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Journal Article
Nka Journal of Contemporary African Art (1 May 2010) 2010 (26): 152–155.
Published: 01 May 2010
... one body over another. Everything Matters presents a selection of Poynton’s single- and multiple-figure paintings to address the depicted postures, expressions, and possible iconographic and historical elements in each painting, along with similar details supplied by artist and viewer, all of which...
Journal Article
Nka Journal of Contemporary African Art (1 November 2018) 2018 (42-43): 222–232.
Published: 01 November 2018
...Dagmawi Woubshet In his long, illustrious career, James Baldwin never wrote a full book on Africa. The figure of Africa, nonetheless, was a recurring one in his corpus—a figure that would change significantly over the course of his writing. While Baldwin’s early representations of Africa follow the...
Journal Article
Nka Journal of Contemporary African Art (1 May 2015) 2015 (36): 28–39.
Published: 01 May 2015
... devastated Detroit and Newark, NJ, she painted Die expressly for the show. The wall-size canvas depicts an interracial cast of clean-cut antagonists trying to kill one another. Although the painting represented the kind of large-scale, politically motivated figuration that had been out of favor since the...
Journal Article
Nka Journal of Contemporary African Art (1 May 2015) 2015 (36): 112–115.
Published: 01 May 2015
... been black-and-white, he pushes the relationship between the figures and the symbols further. He also uses two figures rather than one, generating a sense of energy and depth. But some recent paintings included in this exhibition show a dramatic shift into color, an emphasis on tone rather than line...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 102–109.
Published: 01 November 2016
... about the actual historical figure of Nanny, though the continued presence of the Maroon communities keeps her memories and legend alive to the Jamaican population. I argue that Cox uses her own body to give Nanny a visual presence, presenting her as a military strategist, warrior, and sexual female...
Journal Article
Nka Journal of Contemporary African Art (1 November 2012) 2012 (31): 36–45.
Published: 01 November 2012
... artist’s work leverages the expressionist possibilities of identity, figuration, and history on the abstract legacies of linguistic conceptualism. A continuous examination of representation grounded in the implacably figural substrate of race, gender, sexuality, and history, Ligon’s art highlights...
Journal Article
Nka Journal of Contemporary African Art (1 November 2017) 2017 (41): 84–107.
Published: 01 November 2017
... modernist tradition of figurative sculpture; and the work of many non-Western artists and art students he met in the United Kingdom. Nour’s artistic development portrays an artist deeply engaged with the shifting social, political, and cultural ground beneath his feet. The result has been a remarkable body...
Journal Article
Nka Journal of Contemporary African Art (1 June 2017) 2017 (40): 8–15.
Published: 01 June 2017
... writings, public appearances, and colleagues and comrades, which sometimes are indistinguishable from the other, but through the portal of a radical jazz figure. As such, Stuart Hall makes himself unfamiliar, if only for the shortest moment, and in so doing he compels us to think of him on other terms, on...
Journal Article
Nka Journal of Contemporary African Art (1 May 2013) 2013 (32): 149–151.
Published: 01 May 2013
...Michael Westfall This essay reviews Yinka Shonibare MBE’s exhibition Addio del passato , exploring themes of decay, dissipation, and death as expressed through the historical figure of Lord Nelson. Shonibare’s exhibition casts Nelson as a hapless metonym for the colonial urge, suggesting that both...
Journal Article
Nka Journal of Contemporary African Art (1 May 2013) 2013 (32): 152–153.
Published: 01 May 2013
... 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 and...
Journal Article
Nka Journal of Contemporary African Art (1 May 2015) 2015 (36): 40–47.
Published: 01 May 2015
... double-headed axe of Shango, the Yoruba god of fire, lightning, and thunder. The axe, wielded by the composition’s central figure, shatters the pictorial plane of the canvas, which Donaldson variously labeled G lass , S heet , and M ade in USA. I argue that, through his appropriation of African art, as...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 32–39.
Published: 01 November 2016
... blackness and black people with a perverse foreignness. In the figures of Soubise and Shonibare, these insults are turned into a fabulous, subversive queerness productive of both nurture and death. BLACK QUEER DANDY THE BEAUTY WITHOUT WHOM WE CANNOT LIVE Monica L. Miller...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 40–51.
Published: 01 November 2016
...Peter Erickson This essay explores Kerry James Marshall’s paintings of black artists in studio settings who are often positioned at the easel with an unfinished self-portrait. The series begins with a portrait within a portrait of a historical figure— Scipio Moorehead, Portrait of Himself, 1776...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 110–120.
Published: 01 November 2016
... representations of the black figure and examines the continuation of, as well as the challenges to, certain tropes that have been used to frame blackness, femaleness, and tropicality. THE UNNAMED BODY ENCOUNTERING, COMMODIFYING, AND CODIFYING THE IMAGE OF THE BLACK FEMALE Alissandra Cummins and...
Journal Article
Nka Journal of Contemporary African Art (1 November 2010) 2010 (27): 42–47.
Published: 01 November 2010
... with its obsessive decoration and its focus on black figuration. It won awards and the admiration of institutions and collectors. The new work employs a reduced palette, eschews glitter, and rewards the extended gaze in a way that his previous excess could not. This recent work also allows the viewer...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 86–99.
Published: 01 November 2011
...Courtney J. Martin Spiral, founded in 1963 by Romare Bearden, Norman Lewis, and Charles Alston, was a group of black American artists in New York. This group has been credited with fostering Bearden’s entry into collage, launching a debate around the political function of abstraction and figuration...
Journal Article
Nka Journal of Contemporary African Art (1 November 2013) 2013 (33): 8–19.
Published: 01 November 2013
...Peter Erickson Shakespeare is a cultural institution whose racial structures Fred Wilson began mining in his exhibition, Speak of Me as I Am , at the Venice Biennale in 2003. As the quotation from Othello’s concluding speech signals, Wilson initially focused on the play’s black figure. Wilson’s...
Journal Article
Nka Journal of Contemporary African Art (1 November 2013) 2013 (33): 80–91.
Published: 01 November 2013
...Kobena Mercer The hybrid combination of human and animal lies at the heart of the figurative vocabulary through which Jane Alexander’s sculptural tableaux summon us into the imaginative domain of the “humanimal”—a domain where the boundaries by which religion, philosophy and science have separated...
Journal Article
Nka Journal of Contemporary African Art (1 November 2013) 2013 (33): 92–99.
Published: 01 November 2013
...Pep Subirós The exhibition Jane Alexander: Surveys (from the Cape of Good Hope) was presented by the Museum for African Art in collaboration with the Cathedral of St. John the Divine in New York City from April to July 2013. Through combinations of sculpted figures, tableaux, installations, and...
Journal Article
Nka Journal of Contemporary African Art (1 November 2014) 2014 (35): 6–21.
Published: 01 November 2014
...Peter Erickson Focusing primarily on Isaac Julien’s two Paradise Omeros films (2002–3), but also with further reference to Looking for Langston (1989) and Ten Thousand Waves (2010), I explore the figure of the poet and the concept of the poetic in Julien’s visual work. Just as Paradise Omeros...