... Africana Power Lines black icons African American history Copyright © 2019 by Nka Publications 2019 ...

...Richard J. Powell The most iconic image that accompanied the 1996 publication of 20th Century Photography: Museum Ludwig, Cologne —and one that continues to intrigue scholars of black diasporic visual culture—was the German photographer Charlotte March’s black-and-white photograph Donyale Luna...

...Michael McMillan I have been always struck by how men of my father’s generation were so well dressed in those iconic black-and-white documentary photographs depicting their arrival after a three-week transatlantic journey by sea. They wore neatly pressed suits with a white breast pocket...

... 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...

... presented in this article constitute part of a larger book project of the same title, now under way, that interrogates the cultural, aesthetic, and ideological discourses fostered by Benga’s physical presence and position as transnational icon of black agency within American and European modernist practice...

...Lyle Ashton Harris This essay was originally presented as a speech I was invited to give at New York University’s conference Black Portraiture[s]: The Black Body in the West in 2013. The essay addresses my personal experiences as well as critical observations of the performance and production...

... of grounds formal and thematic ambiguity over and black iconic heroism have been the subject of some above didactic explication in order to engage audi- scholarly attention, no less than his works com- ences intellectually, philosophically, and aestheti- memorating black revolutionary activism...

... be• human figures. A block of identical names of Black icons scrawled across gan taking photographs at age eigh• row houses on a garbage strewn street the back of these heads like...

... and formal principles in art moves beyond a depicted black icon (or illus - that undergird both visuals and sound . 120 •Nka Journal of Contemporary African Art...

... dia• that they see as most appropriate for their comes as it were to be the other of the oth• logues with Hegel and Sartre involve a project e.g. as a black icon to produce and ers. She desires but is not the object of decentring of the Cartesian subject. Based prop...

... by the media. Art at Cornell University This is salient because in "Black Belt," cultural confluence is viewed through the sexed-up, hyper-masculinized bodies of popular icons. In the exhibition catalogue, Kim examines her...

..., Part of the exhibition, Barkley L. Hendricks: Birth of the Cool. Nastier Museum of Art at Duke University, Feb. 7-July 13, 2008, Icon for My Man Superman (Superman never saved any black people—Bobby Seale), 1969...

... troversy. So I decided to make a visit on my own to the artist's one- more disheartening and problematic, such as why Ofili would, on the man show at the Serpentine Gallery, and subsequently to see his one hand, embrace Black popular cultural icons, borrow from a slew...

... of personal and collec• celebrities, sports icons and black plexity of the subject Charles ex• tive memory, seeking to unravel face circus animals in harlequin plores leads one to ask whether his their incipient power...

...• and aesthetic languages can be thought of as icon- graphic self-portraits reveal one vision of black• oclasm against one's own heritage. However, this ness, one demarked by extreme liberty in his per• reading would be in conflict with the truly hybrid petual self-imaging and refashioning. Exercising...

... the iconic symbol of the Black open palm has been given a similar whiteout treat- Power movement was the black clenched fist, ever ment. Both hands are black, and written in white ready to deploy the same coercive violence the state paint at the bottom-right of the respective canvases claims as its...

... are in fact appropriated from those found in Cent is posed as the villainous cinema icon classical Western masterworks, Wiley seems to Scarface. understand the ideological stakes at play in the The black villain, as a "heterosexualizing sym...

... of an Olympian, stark as an icon. Last of the neon’s blackness, a dark figure set against the to emerge are the handful of faces, deeply embed- dematerialized ground of white light. ded at the lower right. A silent examination of self-­ Glenn Ligon: AMERICA, a midcareer survey representation...

... of personal and collec• celebrities, sports icons and black plexity of the subject Charles ex• tive memory, seeking to unravel face circus animals in harlequin plores leads one to ask whether his their incipient power...

...Amy Ongiri In Death 24x a Second Laura Mulvey argues that cinematic images belie the deathlike qualities of still photography because of their ability to invoke the appearance of life through motion. This essay examines film and video projects that use found footage and still images from the Black...