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Nka (1996) 1996 (5): 14–16.
Published: 01 November 1996
..., raced, or economic conditions which have sup• ported the assumptions of expressionism. Ghada Amer left Egypt at an early age to live in France. Upon her arrival in Paris, she was surprised and dismayed to discover that the clothes which she had worn inconspicu• ously in Egypt now looked...
Nka (2009) 2009 (25): 8–29.
Published: 01 November 2009
... artists, Through Sirry’s work it is possible to read, for Gazbia Sirry and Ghada Amer, who belong the most part indirectly, the post-Nasserite political...
Nka (2013) 2013 (32): 30–35.
Published: 01 May 2013
...Chika Okeke-Agulu Ghada Amer’s 2010 work 100 Words of Love is the product of a tactical realignment with aesthetic principles evident in her early work, and a radical rearticulation of those principles as groundwork for new sculptural forms. While it is impossible to predict the works’ reception...
Nka (2013) 2013 (33): 100–111.
Published: 01 November 2013
... the international slave trade was made illegal—to the present day, the exhibition features more than forty artists, including Berni Searle, Wangechi Mutu, Tchif, Christine Dixie, Hassan Echair, Batoul S’Himi, Sammy Baloji, Nyaba Leon Ouedraogo, El Anatsui, and Ghada Amer. Copyright © 2013 Nka: Journal...
Nka (2001) 2001 (15): 13.
Published: 01 November 2001
... Enewzor's land• mark exhibition, The Short Century: Independence and Liberation Movements in Africa 1945-1994. Ghada Amer, Sue Williamson, and Ibrahim El Salahi, three of the participating artists, were among the panelists. My remarks, which I am in part sharing with our readers, were by no means...
Nka (2000) 2000 (11-12): 86–91.
Published: 01 May 2000
... to China, Omar went to Russia, Hazem went to Switzerland, Ahmed is now in Argentina. I actually began to exhibit their works as a group before their return to Egypt. Ghada Amer is another artist whose work I exhibit. I had heard a lot about her, was very interested in her work and thought...
Nka (2008) 2008 (22-23): 38–49.
Published: 01 May 2008
... globalization of the African diaspora. It attempts to provide insight into the diaspora from an inter• national perspective, revealing it through the art Ghada Amer and stories of the artists themselves. Touch Me Group (3) - Tanks...
Nka (1998) 1998 (8): 46–51.
Published: 01 May 1998
..., Shirin Neshat, Stan Douglas, Rona Pondick, Ghada Amer and Eugenio Dittborn. It also succeeds in introducing South African artists that are well-known lo• cally such as Penny Siopis, Sue Williamson, Andries Botha, Malcom Payne, Wayne Barker, to an interna• tional audience. Striking examples...
Nka (2011) 2011 (29): 8–21.
Published: 01 November 2011
... he paratext of the first book, in African Amer- ican literature, with the title Black Power — TRichard Wright’s 1954 travel narrative...
Nka (1998) 1998 (9): 11.
Published: 01 November 1998
... participated in major group exhibitions including the Sao Paulo Bienal and The Edge of Awareness, an itiner- antinternational exhibition to commemorate the fiftieth anniversary of the World Health Organization. The later featured work by Ghada Amer, Ouattara, Touhame Ennadre, Willie Bester and myself, among...
Nka (2014) 2014 (35): 4–5.
Published: 01 November 2014
... 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...
Nka (2016) 2016 (38-39): 110–120.
Published: 01 November 2016
... Amer, but conversations and observations the artist has over- whereas Amer’s bodies are stitched onto the canvas, heard in the streets in Bridgetown, not unlike the the contours in Ishi’s works are drawn out using recordings made by William Dyott more than three string that is glued onto...
Nka (2010) 2010 (27): 126–128.
Published: 01 November 2010
... tion was a new work, and although Mu tu’s2001 although and work, new a was tion exhibi the in pieces the of None ica. Amer North in show solo first her and mounting of the artist’s work in Canada large- first the marked exhibition in three stallations, and numerous collages...
Nka (2013) 2013 (32): 36–49.
Published: 01 May 2013
... Saints may be viewed in the context of a post- Reconstruction rede nition of African Amer- icans in which cultivated tastes were increasingly narratives that had relevancy to their enslaved con- important. An appreciation for reading good books dition and hopes for deliverance. Of these arrange...
Nka (2012) 2012 (30): 36–43.
Published: 01 May 2012
..., when, where, and why. “It’s all about docu- As Hatch progressed in his research of black Amer- mentation,” Billops says, time and again. “No one ican theater history and conducted interviews for rescues us. . . . Ain’t nobody comin’ for us. . . . his oral histories, he discovered that nearly every...
Nka (2002) 2002 (16-17): 95–98.
Published: 01 May 2002
... first wearing a business suit and now a Superman suit. Pope.L's voice has been resolutely heard in numerous strong and diversified bodies of work and was audible again in the 2002 Whitney Museum of Amer ican Art Biennial which commissioned a performance piece, The Great White Way (2002...
Nka (2013) 2013 (32): 138–141.
Published: 01 May 2013
...” mantra mantra people” the for “art The riod. music of exception — ﬁelds inall — creativity ican Amer African embraced that polemics the remember to has one seem, may astatement such as a commonplace much As practice. art contemporary then- of range whole inthe...
Nka (2014) 2014 (34): 34–39.
Published: 01 May 2014
... of Contemporary African Art • 34 • Spring 2014 prejudice affords. We can look to any popular cul- ongoing massive redistribution of wealth from the tural image celebrating black wealth — Oprah Win- poor, working, and middle classes to the wealthy.8 frey presented as one of the richest people in Amer...
Nka (2012) 2012 (31): 36–45.
Published: 01 November 2012
..., end, Ligon’s pivotal place within the intervention- the exhibition then achieved a smoothly synthetic ist art of the 1990s was represented as a reflexively level of introspection in its second. This included a conceptual engagement with art history and Amer- smartly installed gallery of rarely...
Nka (2014) 2014 (34): 14–21.
Published: 01 May 2014
... African Art • 34 • Spring 2014 The Radiant, film still. Courtesy and © the artists and drama made by filmmakers from India, from Japan, from relation to the ethical imperatives of documentary, which various parts of Africa, from the Caribbean, from Latin Amer- often presupposes an inherent virtue...