... This article presents excerpts from an intergenerational dialogue between the photographer Robert (Bob) Crawford and his daughter, Cornell professor of English Margo Natalie Crawford. Copyright © 2012 Nka: Journal of Contemporary African Art 2012 Intergenerational...

... From “Black Collectivities: A Conference,” held May 3–4, 2013, at Northwestern University’s Mary and Leigh Block Museum of Art, the Museum of Contemporary Art Chicago, and the University of Chicago’s Arts Incubator. This conversation followed presentations by Theaster Gates and Romi Crawford...

...Romi Crawford Romi Crawford explores the affective bonds that ensue from scenes of collective black consciousness. She launches her article on the premise that each event has unique and complicated pre-stories that are harder to get to, but awareness of which helps in better understanding both...

...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...

...Romi Crawford From “Black Collectivities: A Conference,” held May 3–4, 2013, at Northwestern University’s Mary and Leigh Block Museum of Art, the Museum of Contemporary Art Chicago, and the University of Chicago’s Arts Incubator. This article attends to the various loci that promote black...

...Margo Natalie Crawford This essay considers the very use of the word “black” in diasporic freedom struggles as a type of strategic abstraction. Crawford’s focus on blackness as a strategic abstraction deepens our understanding of the practice of diaspora as the practice of black abstraction...

...Margo Natalie Crawford; Salah M. Hassan Copyright © 2018 Nka: Journal of Contemporary African Art 2018 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. ...

...Cair Crawford Copyright © 1999 Nka: Journal of Contemporary African Art 1999 REVIEW...

... Copeland, Romi Crawford, Theaster Gates, Rick Lowe, and Claire Tancons. Copyright © 2014 Nka: Journal of Contemporary African Art 2014 QUESTION & ANSWER • 3 Participants Rashayla Marie Brown, Huey Copeland, Romi Crawford, Theaster Gates...

... an NKA review (No. 10, spring-summer, 1999) by Cair Crawford or a point of departure. His relationship to the artists Adrian as "infected, wounded and incontinent, the figure imbued with Piper, Lyle Ashton Harris and Jacob Lawrence, while not imme• suffering."6...

... and scholar Cair present seem smoothly connected at a structural Crawford offered a somewhat essentialist reading level beyond the intentionality of the artist or the of the work of William Pope.L by tying his messy reader. Consider Alison Saar’s discussion of ways in performance style with Fon power...

... is to the about, even pictures of, the dead fathers and grand• left with the cross over it your son Joe" (sicis the fathers who were lost to racial violence. The staging of the folkways humor that undergirded Crawford family of Chicago and South Carolina, racial violence particularly...

... dukeupress.edu/nka Nka JOURNAL OF CONTEMPORARY AFRICAN ART 6 • Nka Journal of Contemporary African Art • 29 • Fall 2011 perspectives, which often overlap and intersect with of above-­mentioned texts: Crawford, Ongiri...

... it. Other photographers within the contingent included Adger Cowans, Robert Crawford, Roy Lewis, K. Kofi Moyo, and Ed Sherman, to name just a few. Such personal records are becoming more visible and activated. 53 Memory and material artifacts walk together to preserve the spirit of FESTAC and its legacy...

... Black Arts Movement is outlined both by Mercer and Margot Natalie Crawford, who remind us of its prominence in transnational formations of radical black aesthetics.35 Indeed, in his Raphael Samuel Memorial Lecture, Hall asserts that mon- tage formed a central part of a polemical and po- liticized art...

..., who also though in the case of collectivity these oversights included Romi Crawford, John Corbett, Theaster are particularly glaring, since, as the literary scholar Gates, George E. Lewis, Rick Lowe, Elvira Dyan- Frances Smith Foster once put it, “creative coopera- gani Ose, Cauleen Smith...

..., and at Governors State University . . . , so . . . I’m learning on them. I’m learn- ing to shoot and edit. . . . I have a lot of editing to do. I’ve shot a lot, but I have to edit—so I have a lot of editing to do. So I shall see. But I’ve shot . . . Arlene Crawford, and I’ve done something of her I...

..., 2000), 26. Art Association Conference in New York City. Thanks to Professors 18 Ibid., 27. Margo Crawford and Jessica Santone and the Nka editorial team 19 Thelma Golden, “Introduction,” in Thelma Golden et al., for their feedback and assistance with earlier versions. Freestyle (New York: Studio...

... and Civic Imagination and Cultural Authority in Los Angeles (Phila- Margo Natalie Crawford (New Brunswick, NJ: Rutgers University delphia: University of Pennsylvania Press, 2009), 149; and Jones, Press, 2006), 55–57. Jones also mentions Gallery 32 in her essay “Black West,” 48, 52. “To/From Los Angeles...

... Crisis, see Crawford Journal of Contemporary African Art 47 November 202092 Nka Young, Politics in the Congo: Decolonization and Independence (Princeton, NJ: Princeton University Press, 1965). 7 On December 3, 1960, the US Ambassador to the Congo, Clare Hayes Timberlake, sent the US Secretary...