...Hannah Sage Kay [email protected] Copyright © 2022 by Nka Publications 2022 REVIEWS FRANK BOWLING: LONDON/NEW YORK HAUSER AND WIRTH, NEW YORK MAY 5 JULY 30, 2021 expect from binary relationships whether contextual (North and South, regional and global) or aesthetic (light...

...Phoebe Wolfskill [email protected] Copyright © 2022 by Nka Publications 2022 Making Art about Art Emma Amos s Foundations in London Phoebe Wolfskill E mma Amos s oeuvre is generally interpreted in terms of her identity as an African American woman. This designation is expected...

...Maryam Ohadi-Hamadani This article is a study of several works by Guyanese artist Denis Williams and the exhibitions of these works. Williams (1923–98) was a key figure in the history of artists of the then British Empire who made their way to London in the middle of the twentieth century (Williams...

...Yasmine Espert Pressure , the first feature film by a black British director, was the center of praise and critique at the time of its release. Completed in 1974, it narrates a coming-of-age story about a young man who discovers the complexity of Black Power activism in London. This article...

...Ana Balona de Oliveira This essay examines Edson Chagas’s Found not Taken series (2008–), taking into account some of its main contexts of production and reception (from London and Newport to Luanda; from Luanda to Venice and London) while placing it in the broader framework of the artist’s...

...NJ Hynes Bust of a Moor , by John Van Nost, is one of the oldest works to be continuously held by the Royal Collection at Kensington Palace in London. Commissioned around 1689, its gleaming layers of colored marble surprise and delight with their careful detail and blatant bling. But the Moor’s...

... of ritual and how, - ul Gallery, London Hjellegjerde Kristin...

... as exemplars of good grooming in their sartorial attention to detail as words for the ladies danced off their tongues like Lord Kitchener’s calypso. These “lonely Londoners” would later become Jamaican rude bwoys, swaggering as if to a ska or reggae beat in their two-tone mohair suits, with the attitude...

... Gallery, New York, and Thomas Dane Gallery, London Journal of Contemporary African Art • 27 • Fall 2010 6 • Nka DOI 10.1215/10757163-2010-002  © 2010 by Nka Publications A Fairy Tale T. J. Demos visually sumptuous film of thirty...

...Gilane Tawadros Three works made up the exhibition Scat—Sonia Boyce: Sound and Collaboration , presented by Sonia Boyce and the Institute of International Visual Arts (Iniva) at Rivington Place in London from June through July 2013. The three works use image and sound in strikingly different...

... in Shendi, an ancient city on the bank of the Nile River, and enrolled as a student at the College of Fine and Applied Arts in Khartoum in the mid-1950s. From the late 1950s to mid-1960s he trained at the Slade School of Fine Art and the Royal College of Art in London, later earning his PhD in African art...

...Yvette Greslé The reviewer pays close attention to the conceptual strategies present in a new body of work by Phoebe Boswell. Produced for a solo exhibition in 2017 at Tiwani Contemporary, London, the work builds on the artist’s exploration of drawing, animation, and technology. The exhibition...

...Eddie Chambers This text explores some of the ways in which press photographs have visualized key episodes of rioting involving Black people in the English cities of London and Birmingham. These range from the Notting Hill riots of 1958 through the riots that took place in Birmingham, Brixton...

... exhibition at the October Gallery in London, he has narrowed in on one self-invented sign, the “microcron”—a circlet of dots or globes—as the focal point of his symbolic system. But is the microcron visually interesting enough to hold this dominant position? In his strongest pieces, which have historically...

... by the queen and the extension of membership in the Royal Academy to a handful. The article draws attention to the ways in which major London galleries such as the Institute of Contemporary Arts, the Serpentine, and the Whitechapel have, over the course of the past two decades, hosted the first main-space solo...

... that reflect this understanding. Over one hundred pieces from five decades fill seven rooms. After training in Khartoum and London, El-Salahi returned home and developed a visionary, syncretic style that reflected his personal interrogation of Sudanese visual identity. The show—a retrospective of an artist who...

...Steve Pantazis This review covers Beninese artist Meschac Gaba’s twelve-room installation Museum of Contemporary African Art (July 3–September 22, 2013), presented at Tate Modern in London, which acquired the work as part of a two-year program to highlight contemporary African art. The show offered...

... and shattering any residual myth of Africa as a timeless continent. It is significant not only for its focus and framing but also for the institutional shift it represents. The show, cocurated by the Tate Modern in London and the Centre for Contemporary Arts in Lagos, was conceived as a joint exhibition...