Search Results for cultural connection

... in the world, and this project continues to be a stimulating and challenging one for me. Copyright © 2016 Nka: Journal of Contemporary African Art 2016 photography documentation France black people cultural connection Journal of Contemporary African Art • 38–39 • November 2016 210...

..., and accumulated resistant identities. In other words, they are particu- lar urban islands, the outcome of turbulent social and spatial changes. Those urban islands are no longer connected primarily by social, cultural, economic, and politi- cal streams, but rather if at all mainly through telematic networks...

... as a collection of case studies of writers and filmmakers, and while each chapter focuses on a specific cultural producer, Adesokan builds connections between his figures of analysis across time and space. Adesokan offers a successful, rigorous example of a project that demonstrates the political urgency...

.... The Hair Craft Project is innovative in its methods of attracting, building, and bridging audiences while supporting and acknowledging the parallel skills of artists and hairstylists. Through this art form, the project connected cultures, class, and race in Richmond, Virginia, a city with a history...

... of extraordinary incidents in the life of the photograph and its reception. These incidents reveal how photographic representations of expressive black culture and people are often received and interpreted by viewers across the lines of race and class in problematic ways. The essay also connects the reception...

... and periods. Resnais’s and Marker’s film coincided with the emergence of anticolonial culture and consciousness, which hinged on the African self-narrative and activist movements connected to the Parisian publishing house Présence Africaine . Attia’s work situates us in an indefinite period between World War...

...Elizabeth W. Giorgis Ethiopian artist Dawit Abebe’s Jerba paintings were first exhibited in Addis Ababa in 2015. Jerba , a word that means “back” or “background,” is a series of mixed media and acrylic paintings concerned with historical memory and the political and cultural accounts attending...

... Salcedo, and Ibrahim Mahama, who come from different historical, cultural, and political trajectories but whose multiple articulations are shared and connected to transnational commonalities such as the colonial project and movements of decolonization, along with decolonization s multiple, incomplete...

... paint. Unlike other contemporaneous painters in Morocco, however, who were interested in postcolonial claims of local identity expressed through direct connections between their shapes or abstractions and traditional visual culture or Islamic art, Gharbaoui s work is more elusive. Many critics have...

...Jeff R. Donaldson Since its beginning in 1969 in Chicago, AfriCOBRA has espoused an Afrocentric aesthetic vision. At the same time, it has deemed demeaning any art that posits African peoples as hapless victims, and therefore it has sought to produce a celebratory art—one that reflects cultural...

... that is made to connect to a specific cultural referent that is a core characteristic of Edwards s oeuvre. As many art historians and critics have observed, Edwards s abstraction allows for his works to make expansive connections reflective of the global diasporic community that he has fostered and the Black...

... remains hugely important, activating a complex web of historical and cultural connections across the African diaspora. Second, although Biggers s images of Africa were steeped in pictorial realism, they harbor a deeply allegorical impulse pertaining to diasporic history, identity, and representation...

... in their in- plays in African cultures. The curators ing Africans in Western clothes are troductory text the connections be- unfolded Manchester’s rich textile his- suspended upside down; steel cages tween the West African countries and tory by having on view different tex- in the shape of diamonds and see...

...Dina Ramadan Copyright © 2003 Nka: Journal of Contemporary African Art 2003 Dahab, has been anxious to insti• was one of the most engaging Maamoun creates a sense of REMOTE CONNECTION gate...

... these terms hold for Black diaspora artists, as they address concerns about climate change, social injustice, migrant labor, cultural memory, and understandings of the nation. In beginning with these questions, these artists also assert new starting points in which Africa’s global significance historically...

... propose that this collusion between African art history and American art can be conceived of as feedback: a resonant discursive loop that connects American art and African art, diasporic art production and its interpretation, and identity production and recognition. By exploring the work of contemporary...

...• water. The footsteps destroying the reflected portraits are of mentaries on Cairene contemporary culture. Much of Baladi's course viscerally connected to the viewer, who is standing above work is inspired by or feature photographic material from her a pool of water...

...Jareh Das; Cindy Sissokho [email protected] © 2022 by Nka Publications 2022 REVIEWS BODY VESSEL CLAY: BLACK WOMEN, CERAMICS AND CONTEMPORARY ART TWO TEMPLE PLACE, LONDON JANUARY 29 APRIL 24, 2022 We have learned to defy our sense of time to shift, to work from and rebuild past cultural...

.... despair; all this stuff is not in your face, it is very simple.” These very simple objects speak of food and African Connections nourishment and belong to cultures of Africa, Asia, In an exhibition at the Wallace Gallery in 2007...

... to the continent—John Biggers, Mand Its Diaspora symposium, organized by Amelia Jacob Lawrence, Melvin Edwards, for example—for Goerlitz for the Smithsonian American Art Museum firsthand encounters with its peoples, cultures, and in Washington, DC (October 4–5, 2013). That sym- arts, the experience yielded...