... by Cylena Simonds Featured in the 2008 exhibition The Poetics of Cloth: Afri- and featuring videos from 2003 to 2010, the survey estab- can Textiles/Recent Art at New York University’s Grey Art lishes Ndiritu as a prominent voice among artists whose Gallery, Still Life was later acquired by the...

... Harris, Construct #13, 1989, b&w silver mural print, the same time as the abovementioned controversies were taking courtesy: Jack Tilton Gallery, New York. place, the film that brought the black gay subculture of voguing to the public eye, Paris is Burning, was the subject of an...

... Publicity poster for Ousmane Sembène, Guelwaar, originally released in 1992. New Yorker Films, New York, 1999 Amkpa and SenGupta Nka • 15 pling the aid from notions of Christian morality also an...

.... Journal of Contemporary African Art • Spring/Summer 1995 NORMAN LEWIS The Second Transition 1947—1951 A.F.T.U./Bill Hodges Gallery New York October 20, 1994-January 25,1995 Carl E. Hazlewood Journal of Contemporary African Art • Spring/Summer 1995 NOT LONG AGO, if one insisted on...

... back to the inception of African cinema, the docu- intended to describe the process of identity construc- mentary impulse stems from the #31;lmmakers’ need tion in Caribbean societies, Glissant’s theory presents to document “the new historical path of their coun- a starting point because it visualizes...

...Helen Jennings In the last decade, a new generation of designers in Africa and the wider diaspora has started to rise through the fashion industry’s ranks. These talents are riding the wider wave of global interest in Africa’s cultural, economic, and technological ascension and are also taking...

... Muholi, Hassan Hajjaj, NontsikeleloVeleko, Jodi Bieber, Phyllis Galembo and Namsa Leuba, are opening up a new discourse where art and fashion collide. Copyright © 2015 Nka: Journal of Contemporary African Art 2015 Haute Africa photography fashion Belgium festival Tanzania, and Zambia have...

... itself, even though both men in the picture are reading. The itself a particular grace, is stamped with its own unique beauty. De lightbulb's more important function seems to be to shine into the Carava, whose photos of New York jazz musicians in the 1950's are faces of the...

... T best known in this country for his rhapsodic Looking for Langston, which made a beleaguered appearance at the New York Film Festival in 1990. Based on the figure of the...

... of Leonard’s photographs, the article argues that this American–African economy works two effects. As a commodity dump, it factors into the ruin of Ugandan textile traditions. Yet as consumers select their wares from the jumbled mass of castoffs, they fashion new styles and invent new meanings...

... North, the global South, and in between. Discarded objects become critical signifiers of the fever of waste-producing consumerism—notably, though not exclusively, in the postwar, fast-growing Luanda where Chagas currently lives. By rearranging these objects into new configurations, Chagas is also...

...Chika Okeke-Agulu Ghada Amer’s 2010 work 100 Words of Love is the product of a tactical realignment with aesthetic principles evident in her early work, and a radical rearticulation of those principles as groundwork for new sculptural forms. While it is impossible to predict the works’ reception...

... welcome, but feel compelled to go to and engage with them? Can museums transcend past racism in their collecting and exhibiting practices to create non-racialized spaces for dialogue and encounter? How can public programming and new technologies and spaces (mobile, space) serve to create ways for all...

...Jody B. Cutler Since the turn of the new millennium, Kehinde Wiley (b. 1977), American celeb artist of the moment, has delivered a broadly appealing oeuvre to the center of the art world on a silver platter. Like other fans, a majority of art cognoscenti have been seduced by Wiley’s celebratory...

...Olu Oguibe Copyright © 1996 Nka: Journal of Contemporary African Art 1996 DLU DGUIBE DN PEPDN DSDRID'S NEW INSTALLATION n an article by Holland Cotter in the New York Times in 1995, material environment and the resonance of images, he is able to construct Susana...

... the new bourgeoisie evokes from the driver ("Guelwaar" is an honorary title that identifies dependence. This ties into the film's most prayers and terror. The cop who throws him him with noble caste) whose funeral sinks into subtle and perhaps, in light of contemporary...