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africobra

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Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 76–83.
Published: 01 May 2012
...Jeff R. Donaldson In the AfriCOBRA manifesto Donaldson describes the origins of the group and its aesthetic principles: “The expressive awesomeness that one experiences in African art and life in the U.S.A. like the Holiness church . . . and the demon that is the blues, Alcindor’s dunk and Sayer’s...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 84–89.
Published: 01 May 2012
...Jeff R. Donaldson Since its beginning in 1969 in Chicago, AfriCOBRA has espoused an Afrocentric aesthetic vision. At the same time, it has deemed demeaning any art that posits African peoples as hapless victims, and therefore it has sought to produce a celebratory art—one that reflects cultural...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 90–97.
Published: 01 May 2012
...Barbara Jones Hogu This essay explains the founding of AfriCOBRA as a cohesive, collaborative artists’ coalition that worked with an accepted philosophy and aesthetics to create positive images regarding their ethnic group’s social, economic, and political conditions, regardless of the media or...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 98–103.
Published: 01 May 2012
...Napoleon Jones-Henderson This essay, written by one of AfriCOBRA’s members, places the group as an aesthetic life force and a way of seeing the visual world coupled with the social, spiritual, relational, and political realities. The members of AfriCOBRA agitated for a new aesthetic, a new sense...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 128–139.
Published: 01 November 2011
... 11, 2011). 11. Toni Morrison, Playing in the Dark: Whiteness and the Liter- sentation (2006), and is a member of the artist col- ary Imagination (New York: Vintage, 1993), 17. lective AfriCOBRA. 12...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 138–144.
Published: 01 May 2012
... Barbara Jones Hogu was a founding member of AfriCOBRA, a collective of painters, photographers, printmakers, textile designers, and sculptors that Jeff Donaldson founded in 1968 in Chicago. This interview covers Jones Hogu’s participation in AfriCOBRA and deals with questions about the group’s...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 8–21.
Published: 01 November 2011
... textualization of gesture and process. This antitext struggle is brought into close relation with the often unrecognized conceptual art movement at the core of the Black Arts movement. The AfriCOBRA tenet of “mimesis at mid-point” leads the author to a reconsideration of the explicit theorizing, during this...
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 May 2015) 2015 (36): 40–47.
Published: 01 May 2015
...Nicholas Miller This article examines AfriCOBRA cofounder Jeff Donaldson’s painting Ala Shango (1969) in relation to the 1968 Chicago riots and the militaristic and Pan-Africanist rhetoric of the Black Nationalist movement. Specifically, I discuss the artist’s appropriation and incorporation of a...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 4–7.
Published: 01 November 2011
... movement inspired a tremendous solidarity among who formed or joined in forming collectives such as artists of African descent in the United States and AfriCOBRA, “Where We At” Black Women Artists, other parts of the African Diaspora. The rise of a Spiral, and Weusi, as well as others who operated...
Journal Article
Nka Journal of Contemporary African Art (1 November 2009) 2009 (25): 120–127.
Published: 01 November 2009
...,” Africobra, the African Commune of Bad Relevant “frenzy,” or perhaps “chaos.” 12 Here, Douglas is Artists. 5 speaking of music that emerged from the descen...
Journal Article
Nka Journal of Contemporary African Art (1 May 1999) 1999 (10): 69.
Published: 01 May 1999
... philo• ly, post-structuralist and feminist ap• livened this formulaic temporal blue• Africanisms in the New World; AfriCobra sophical and aesthetic debates preva- proaches to identity formation which print by selecting a...
Journal Article
Nka Journal of Contemporary African Art (1 May 2015) 2015 (36): 4–5.
Published: 01 May 2015
... affect change. We do not mean change in the physical appearance of things, but change in the behavior of human beings.”1 And the third was the Jeff Donaldson–led, Chicago-based AfriCOBRA group, which firmly aligned itself with the Black Arts movement and outlined a formal style and community...
Journal Article
Nka Journal of Contemporary African Art (1 November 2013) 2013 (33): 56–69.
Published: 01 November 2013
... century and beyond. Alexander “Skunder” Boghossian Whereas the sonic montage aesthetic developed by bebop and jazz artists in the United States had clear affinities with the work of modernist Afri- can American artists such as Romare Bearden and, less evidently, the work of the AfriCOBRA...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 60–67.
Published: 01 May 2012
... Saunders; noted artists and scholars onstrating the longevity of community involvement Faith Ringgold, Ben Jones, and Benny Andrews, and and support; it paved the way for “Harlem Week,” a AfriCOBRA members Frank Smith, Barbara Jones major celebration held to this day. Hogu, Napoleon Henderson, Akili...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 130–137.
Published: 01 May 2012
... began to think about what made a poem black, what was this black aesthetic in terms of photography? BC: I think that was what was so important, I remember I went to an AfriCOBRA meeting once, and I didn’t realize that there was so many poets working together or writers work- ing together or...
Journal Article
Nka Journal of Contemporary African Art (1 May 2014) 2014 (34): 4–7.
Published: 01 May 2014
... specificity by a lone American filmmaker and a British con- of work by black practitioners, let alone charts their ceptual duo—begin to suggest the multiplicity of debts to previous groups, such as Chicago’s own phenomena that black aesthetic collaboration has AfriCOBRA, which are finally beginning...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 68–75.
Published: 01 May 2012
... Gallery expands the exhibi- and Bob Macbeth evolves into collaboration of the tions to include non-­Weusi members, including new Lafayette Theatre and the Weusi Academy from Valerie Maynard, Ben Jones, Frank Smith (who 1969 to 1973. The collaboration sees the production later becomes an AfriCOBRA...
Journal Article
Nka Journal of Contemporary African Art (1 November 2014) 2014 (35): 32–41.
Published: 01 November 2014
... culture work of black artists featured in the 1991 traveling while attending Black Mountain College from 1949 exhibition Black Art / Ancestral Legacy. He cites the to 1952. This invariably impacted his decision to principles of AfriCOBRA, using the urban colloqui- branch out into making “combines...
Journal Article
Nka Journal of Contemporary African Art (1 May 2009) 2009 (24): 136–143.
Published: 01 May 2009
..., unique, privileged relations to the abstract. AFRICOBRA, he continues to paint and exhibit A. D. Coleman. his work regularly. But it is his work as a photog• rapher that makes Cowans like no other. Adger Cowans was at the forefront of kneading The...