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Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 8–21.
Published: 01 November 2011
...Margo Natalie Crawford How did the Black Arts movement become an antitext movement? How did the black aesthetic of this movement use the tension between the bound and the unbound? This essay examines the movement’s critique of a dominant “museum exhibit” cultural industry that transformed grass...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 152–161.
Published: 01 November 2016
... genres, Barnor would migrate into creating a singular portfolio of street and studio portraiture depicting societies in transition: images of a burgeoning sub-Saharan African nation moving toward independence and a European capital city becoming a multicultural metropolis. In the process, Barnor would...
Journal Article
Nka Journal of Contemporary African Art (1 June 2017) 2017 (40): 44–55.
Published: 01 June 2017
... North, the global South, and in between. Discarded objects become critical signifiers of the fever of waste-producing consumerism—notably, though not exclusively, in the postwar, fast-growing Luanda where Chagas currently lives. By rearranging these objects into new configurations, Chagas is also...
Journal Article
Nka Journal of Contemporary African Art (1 November 2015) 2015 (37): 62–69.
Published: 01 November 2015
... tensions fuel her creative work on the musical stage and also in the realm of fashion and style; they become a way of naturalizing the oddness and radicality of her liberating and liberatory rhetoric concerning racial stereotypes, gender norms, class assumptions, and perceptions of sexuality. Examining the...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 60–69.
Published: 01 November 2016
... as exemplars of good grooming in their sartorial attention to detail as words for the ladies danced off their tongues like Lord Kitchener’s calypso. These “lonely Londoners” would later become Jamaican rude bwoys, swaggering as if to a ska or reggae beat in their two-tone mohair suits, with the...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 80–89.
Published: 01 November 2016
.... Heterotemporal refers to the synchronicity of being black in the contemporary, which includes ideology, space, time, and history. This history is inescapable because, however advanced the scholarship may become, it has to connect to the context in which it is performed as well as embrace the fact that this...
Journal Article
Nka Journal of Contemporary African Art (1 November 2010) 2010 (27): 14–21.
Published: 01 November 2010
... fundamentalist historical narratives. Sembène’s films imagine alternatives to the recorded past and become a resource for continuous reinvention: Guelwaar inscribes a path out of divisive ethnoreligious essentialisms into a unified vox populi, and Ceddo uses the imagery and rhetoric of slavery to expose...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 44–59.
Published: 01 May 2012
... photographing the project becomes a new artistic performance on its own right, a process in which the artists and the photographer entered into a separate dialogue and negotiation of their own. This article reproduces many of Simpson’s photographs, along with her accompanying text, “Spirits.” Copyright © 2012...
Journal Article
Nka Journal of Contemporary African Art (1 November 2013) 2013 (33): 112–115.
Published: 01 November 2013
...-prints from The End of an Era (2010), The Brave Ones (2010), and Hope Chest (2012), represents the work of an artist whose images have become iconic in both postapartheid South Africa and the international art world. The End of an Era ’s still lifes attest to the grooming habits, romances, and interests...
Journal Article
Nka Journal of Contemporary African Art (1 November 2012) 2012 (31): 36–45.
Published: 01 November 2012
... successive tiers of social abstraction in contemporary culture as they become visible and embodied in art objects. Copyright © 2012 Nka: Journal of Contemporary African Art 2012 Glenn Ligon, Warm Broad Glow II, 2011. Installation view, Whitney Museum of American Art. Neon, paint, and powder-­coated...
Journal Article
Nka Journal of Contemporary African Art (1 November 2018) 2018 (42-43): 212–221.
Published: 01 November 2018
...Hisham Aidi Hisham Aidi traces how Malcolm X—and the black freedom movement, more broadly— have become central to Muslim youth consciousness today. He traces how today, as during the early 1960s, various governments—the United States, Britain, Iran, and Saudia Arabia—have been trying to...
Journal Article
Nka Journal of Contemporary African Art (1 May 2019) 2019 (44): 108–119.
Published: 01 May 2019
...Brett M. Van Hoesen Over a decade ago, the contemporary artist Mwangi Hutter, comprising Ingrid Mwangi and Robert Hutter, merged names and biographies to become one artist, despite differences of gender, race, age, and cultural backgrounds. Based in Berlin and Ludwigshafen, Germany, and Nairobi...
Journal Article
Nka Journal of Contemporary African Art (1 May 2019) 2019 (44): 120–131.
Published: 01 May 2019
... Gateshead, United Kingdom, and Temple Gallery in Philadelphia, Pennsylvania— Heart Beat both speaks to and acts on its presumptive Euro-American viewers. Its message, the author argues, is that in today’s globalized world, where life itself has become marginal to the pursuit of capital, all human beings are...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 196–201.
Published: 01 November 2016
... the narratives and bend an association of ideas so that a black individual in a period setting is no longer synonymous with slave subservience and, by extension, does not instill fear or mistrust. She becomes the center of her own tale and hastens it forward. Creating pieces that simulate Old Masters...
Journal Article
Nka Journal of Contemporary African Art (1 November 2001) 2001 (15): 86–87.
Published: 01 November 2001
... becoming occur. In shifts and contrasting, lingering builders. The photographic eye Daughter Parveen, Great Gemini these moments "things...
Journal Article
Nka Journal of Contemporary African Art (1 May 2009) 2009 (24): 40–47.
Published: 01 May 2009
... allows the photographer to pass in front of the Hippolyte Bayard, Self-Portrait as a Drowned Man, 1840. , , , , , . , ,, 21 r Direct Positive Print, x 24.7 cm. lens and to become the object of...
Journal Article
Nka Journal of Contemporary African Art (1 May 2002) 2002 (16-17): 60–65.
Published: 01 May 2002
...-encrust• ed jewelry), have become the aesthetic of choice. Rap videos, with their million dollar budgets, have degenerated into nothing...
Journal Article
Nka Journal of Contemporary African Art (1 May 1995) 1995 (2): 58–61.
Published: 01 May 1995
... Abstraction is comprised of a its nature, it is not an insular language. The resilience But within Modernism, it becomes inscribed in a prede• of its signage runs like a thread through many different termined lineage of ideas that represent an equivocal milieus, collapsing insurmountable distances...
Journal Article
Nka Journal of Contemporary African Art (1 May 2001) 2001 (13-14): 128.
Published: 01 May 2001
...Denise Carvalho Copyright © 2001 Nka: Journal of Contemporary African Art 2001 original and copy particularly seen tion of digital scan imagery of form becomes the object's altered OLADELE AJIBOYE...
Journal Article
Nka Journal of Contemporary African Art (1 May 1999) 1999 (10): 38–39.
Published: 01 May 1999
... populism. Evans, the work is one with the location in which it is executed. One gives Evans's choice of technique, and her delectation for the subtleties of rise to the other, and that other is created to become part of its inspiring ambiguity, belies a very...