...Shelly Eversley Copyright © 2003 Nka: Journal of Contemporary African Art 2003 Olympia's Boyz, 2000, archival digital C-print mounted on aluminum Courtesy Robert Miller Gallery, New York RENEE COX iw BIG PICTURE...

...Salah Hassan Copyright © 1999 Nka: Journal of Contemporary African Art 1999 Little Big Horn on the Seine Salah Hassan on Ousmane Sow's Epic...

... the legacy of racism in small and big ways in South Africa. He was at the center of critical debates about race and representation. While there are all kinds of practical guidelines for how to talk about racism within the larger culture, we still do not have one for talking about racial inequality and racism...

... began her career making figurative oil pastel and charcoal portraits that have become synonymous with black artistic practices of the 1980s. This article presents a new reading of three of these iconic portraits— Auntie Enid–The Pose (1985), Missionary Position II (1985), and Big Women’s Talk (1984...

... of Venezia and La Habana and Kwanju and Johannesburg, 1998 is I a somewhat different year. Although we have seen and will see a few more of the big shows this year, with Dak'Art just over in Senegal and the Sydney and Sao Paulo biennials coming ahead in the Fall, in the main 1998 has been...

..., because if a package on it, it doesn't have legitimacy. Most countries must you took maize from Africa and put it here, within two days it would support genetic engineering because a big push is coming from the be gone, dead. So the fact that you can eat it here means there is States. It's...

... continued use of ab• stracted lips, big eyeballs, and Gagosian...

... just ask and she will show them, but it should be an occasion, because it’s a big deal to pull out all those slides. Why didn’t they invite Faith Ringgold? They were scared to death of Faith. [laughs] She threatened them beyond belief. There was no way...

... patterns evoke the psychedelic swirls of the 1970s, the heyday tition of the theme of the big hearted Black whore might be disturbing of Afrocentrism and Black Power. So do the carefully selected frag• to some, but it seems to me that Ofili is excavating...

... that Male is that a lot of museums are now interested in encouraging role is or what kind of art you do. I think that's a big thing in new communities of people to come into the museum for the terms of who is excluded from this show and what this show...

... of the photographer’s (and the viewer’s) desire for a big black dick as the only thing that could be of value or desirable from the black man, given the fact that there is no head...

... the universal and forget these small differences, But only now are they like this, because there’s this amazing and Relation is wonderful because it doesn’t allow us to do mixture, this incredible complexity. And because of that, that. There is no such thing as a Relation made up of big it’s...

... • 51 Big Black, 1967. Oil on stretched canvas, 30 × 36 in. © Faith Ringgold 1960s, Faith resolved in the summer of 1963 to initi- courage, and determination. Her goal in Ameri- ate her first mature work and to give birth to a style can People was nothing less than to announce her that she could...

.... This allowed me to special resonance for me. think creatively and take risks. There were big gath­ erings around food with conversation and laughter. I have always been interested in working-class During Documenta11, there was a big kitchen with politics such as the miners strikes, the Grunwick dis­ food...

... in a While this may seem an essentialist categories of a great big melting pot central narrative is carried through game of tag, but only...

... as a sub• TG: Big institutions don't. ject. OE: Why not? OE: Discussing questions of race and the kind of conventions of race consciousness in artistic practice brings to mind the recent contro• TG: Unfortunately, what rules big...

... of disarming irony. It grew out applause and vitriol in equal measures. A reality of a benign form of piracy, and it took a while for TV show called Big Brother Africa was screened on even its earliest producers to acknowledge its legit• network television across the continent. Eight...

...- version,” then how do we read Nigerian/British Iartist Yinka Shonibare’s 2002 sculpture or “dress” The inevitable logic with which we are confronted is (his word) Big Boy? The crimes, sexual and racial, not so much that the black, the Negro, the colored...

... entitled AIDS Tunnel (2004). when I was given a studio was a big Presented in Lusaka to a largely drawing on the wall, and I really liked Zambian audience, Konse...

... of the time and that we hanging out. It’s ridiculous. I feel guilty about it, but again, could ask hard problems and then solve them within our I realize hanging out can be really fruitful. own ways of being. If space was the big art problem that I was solving gesturally, theoretically, and utopically...