...Sylvester O. Ogbechie Copyright © 2002 Nka: Journal of Contemporary African Art 2002 i MWONWU m AESTHETICS AND ARTISTIC IDENTITY IN MODERN...

...Eddie Chambers Cherise Smith’s book Enacting Others brings together a disparate group of artists who “have all crossed racial, ethnic, gender, and class boundaries in works that they have conceived and performed.” Smith delivers a particularly engaging study because questions of identity...

...• power-figure used in Central Africa guished Identities: Contemporary used to resist outsiders and colo• African Portraiture was held...

... and in general to those cast as outsiders: “I am exhibition featuring video artists who work on the bored with the same demographics, when you go to themes of migrations, displacements, and pluricul- galleries or museums we’re all the same age, we all tural identities. look a certain way, wear the same type...

...- memory, identity, explor- in interested is She writer. and curator independent an is Frater Sally option. an as a that likely to that Mutu intended offer un- is not it but is escapism, pure of It place fictions. truths beautiful ugly and between them locating works, her...

... Supposed to Die a Natural Death from 1973. revolves primarily around formations of racial and gen- 20. The concert and party took place on September 18, 2004. The dered identity and the relation to American film, visual film was released in 2005. arts, and popular culture. She was previously the cura...

... back to the inception of African cinema, the docu- intended to describe the process of identity construc- mentary impulse stems from the lmmakers’ need tion in Caribbean societies, Glissant’s theory presents to document “the new historical path of their coun- a starting point because it visualizes...

... and articulation of black masculinity. For those unfamiliar with the phenomenon, the black dandy’s look is highly tailored. He is a rebel—a modern-day representation of the African trickster. His style and identity generally contradict the stereotypes, boxes, categories, and ideas that a society has about him...

... and white. We wear tuxedos. And music is our urban artists . . . but few have been so fascinatingly w e ap on .” 18 That she is engaged in battle is obvious; chaste.”23 This was always part of her plan, which she reveals as much when she refers to the tuxedo as includes questioning all identity...

...Berni Searle The author/artist provides twenty images from three of her performance and video series: Home and Away (2003), Seeking Refuge (2008), and Mute (2008), complementing them with descriptions of the creative process and the collective experiences the images depict. Themes of identity...

... that linger, clues that map a wider message and inspire new thinking. Brett M. Van Hoesen is an associate professor of art history and a faculty associate in the Gender, Race, and Identity Program at the University of Nevada, Reno. Notes 1 John Akomfrah and Maurice Stierl, YouTube, Border/Talks...

...Susanna Newbury Glenn Ligon : AMERICA, the artist’s recent mid-career survey, argued that Ligon’s relationship to twentieth-century painting serves as an alternative means of examining the topics of identity, politics, and history that undergird the artist’s oeuvre. The exhibition reveals...

..., history, and personal experience, seamlessly brought together in multimedia works that reveal how electronic media shapes identity and perception. Eshetu’s work stems from the combined sensibilities of filmmaker, photographer, documentarian, and sound artist. His thoughts and reflections about art...

... presents the metal sculptures as complex hybrid objects and the artist as a cultural nomad, escaping the static “African artist” identity for the global arena. But by focusing entirely on the bottle-top projects of the last decade, Vogel takes an equivocal position with regard to Anatsui’s creative...

... conclude that TransAfrican is possibly a more useful metaphor than transnationalism to understand how these artists, one German, one African American, reveal their own identity and black identity through their art practice. Copyright © 2017 by Nka Publications 2017 Winold Reiss Romare Bearden...

... and postcolonial monuments while incorporating colors and patterns from textiles into elaborate backgrounds. However, Wiley’s response to Africa extends beyond formal considerations. In the spirit of Négritude he mined a collective African identity to contest former colonial hegemonies, critiquing...

... 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...

... it means to be a two-bodied artist in today’s culture. Mwangi Hutter’s persona also innately interrogates prefixed notions of Africanness and Europeanness, as well as the construct of the insider versus outsider. From a historical and political standpoint, their fused identity confers new status on Ingrid...

...Gerhard Schoeman This essay explores the photographer Roger Ballen’s series Boarding House in terms of the creature Odradek in Franz Kafka’s short story “Troubles of a Householder” and in terms of melancholia. Rather than mark identity and sense, the traces, traits , contours, orli , and splendores...