..., migration, displacement, loss, and vulnerability provide a stark contrast to the hopeful possibility of cosmopolitanism. 84 Nka An Artist s Journey On Cosmopolitanism, Xenophobia, and Migration Berni Searle Berni Searle, Voyage, from the Seeking Refuge series, 2008. Archival pigment ink on cotton rag...

... model” that Enwezor conceptualized for Documenta11 to a small but internationally acclaimed gallery in Copenhagen: the Center for Art on Migration Politics (CAMP). The article falls into three parts. The first part introduces CAMP and the Danish context for migration, before the authors discuss core...

.... DeSouza’s World Series (2011), inspired by Jacob Lawrence’s Migration Series (1941), suggests bodily movement within a matrix of geopolitical, state-controlled, and natural environments, while referencing historical precedents such as Columbus. Evans’s series Please Do Not Bend (2015–16) is a touching...

.... Copyright © 2016 Nka: Journal of Contemporary African Art 2016 saga bwoy rude bwoy style-fashion-dress black masculinities creolization SAGA BWOYS AND RUDE BWOYS MIGRATION, GROOMING, AND DANDYISM Michael McMillan andyism was initially imposed on black...

...-Kayode. It should be engaged as a model for a deeply interdisclipinary and histori- cally attuned art history and criticism. Roderick A. Ferguson is a professor of women s, gender, and sexuality studies; American studies; African American studies; and ethnicity, race, and migration at Yale University...

... main eld of interest concerns Liberté, which played an important role in the for- artistic interactions, migration of objects, and medi- mation of al- Gazzar as a young artist. The borrow- eval aesthetics in the Mediterranean basin, and the ing of the surrealists’ aesthetic tints the whole pic...

...- bly struggling financially, many African Americans ing about race, gender, politics, power, and class. who migrated from the rural South to the urban Toward that end, some essays probe fashion’s North in the United States during the 1920s took various roles at the intersections of ethnicity...

... 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...

... of colliding cultures and can hardly be understood outside the paradigm of itinerancy, mobility, and displacement. In addition to the forced migrations of the previous centuries, there have also been migrations driven by colonization. Today, millions of people of African origin are citizens of various...

... intense political difficulties, fully illustrating this year’s theme of Ségou Yelen (Light). The project demonstrates that culture is the best way to bring about hope, unite people beyond their differences, dissuade youth from migrating, elevate the public’s spirit, and promote the Malian concept of Maaya...

..., as contemporaneity is influenced by history, memory, loss, absence, and displacement. The stories throughout relate to distinctions of power and class hierarchy, social injustice, mass migration, absence, and loss. In the spirit of Edward Said, topics of displacement and exile abound in works that are woven together...

... genres, Barnor would migrate into creating a singular portfolio of street and studio portraiture depicting societies in transition: images of a burgeoning sub-Saharan African nation moving toward independence and a European capital city becoming a multicultural metropolis. In the process, Barnor would...

... custom, and the aftermath of human migration combine across the arc of his production to present a dystopic picture of globalization that critiques both postcolonial theories of hybridity and the cultural and architectural homogenization against which they were originally formulated. Crucially...

... engagement, and familiar cultural tropes of migration, musical, spirituality, and family. Augmented by a cross-generic engagement with sound and text, this bricolage avoided the formal limits of realist representation while producing a culturally specific aesthetics that artists could take as emblematic...

... and continue to frame the twentieth-and twenty-first-century Pan-African artistic imaginary. Their work provides us the opportunity to measure and appreciate the various strategies developed by postcolonial African artists to define themselves as artistic subjects in an age of intense globalization, migration...

... wave of migrations lie in the manifold crises of the postcolonial nation-states in Africa. Compounding...

... north during WWI) did not pre- Fast forward a little more than a format were established notably early clude extensive research while formu- decade, when Lawrence, now a WWII in his art career with his breakthrough lating its pictorial program, an integral veteran who had been drafted into a Migration...

... art tion of African diasporas through migration is a key factor by Salah M. Hassan of this new generation of artists within this historical contin - is being made by those who live simultaneously in the centre which the dispersed have remained...

... for those who migrate internationally, leave their homeland for another place, and repre- sent, reputedly, a kind of global cosmopolitanism. Instead of becoming free...

..., her position was that we cannot fully understand or appreciate the practice of Caribbean artists without due con- sideration of broader factors such as migration...