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Journal Article
Nka Journal of Contemporary African Art (1 May 2011) 2011 (28): 68–77.
Published: 01 May 2011
...Prita Meier During the summer of 2010 the cityscape of Berlin became an important site for contemplating the role and meaning of “Africa” in current exhibition-and art-making practices. Who Knows Tomorrow , a multivenue exhibition organized by the Nation-algalerie, moved beyond multicultural...
Journal Article
Nka Journal of Contemporary African Art (1 May 2011) 2011 (28): 78–87.
Published: 01 May 2011
...Brett M. Van Hoesen This essay focuses on Who Knows Tomorrow , which ran in Berlin from June 4 to September 26, 2010. Hosted by the Nationalgalerie, Staatliche Museen zu Berlin, this exhibition featured the work of five prominent international artists of African origin— El Anatsui, Zarina Bhimji...
Journal Article
Nka Journal of Contemporary African Art (1 November 2017) 2017 (41): 6–13.
Published: 01 November 2017
... the promise of a black nation for Americo-Liberians. Even as Washington created an idealized image of Liberian leaders, he also remained critical of them, knowing that his daguerreotype portraits established a mark not yet realized by the new nation. Copyright © 2017 by Nka Publications 2017...
Journal Article
Nka Journal of Contemporary African Art (1 May 2008) 2008 (22-23): 10–15.
Published: 01 May 2008
...? Gordon Parks: I can't remember having been inclined to be an artist or anything of that sort. [LAUGHS] Yeah, I do remember—we had an old upright piano I used to plunk on, you know, and at 6 years old my father didn't like the idea that a boy played the piano for some...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 130–137.
Published: 01 May 2012
...: ences. Billy Abernathy did things that were beyond docu- Roy Lewis mentary. I don’t know if you’re all familiar with his work, but it was, just, the artistic thing just blew my mind when I first Excerpts from...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 104–113.
Published: 01 May 2012
... time of the first March on Washington, and we thought it might be interesting as a group of Negro artists maybe to hire a bus—a great number of people, as you know, were converg- ing on Washington—and go down...
Journal Article
Nka Journal of Contemporary African Art (1 May 1995) 1995 (2): 34–41.
Published: 01 May 1995
... think that's really getting defined, but I don't know...
Journal Article
Nka Journal of Contemporary African Art (1 May 2012) 2012 (30): 114–129.
Published: 01 May 2012
... really works, if there is were supposed to be a part of it all. So I did a lot of read- a word for it. You know human beings, and we don’t make ing about architects—the older ones . . . of Gaudi and Le words for nothing—whether to be used positively or not. It’s Corbusier, Frank Lloyd Wright—and I...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 182–185.
Published: 01 November 2016
... ■ ■ struggles to understand. I want to know what it is I am looking at. I have been in Rome, Italy, for the last six months I do not know sometimes how to remind myself to research and write about Fascist Italy’s 1935 inva- of where I am. On those days when I...
Journal Article
Nka Journal of Contemporary African Art (1 November 1996) 1996 (5): 71.
Published: 01 November 1996
... you want to know where the control of the economically sustained Black up inside a small brown box — the nigger is no longer available for pur...
Journal Article
Nka Journal of Contemporary African Art (1 May 2004) 2004 (19): 56–59.
Published: 01 May 2004
... an African boy, and stood out because it avoids standard Moscow, not knowing anything about cinema, not even African characterizations. The Russians in the movie are people that cinema. Sissako was trying to understand, not just the cardboard whites that you find...
Journal Article
Nka Journal of Contemporary African Art (1 May 2011) 2011 (28): 96–105.
Published: 01 May 2011
.... El, as many of you here may think, like a share their sense of idealism, I think it is important that phoenix was born fully grown, as if an overnight sensation. we hold on to things that are specific to the subjectivity of But of course, we know that El’s career spans nearly forty the artist and...
Journal Article
Nka Journal of Contemporary African Art (1 May 1995) 1995 (2): 25–29.
Published: 01 May 1995
...? OUATTARA: I was born in Africa; West Africa , in Ivory Coast I don't know why I was born in Africa, perhaps I could have been born in Canada, Moscow, South America, in fact anywhere, I don't know. Anyway I was born and raised in Abidjan, Ivory Coast. I wish to read you...
Journal Article
Nka Journal of Contemporary African Art (1 May 2000) 2000 (11-12): 86–91.
Published: 01 May 2000
... in her work? Why did you think it's important for her to show in Cairo? KF: It's important for her personally and it's important for the public in Cairo. First, as you know, Egypt is an Islamic country where women are suppressed. For instance, it is forbidden to work from nudes in fine arts...
Journal Article
Nka Journal of Contemporary African Art (1 May 2002) 2002 (16-17): 18–23.
Published: 01 May 2002
... with physical gestures, between bodies that resonate with the through the medium of those portraits would that player "redis• conversation, this dialogue is permanently displayed in the cover his intemporal essence Without knowing it, the individ...
Journal Article
Nka Journal of Contemporary African Art (1 May 1998) 1998 (8): 18–23.
Published: 01 May 1998
... theory and analysis in think that they are not going to be issues and less concerned with the the system now, it's still not enough. able to get funding if they don't take everyday, and the political issues, I You know, you're uncool if you...
Journal Article
Nka Journal of Contemporary African Art (1 May 2014) 2014 (34): 52–54.
Published: 01 May 2014
... their local situation through I know you have had a long ongoing discussion about the discourse. So if you thought about it, the AACM could have stakes of different models and forms of jazz bands. So I been called the AAJM, the Association for the Advance- won’t even lead in with a question. I just...
Journal Article
Nka Journal of Contemporary African Art (1 May 1999) 1999 (10): 35–37.
Published: 01 May 1999
..., excavating history, trying stories to my people first. I know that through this approach I can, also, reach au• to define who I am, where I am going and so on. Those sources-elements-espe- diences all over the world. My films have proved that this is possible. To me, cially...
Journal Article
Nka Journal of Contemporary African Art (1 November 2015) 2015 (37): 16–27.
Published: 01 November 2015
... don’t know, what is the Kamoinge when Dentsu advertising agency in Japan was going to do Workshop? What made it your academy? a television commercial on Miles (Davis), for the Van Liquor Company, they brought half the crew, and I said we have...
Journal Article
Nka Journal of Contemporary African Art (1 November 1998) 1998 (9): 58–61.
Published: 01 November 1998
.... OGUIBE: Asyou probably know, there is a new generation of African filmmakers — lohn...