...Cheryl Finley Copyright © 2004 Nka: Journal of Contemporary African Art 2004 IMAGINED HISTORY: THE WORK OF TERRY ADKINS Cheryl Finley...

... eties, and transforms it into a form of—and I beg the reader to for• Adkins, like Cole, prefer the use of materials already inhabited, give such awkward word—a mytho-fiction, that borrows freely because of "their potential disclosure"—in the words of Terry...

... James Marshall, Ouattara, Rotimi of their counterparts from around the world will Fani-Kayode, Carrie Mae Weems, Jean-Michel Bas- remain inaccessible to vast sections of the populace quiat, Ghada Amer, Terry Adkins, and others—have in Africa. Only through the creation of such institu- distinguished...

..., and Elizabeth Catlett in forms of racial violence against black and other non- the 1940s and 1950s, and Carrie Mae Weems, Kerry white bodies. Today, works by critical theorists such James Marshal, Terry Adkins, Robert Gober, and Hank Susan Sontag, and Hazel Carby (whose essay...

..., the principle character in Bradley s video, to find brief moments of comfort and togetherness with her fiancé, Desmond, amid their perpetual separation. While these two works articulate experiences surrounding the veritable death of one s personal freedom, four prints by Terry Adkin of x-rayed memory jugs (2012...

... 1980s Amos learned from the sculptor Terry Adkins about the techniques of painting acrylic mediums on silk as a block-out in platemaking. His brief...

... at the Venice Biennial in 2015 with artists such as Lorna Simpson, Kerry James Marshall, Isaac Julien, Adrian Piper, Melvin Edwards, Wangechi Mutu, Coco Fusco, Sonya Boyce, Samson Kambalu, Terry Adkins, as well as Theaster Gates. 35 Also see Nana Adusei-Poku, “Catch Me, If You Can...