... Rowland Abiodun. Cambridge: Cambridge University Press, 2014 Copyright © 2017 Nka: Journal of Contemporary African Art 2017...

...David Hammons Copyright © 1995 Nka: Journal of Contemporary African Art 1995 DAVID HAMMONS Artist BILLHUTSON...

...Chika Okeke-Agulu The three artists discussed in this essay represent three generations of artists whose work exemplifies the accomplishments of African modernism and its enduring legacies as well as the complex conceptual, cultural, political, and ideological resources that constituted...

...Emily C. Burns [email protected] Copyright © 2022 by Nka Publications 2022 Transverse Spaces African American Cultural Production in Paris, 1900 Emily C. Burns T humbing through one of the albums compil­ ed by W. E. B. Du Bois rendering Negro Life in Georgia, U.S.A., featured...

...Kristen Windmuller-Luna African architecture is having a moment in European museums. Joining the crowd is AFRICA: Architecture, Culture, and Identity , an ambitious and contradictory exhibition at the Louisiana Museum of Modern Art in Hummelbæk, Denmark, June 25, 2015–October 25, 2015. Divided...

... Brooklyn Museum, New York. April 29–September 18, 2016 Copyright © 2017 Nka: Journal of Contemporary African Art 2017...

... on, twentieth-century American, European, and black diasporic art and culture. It seeks to contextualize as well as critique a select sampling of visual representations and performative operations of this enigmatic African, who conscientiously exploited the interests and conceits of modernism and primitivism...

... hundreds of sketches that he estimated were crucial for his later paintings. This article analyzes Twombly’s North African sketchbooks, a group of drawings in crayon and pencil on typewriter paper that was produced after the artist had returned to Rome and while he investigated African art and culture...

...Tobias Wofford African art has played a role in the practices of studio-trained African American artists since the Harlem Renaissance. As knowledge about African art has grown and changed, so too have the ways in which artists have appropriated such art and imagined their relationship...

... met Connie Matthews, the executive director of a UNESCO cultural organization based in Copenhagen and an organizer for the Black Panther Party. Matthews told Wade about the upcoming Pan-African Cultural Festival (PANAF) in Algiers and encouraged him to attend. By then Wade had been working...

...Tsitsi Jaji The large-scale Pan-African festivals held in Senegal, Algeria, and Nigeria (1966–77) are recognized as central to forging a transnational repertoire of cultural practices and memories that are the bedrock of a post-independence global black consciousness. Nevertheless, such festivals...

...Barbara Murray In 1962, African and international delegates met in Africa for the First International Congress of African Culture. This little-known event showcased the superb aesthetics and power of both classic and contemporary African arts, refuted bias and misrepresentations, and demonstrated...

... scholars of Marxism have, thus far, ignored non-Western (including African) contributions to Marxism as they have been appropriated and reshaped in the context of decolonization and postcolonial struggles. The author revisits the contribution of non-Western Marxism to the discourse of liberation...

...Ahmed Bedjaoui A few years after achieving its independence in 1962, Algeria, under the umbrella of the Organization of the African Union, organized the first Pan African Cultural Festival, referred to as PANAF. The festival it took place in Algiers in July 1969 during a time when a few African...

... and periods. Resnais’s and Marker’s film coincided with the emergence of anticolonial culture and consciousness, which hinged on the African self-narrative and activist movements connected to the Parisian publishing house Présence Africaine . Attia’s work situates us in an indefinite period between World War...

...Salah M. Hassan The field of contemporary African and African diaspora art and culture is currently riddled by two paradoxes. First, in Africa and its diaspora, we are witnessing a burgeoning of creative energy and an increasing visibility of artists in the international arts arena. Yet...

... on one’s interpretive predilections, but, most important, it emphasizes that historical actors on the Swahili coast of eastern Africa did not worry about what was authentically local or indigenous in the making of modernity. In coastal eastern African port cities, the photograph became instantly popular...

...Okwui Enwezor Copyright © 1994 Nka: Journal of Contemporary African Art 1994 ...

...Salah Hassan Copyright © 1995 Nka: Journal of Contemporary African Art 1995 THE MODERNIST EXPERIENCE IN AFRICAN ART Skunder Boghassian.Time Cycle II, 1982 (Embossed bark cloth-30" x 40 Collection of the artist. VISUAL...

...Robert Condon Copyright © 1994 Nka: Journal of Contemporary African Art 1994 ...