connected to their locations. Copyright © 2011 by Okwui Enwezor 2011 Carto...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 50–61.
Published: 01 November 2011
... collectives and groups such as Spiral, Weusi, Where We At, and AfriCOBRA have similarly pursued a uniquely black expression in the context of what came to be known as the Black Arts movement. Ringgold’s journey was singular in that it led her to activism in the larger art world and in the women’s movement...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 86–99.
Published: 01 November 2011
..., and incubating the early careers of Emma Amos and others. This essay looks at how Spiral’s trip to the March on Washington and its only exhibition demonstrate a lack of aesthetic and social cohesion in the group’s main collective activities, making it a typical example of post-1945 art collectives...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 138–144.
Published: 01 May 2012
... formation and daily operations, its aesthetic principles, and how Jones Hogu sees the members’ work and activities affecting the present and future for black artists. Copyright © 2012 Nka: Journal of Contemporary African Art 2012 Barbara Jones Hogu in Conversation with...
Journal Article
Nka Journal of Contemporary African Art (1 November 2014) 2014 (35): 114–119.
Published: 01 November 2014
...Osei Bonsu Incited by the tempestuous political histories that engender the repressive conditions of the country’s social reality, South African artists often conspire toward activism. For Cameron Platter, who lives in the urbanized province of KwaZulu-Natal near the former battlefield of Rorkes...
Journal Article
Nka Journal of Contemporary African Art (1 May 2014) 2014 (34): 80–89.
Published: 01 May 2014
... departure. The act of collecting can be interpreted as a deep structural expression in Gates’s Dorchester Projects and Black Cinema House, which involve various modes of collecting and collectivizing. Such activities may expose “soft collectivities,” which are informally construed, highly representational...
Journal Article
Nka Journal of Contemporary African Art (1 June 2017) 2017 (40): 28–43.
Published: 01 June 2017
... societies and periods. Placing the sensory experience at the forefront of cultural analysis and activity has been one of the driving forces behind Camille Norment’s practice as a whole, and her project Rapture , in particular. Her practice has been inspired by the contextual relationships between sound and...
Journal Article
Nka Journal of Contemporary African Art (1 June 2017) 2017 (40): 68–81.
Published: 01 June 2017
..., sculpted, drawn, whispered, murmured, or simply inferred. Stories conveyed through the universal language of music also resonate throughout All the World’s Futures , while the potential of art to change lives and the implementation of art as a tool for social activism provide a beautiful subtext for the...
Journal Article
Nka Journal of Contemporary African Art (1 June 2017) 2017 (40): 82–89.
Published: 01 June 2017
...Ugochukwu-Smooth C. Nzewi This essay reviews the twelfth iteration of the Sharjah Biennial, 2015, a major event in the international art calendar and the most significant fulcrum of cultural and artistic activities in the Middle East and North Africa. I examine how curator Eungie Joo articulated...
Journal Article
Nka Journal of Contemporary African Art (1 November 2017) 2017 (41): 60–73.
Published: 01 November 2017
...Anne-Grit Becker In 1952 Cy Twombly (1928–2011) changed the focus of his European grand tour by making a side trip to North Africa. During his three-month stay in Morocco he engaged in activities such as assisting archeological excavations, making tapestries out of native textiles, and producing...
Journal Article
Nka Journal of Contemporary African Art (1 November 2018) 2018 (42-43): 154–163.
Published: 01 November 2018
... reportage vein in Chicago in the 1960s and early ’70s. The elder Crawford traveled to Lagos, Nigeria, in 1977 for FESTAC as part of the delegation of American artists who were invited to attend. Ten years before his FESTAC experience he had been active photographing at the Wall of Respect , a mural at 43rd...