... to nd out what ist, and writer. His photography of jazz musicians was going on in the music world. appears in his book Black Borders (1980). His concep- My h, and nal, shoot of Miles came in June tual photographic artwork exhibition, Black Dreams/ 1985. He called me and said...

... is important for painting today, science fiction and outer space as a frontier for blackness, Ralph Ellison’s influence on him, and Washington’s artistic and cultural inspirations, as well as his experiences as a graduate student. Copyright © 2010 Nka: Journal of Contemporary African Art 2010...

... Araeen’s 1989 exhibition The Other Story , the first major attempt to create a broad black British art history, and several other not dissimilar, exhibitions. The article also considers what changes to the fortunes of a small number of black British artists might be deduced from the awarding of honors...

...Julia Elizabeth Neal Susan E. Cahan’s Mounting Frustration: The Art Museum in the Age of Black Power is a meticulous case study into an embattled New York art establishment, which black artists critiqued as perpetuating racist, exclusionist collecting and exhibition practices during the 1960s...

...Richard Hylton In Britain, black artists are arguably receiving the most sustained level of attention in a generation, from several historical exhibitions and international conferences to academic-based research initiatives and acquisitions by prestigious national museums. While offering artists...

...Salah M. Hassan In 1986 Gallery 1199 in New York and the Muse Community Museum in Brooklyn jointly organized a two-part exhibition for “Where We At” Black Women Artists, the collective of African American women artists. The exhibition was an initiative of “Where We At,” when its members decided...

...Kay Brown Although the Black Arts movement of the 1960s and 1970s signaled one of the most significant developments in recent American art history, black women artists, for the most part, were underrepresented in major gallery and museum exhibitions at the movement’s inception. “Where We At” Black...

... effort by the younger artists, represents a move man’s focus on Cordelia’s assumption of the prosti- against this exhibition. The title itself anticipates tute role when she happens to walk into the theater the Black Arts title Black Fire. Instead of an open- “simultaneously” with the narrator.32 She...

...Régis Durand In this interview Régis Durand asks the French Algerian artist Kader Attia about his 2008 exhibition at the Centro Huarte de Arte Contemporáneo (Navarra) and his ideas for the four different pieces exhibited. Durand is particularly interested in the genesis of these different works...

... and the arts; to foster better international and interracial understanding; and to give Black artists, writers, and performers all over the world a feeling of belonging to a common root despite the diversity of their individual cultural identities.” Marilyn Nance was the official photographer of the North...

... of transatlantic slavery provided the capital that galvanized white Western art systems of patronage, collection, and exhibition into existence. He represents black women, men, and children as the appropriate subjects of fine art at the same time that he remains dedicated to restoring the history...

...Yukiya Kawaguchi The exhibition A Fateful Journey: Africa in the Works of El Anatsui began at the National Museum of Ethnology, Osaka, in September 2010. My two main goals as curator were to dedicate a large-scale show to one living black African artist and to represent Anatsui’s artworks through...

...Angela Read Lloyd Moses Tladi was a realist painter at a time when realism was internationally accepted and admired. This article outlines his life and offers an assessment of his deserved place in Africa’s art history. Tladi first exhibited in 1929 and in 1931 was the first black artist to exhibit...

... concept that Lovell envisions, part encomium with historical subjects and themes was evident in and part memorial. His interest in blacks in the his 2008 exhibition Kith and Kin, which included military is multilayered: his maternal grandfather, several large-scale...

... the material production.1 Indeed, I first saw this work, now in the collection of the Hampton University Art Gallery in Virginia, in the exhibition To Conserve a Legacy: American Art from Historically Black Colleges and Universities at the Studio Museum of Harlem (1999, traveling), eye-opening for its exposure...

... by the artists to underwrite the 2010 Neuberger exhibition, in themselves. On the surface the new arrangement had which American People and Black Light were shown good prospects — the move to SoHo for one — but together in a major museum in the Northeast for the underneath there was the unmistakable...

...Susanna Newbury Zwelethu Mthethwa: Inner Views , at the Studio Museum in Harlem from July 15 to October 24, 2010, was the first major US museum exhibition of the South African photographer since 2003. The show drew from three of the artist’s photographic series to focus on the domestic interiors...

... works were not selected for the and trees become one as they merge and overlap, exhibition, maintained that black artists had been crowded onto the picture surface and rendered in favored over white artists. Cilliers-­Barnard dis- a myriad of tonal values and subtle Venetian reds...

... conversations that Rauschenberg was inextri- to diverse cultures from Africa is evident in the cably influenced by southern vernacular 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...

... and Pleasure Dineo Seshee Bopape, excerpt from Silent Performance, 2008. Eighty slides and slide projector. Courtesy and © the artist Diabate Nka 153 Naminata Diabate O n February 5, 2009, an exhibition curated by Khwezi Gule and Selene Wendt opened at the Stenersen Museum in Oslo, Norway. Titled Beauty...