Search Results for left

..., it resembled New Left Review, and Grey Room. the “lumpenproletarian revolts” that Marx described. Bruckner maintains that social and historical analogies differ from politi- Notes...

... associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before...

... radically constrained the mobility and selfhood of Black South Africans. They also gesture toward a perhaps unanticipated symptom of South Africa’s democratic turn: the issue of confronting the stuff of apartheid, the archival debris left over from a system reliant on exhaustive administrative documentation...

... decorative or exotic intention. All of these movie houses stand, as if they were clichés of one another, as “realistic” representations of the chaos left behind by a foreclosed socialist utopia or a neo-liberal trash dump site; they interpellate the viewer/spectator. Cheikh Ndiaye’s paintings of old movie...

... a combination of cynicism, nostalgia, even sadness. The politics and the politically oriented art of the twentieth century recall utopian hopes that ended in dashed expectations. Yet art that speaks the language of the twentieth-century insurgent Left also recalls the brutality attributed to those struggles...

... the rituals are familiar—circumcision, induction into the military, marriage, a birthday toast— their representations are left deliberately open-ended and ambiguous. Through his meticulous technique, Emmanuel rigorously examines these liminal moments of transition and, by extension, the tenuous and unstable...

...Clyde Taylor This essay attempts to locate the historical significance of Black Arts as a potent, widely social modernism, unlike the café/salon confines of the Paris model. The Black Arts and Black Aesthetics movements were at the center of a rupture of misidentified blackness left over from...

... in South Africa’s National Gallery. His career flourished until he joined up to serve his country in World War II. In 1956, during the “urban removals” enforced by the Nationalist government’s apartheid policy, Tladi and his family were brutally dispossessed of their freehold property and left homeless. He...

... influenced several generations of intellectu- continents, leave a mark on cultural studies: Paul als—anticolonials, postcolonials, postwar leftists Willis, Dick Hebdige, Pratibha Parma, Paul Gilroy, impatient with the orthodoxies of the Old Left, Hazel Carby, and Michael Denning, to name only newly...

... exits stage left. Throughout the film Saphir the notion of transition. The inherently aspira- there is a developing dialogue between the sea—as tional aspect of a staircase is countered in this case site of both connection and separation—and the by the fact that these stairs...

... and metropolises as well as produced rights. Perhaps this state of exception explains the studied at the Photo Academy (Fotoacademie) in their lives left in the sparsely furnished rooms can a negative backlash accompanied by the rise of a silence and lack of absolute outrage toward the treat - Amsterdam...

.... At the reouest of other political parties were unbanned, there took place what was the Vrye Weekblad, a left-wing Afrikaans-language newspaper that to be the last major celebration of Afrikaner predominance in South representedyet another faction of Afrikaner political opinion, Gideon...

...- the point of origin supplied by this fragile legacy portrait” in favor of the more convoluted “portrait to the anonymous contemporary black portraitists of himself” underscores the question of the black depicted in the rest of Marshall’s series is both beau- man’s entitlement. Moorhead’s left hand...

... (appropriately enough) in perience. The museum's large center gallery was dominated by Union Souare, where such prominent intellectuals as W.E.B. Du several striking black and white compositions from the late Bois held classes in the 1940s and 1950s for left-wing garment...

... overhead bulbs do precious little to illuminate the member has chosen to separate himself from the room itself. The space beneath them. But each bulb, glowing in the darkness, provides Left to right: Fashion Cenimi, 1962; Woman Walking, 1950; TwoMen, Torsos, 1979. contrast...

... looked to extract those images that passage in Kapu ści ński’s book about the dogs in Luanda, best articulate my concerns both photographically and abandoned when the Portuguese left, which inspired the conceptually. And I have to say I’ve struggled quite a bit dogs of my Nadir series...

... Rateb, Mohammad Zulfiqar, or even Monis Taha Hussein?1 Does the literary memory recall that Beshr Fares wrote his play Crossroad Divergence in both French and Arabic? Every one of them left a certain gleam that shines in the muse of literature. Is it extinguished now forever? Perhaps those who remain...

... you take not completing the Whitney Biennial which was already underway when you left? Thelma Golden: My life at the Whitney Museum changed profoundly, not when I resigned, but really when David Ross resigned. What people don't realize is that the significant changes at the Whitney...

... that this figure is thoughtful and mighty. Gallery view of Barkley L. Hendricks: Portraits at the Frick. Photo: George Koelle Schiffman Nka 129 REVIEW Barkley L. Hendricks, left: Miss T, 1969. Oil and acrylic on canvas, 66 1/8 x 48 1/8 in. Philadelphia Museum of Art, purchased with the Philadelphia Foundation...