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... better to have a face-to- space of Carroll/Fletcher’s Fitzrovia ‘real’ people, and more often online?”3 face conversation with others than gallery and the latter taking up a large Abebe (who also had a solo exhibition over a computer—otherwise some- part of the expansive and airy floors...

... of harmonious and dissonant sounds that ultimately convey a sense of freedom and power, but also vulnerability. Boyce describes the process of bringing together films, wallpaper, sculptures, and archival material as a means of somehow harnessing chaos and bringing it back to order. 4 At the center of it all...

... of this culture. interested in current forms of mass gathering within Much less widely known is Harlem’s distinct public contemporary African diasporic artistic practices ceremonial culture, which once comprised not just even as their political goals might not seem imme- political demonstrations but also...

... to the curators’ intentions. The new pavilions representing Zimbabwe, South Africa, and Haiti brought an influx of artistic positions to Venice but also demonstrated anxiety about under-or misrepresenting their art scenes back home. Copyright © 2012 Nka: Journal of Contemporary African Art 2012 Conspicuous...

..., to handle it and mold it and turn al, Mntambo's work explores the fine line between it and transform it was to engage in communion what is assumed to be attractive and repulsive. with that history also, to reiterate it, almost sensous- Expectations of ideal feminine beauty are disrupt• ly, almost...

... ingful relationship to the Musee du teenth-century picturesque would be of the wealthy, but also to mine what Quai Branly's permanent gardens. familiar to the many visitors to the 168* Nka Journal of Contemporary African Art Musee du Quai...

... with a disembod• both light and darkness and the view• exhibition catalogs of artists such as ied human presence. With her gothic er's silhouette." It is also the most Jean-Charles Blais, Richard Turtle, and arch-style stained-glass windows fil...

...- tent, the film is the second part of a triptych which for me embodies the heroism of the everyday. It happens that today we have too many wars in Africa, especially in Africa south of the Sahara. But there is also our daily life, the life that continues after all, with our daily actions from...

... not only is diverse in its tendencies but also relates in diverse ways to different trans/national traditions and models. Copyright © 2010 Nka: Journal of Contemporary African Art 2010 African Screens (Re)Viewed...

... this material: Who painting’s entrapments. Cullen is also expanding the con- is the hero? What does he or she represent? Who are the versation about the hidden implications of masculinity and followers and the worshippers? race versus the purity of painting semantics...

... on paper, 30 × 24 in. Azzi-Lusenhop Black Arts Movement Collection, and solo exhibitions internationally. He also served courtesy the artist as a professor, art department chair, and dean of the College of Fine...

... riven such rock formations, these enormous cliffs, the by intertribal wars, sometimes astutely encouraged streams edged with scented bushes, the rocky clefts, by settler farmers (Boers). But it had also received the dense undergrowth, the steep, picturesque over...

... blackness simultaneously. This double the very word. It is also the tensions between these consciousness elaborated on by Gilroy, and so poeti- dichotomies embedded in its meanings that persist cally introduced into the Black Atlantic lexicon by in dialogues within a dynamic Black Atlantic and W. E. B...

... of the gecko, a lizard tionship to the landscape. The 5-­minute-­51-­second that appeared to him in a dream and that he uses to video also reveals the very diverse materials that convey concepts of searching...

...- stands out. In the process, however, the unidirec- rity of the narrative world of Generations, might tional logic of consumer culture is also challenged, they issue other challenges, as well? or at least reimagined. So, too, with Extra, in which The piece’s prehistory helps to grant...

... occurred, Accounts of what sparked the disturbances of we should also be mindful of the extent to which April 1981 vary. To gravitate to one particular ac- the residents of St. Paul’s—a predominantly Black count over others, you pays your money, you takes inner-city district of Bristol, a city...

... of Black social upheaval. Her images reveal the extent to British artists. He is also an associate professor in the which both aspirations and experiences tend to find art history department of the University of Texas at particularly direct, poignant, and powerful expres- Austin.  sion through...