... 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...

... Publications 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...

...Kristen Windmuller-Luna Now approaching his second decade of fine arts practice, Zwelethu Mthethwa continues to use color photography and artist-subject collaborations to restore the dignity of his sitters. New Works at the Jack Shainman Gallery in New York City, consisting of seventeen digital C...

...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...

... 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...

...Liz Mermin Copyright © 1998 Nka: Journal of Contemporary African Art 1998 1998 NewYork African Film Festival liz mermin his year's New Yo rk A frican F ilm on o pe ning night: Zo la Maseko's short The bl eak and its not clear in th e end who, if Fes tival...

... tion as a black man of Caribbean FRANK BOWLING: origin. What this means in prac• New Pictures...

...Carl E. Hazlewood Copyright © 2002 Nka: Journal of Contemporary African Art 2002 Mohammed Omer Khalil L New Work — Skoto Gallery New York, 2002 The idea of an African moder• nity as far as art is concerned may still cause...

... South and New Terrors Riché Richardson...

... 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...

.... 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...