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...Lydie Diakhaté Copyright © 2009 Nka: Journal of Contemporary African Art 2009 CROSS-CU LTU RAL PATTERNS "Cloth is like a DNA swatch"1...

...Peter Erickson Copyright © 2010 Nka: Journal of Contemporary African Art 2009 2_erickson:nka_book_size 2/28/10 6:11 PM Page 30 Black Like Me Glenn Ligon...

... liked fishing and befriended local ness numerous manifestations of black achieve- fishermen, selling them worms and crickets so that ment. Founded by Booker T. Washington, Tuske- they would take him out with them. Away from gee Institute was a model institution held up by the his friends, Alonzo...

...Jeff R. Donaldson In the AfriCOBRA manifesto Donaldson describes the origins of the group and its aesthetic principles: “The expressive awesomeness that one experiences in African art and life in the U.S.A. like the Holiness church . . . and the demon that is the blues, Alcindor’s dunk and Sayer’s...

... a “worldmentality,” wherein one must take for granted that every “truth” and every “reality” does not just come to us as the regimes of scientific deduction and transparency would like us to believe, but that some of these manifestations come to us intuitively , like a sparkle of light in the dark. By asking us...

... to refuse the kind of willful forgetting and violent obfuscating that insists upon rendering invisible or fungible Black people who have vitalized communities like Braddock for generations. [email protected] © 2022 by Nka Publications 2022 LaToya Ruby Frazier Grandma Ruby documentary...

... and communal systems, a distorted signifier of “authentic” diasporic art forms like jazz and carnival for touristic economies, and a futurological imaginary that can reclaim both physical and psychic autonomy through reengagement with the city’s population on its own visual and sonic terms. mak1018...

..., for environmental and cultural reasons, that ignoring it risks undermining these art forms. Like Glissant, Ndiaye is revisiting the landscapes of closed movie-theaters for the purpose of reinvesting them with a new aesthetics, and a new way of visualizing the environment. [email protected] Copyright © 2023...

... Gharbaoui definitively at the margins of narratives of modernism. Moreover, this analysis precludes close attention to the ways in which Gharbaoui, like other painters of his generation, was shaped by the discourses of decolonization and the role that art could play in the new nation. Within this paper...

... Halaka. These agitprop t heater groups, formed by North African migrant workers and students like the rest of the MT A, were active in Paris and the south of France between 1973 and 1978. Khalili’s work particularly focuses on the 1974 presidential run of D jellali Kamal, a pseudonym for an anonymous Al...

... to Angola, and today he is one of the country’s most important artists. Even though he has exhibited in important venues like the biennales of Venice, São Paulo, and Havana, one of his main concerns is the establishment of better connections within the African continent. Thus he aims to work and exhibit...

...Frank A. O. Ugiomoh Documentary photography, in a very fundamental sense, locates the self and the other in determinate historical relationships. In these relationships documentary photographs usually capture what organized establishments like governments would rather have ignored. Documentary...

... in Los Angeles pushed the parameters of consciously black art by offering a fundamental reevaluation of the meaning art could have in black lives. Much like avant-garde jazz musicians, visual artists developed a unique mixed-media language that combined themes of political insurgency, communitarian...

...-centered , multilocated area of artistic inquiry makes it possible for artists like El, with the deepest commitment to their practice and to specificity of their work, to remain creatively and actively connected to their locations. Copyright © 2011 by Okwui Enwezor 2011 Carto...

... narratives of both art history and cultural anthropology. The second goal would not likely be accepted by art-world professionals in Africa, for contemporary African art and artists have unfortunately been suspended between the ethnological museum and the art gallery and between cultural anthropology and art...

... Power era by redeploying them in experimental film and digital formats. Often highly didactic and formulaic in their original form, the Black Panther Party’s imagery of guns, fists, and men in militarized formations contested prevailing notions of race, power, and masculinity. Similarly, groups like...

... or techniques they employed. The philosophy of functionalism or humanism and their aesthetics of line, shape, and color are described in detail, along with several manifesto-like statements on their goals and ideas. The concepts of AfriCOBRA’s philosophy and aesthetics are still relevant for its founding...

... in a formalist milieu and that, like Lewis’s oeuvre, presents simultaneous themes around the visibility and invisibility of blackness and speaks to an unmistakable black presence in the evolution and miscegenation of modernity. Copyright © 2011 Nka: Journal of Contemporary African Art 2011 Seeing Black...

...Michael D. Harris This essay is a personal meditation on Kara Walker’s work seven years after the author’s critical assessment of her work in the book Colored Pictures . Walker’s work is linked to African American cultural practices like signifyin’ and speaking in tongues and is found to have...

... the representation of race, status, and power in the process. Akin to the Pan-African advocates of the twentieth century, the artist employed a realist style and located a shared heritage among the African diaspora. Much like the intellectuals of Négritude who attempted to reimagine notions of “blackness,” Wiley...