... 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...

... 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...

... 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...

... analysis 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...

... 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...

...: origin. What this means in prac• New Pictures tical terms for his career in rela...

...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 raised...

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

...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...