... functional—manifesting more their SATAN'S CHOIR AT own redundancy than anything else— THE GATES OF HEAVEN no longer capable...

... 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...

...Theaster Gates 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. After examining the vast structural responses to the need...

... collectivity. Often the instances of black collectivity it maps are physically grounded in a prime setting, such as “the corner” and “the block,” pointing to the possibility of new forms and formations that allow for conscious placing, burrowing, and settling. The work of Theaster Gates serves as a point...

... topics such as markets and funding for collective art practices and the ways that wealth is distributed within and beyond black cultural organizations on both sides of the Atlantic. The featured panelists—Naomi Beckwith, John Corbett, Theaster Gates, George E. Lewis, Elvira Dyangani Ose, and Blake...

... 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...

..., 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...

... the experimental and urban films are rich, so Appiah, Henry Louis Gates, Jr., bell hooks, Michele Wallace, Barbara rich, and it is perhaps unfortunate that they have such a small audience Christian, and many others. Gates's early work was entirely concerned that appreciates them. Then again, perhaps...

...• full visibility, and color remained fuss of the inauguration, nothing and Blue (1932) Louis Arm• ed by Henry Louis Gates and helpless in grounding materiali• but the sound...

... Micheaux's Within our Gates [Within our gates.; Negra.] . Washington, D.C: Library of Congress. This film may be a response to D. W. Griffith's The Birth of a Nation. It tells the story of a young black woman who seeks a Northern white patron for a Southern school for black children...

... sources; musicians overtake public areas as well as verboten gated properties. Occupying varied spaces with her dispersed or­ ches­tra of nine bass-clef musicians, Smith under­ takes a dual operation. Her New Orleans is rendered quiet, barring the scattered performers. Filming in the morning while New...

... Americans. Henry Louis Gates Jr. aptly performing antitextuality. The inclusion of the refers to it as “the ultimate treasure chest of the black images allowed the Black Arts movement to dra- experience.”6 What matters most about The Black matize the pictures embedded in words and words-­ Book...

... $250,000 and I made ve gures. We the Upper West Side to Riverside Park to do a fash- were able to take advantage of a booming Japanese ion shoot. As we walked down the street, Miles was economy. standing outside by his gate. I went over to him and Miles would say, “People treat you the way you...

... spectacularly the Ishtar Gate, entrance to the ancient city of Babylon. The vast majority of the more than one million annual visitors to the island are drawn to the latter two museums.3 In 2015, at the height of the so-called refugee crisis that brought nearly one million people to Germany, largely from Syria...

... that plays in the background and segues into implementation of art as a tool for social activism blues-gospel chant, resulting in a work that is rhyth- provide a beautiful subtext for the entire exhibition. mic, dramatic, and poetic. Not only are remnants Theaster Gates’s Gone Are the Days of Shelter...

...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...

... to bring these artists to the barred gates of international visibility, and to make a case on their behalf. Consequently, some of our colleagues on the other side have taken notice and have allowed themselves a gradual soul-searching whose positive results are more and more in evidence. Even...

... of "gendered visions" as it investi• CONTEMPORARY gates the non-aesthetic motiva• AFRICANA WOMEN...

... Roach in 1983 in London and those of George Floyd, Breonna Each of the artists participating in the exhibition Taylor, Eric Garner, Tamir Rice, and so many others at the Royal Academy El Anatsui, Frank Bowling, in 2020. Sonia Boyce, Njideka Akunyili Crosby, Peter Doig, Denzil Forrester, Theaster Gates...

... art criticism, etc., except for the for their actions. On the other odd Henry Louis Gates, Houston hand, Michael Coulson has in his...