...Brett M. Van Hoesen Over a decade ago, the contemporary artist Mwangi Hutter, comprising Ingrid Mwangi and Robert Hutter, merged names and biographies to become one artist, despite differences of gender, race, age, and cultural backgrounds. Based in Berlin and Ludwigshafen, Germany, and Nairobi...

... Copyright © 1995 Nka: Journal of Contemporary African Art 1995 RART ONE J if WOODSTACK §§ III PROJECT 4,2) RART ONE'S latest installation is a 50 m length of wall built of over 107000 individual and symbolic significance. The solid reality of "Woodstack" possesses...

...Catherine Bernard Copyright © 1996 Nka: Journal of Contemporary African Art 1996 SIMUNYE: WE ARE ONE and dismembered figures. In this ADELSON GALLERIES particular piece, the bodily trans• NEW...

... transformation into a multiracial democracy was indeed a change to be celebrated in all corners of the world. It is human nature to rejoice in good times and mourn in tragic times. Like many events of its kind the Cape Town One City Festival came and now it is gone. Now as we proceed with our...

...Derek Murray Copyright © 2002 Nka: Journal of Contemporary African Art 2002 ONE PLANET 11J } \ |1 J jJMi V H ji | hip hop' AND CONTEMPORARY Journal of Contemporary African Art Nikki S. Lee, The Hip Hop...

...: to have been ahead of his contem• rejection. Monk was arrested for a that started in the 1940s has § A one character play about poraries—be-bop writers—and his narcotic-related case and a scene brought us the unassuming...

... , meaning both “frame” and “political party operative,” and in his refusal to offer critique through his work, embracing instead an existential diaspora of contradiction. Copyright © 2010 Nka: Journal of Contemporary African Art 2010 Meschac Gaba’s Two for the Price of One...

... Glissant elaborates on his theory of Relation and the concept of “Tout-monde.” This conversation is from that film: Édouard Glissant: One World in Relation (2009). Copyright © 2011 Nka: Journal of Contemporary African Art 2011 One World in Relation...

... of Contemporary African Art 2014 QUESTION & ANSWER • 1 Participants Naomi Beckwith, Kodwo Eshun, Chester Hanks, Aisha Motlani, and Anjali Sagar This question-and-answer session represents part Anjali Sagar: It’s also a punk hermeticism; it’s just one of three sessions that took place...

...Maaza Mengiste This presentation examines one photograph taken in Ethiopia in 1937 and what it reveals to a novelist about the time in which it was taken and the people depicted. In 1935, Fascist Italy invaded Ethiopia with the intent to make it a colony. The war ended with an Italian victory...

... was immediately entranced. Lalla's international success over the last few years is no Lalla Essaydi: My background in painting plays a very surprise. Of course a number of different aspects important role in my photographic work. For one thing, appealed to me: the combination...

... remarkably intricate and accomplished search of hypothetical casual jobs order and universal harmony, and the models of the Renaissance master solidarities shattered by the inevitabil• figure eight corresponding to the eight architects. One...

... Burnham purchases one painting by Neals and one by Aziz. An exhibition of Weusi works is 1970 mounted at the Cultural Center in Georgetown, capi- Seventh Annual Outdoor Art Festival tal of Guyana. Weusi expands the concept to include live enter- Universal Art Studios...

... Stephanie Smallwood’s concept of “anomalous intimacies,” articulated in her book Saltwater Slavery: A Middle Passage from Africa to American Diaspora , in order to think about how these two artists are in conversation with one another and how they represent the black community after the slave trade. I...

... conscious in their politics and gave voice and vision to it. It accesses the black consciousness of each artist within select works by carefully analyzing and historicizing each one. It also records the lives of all four artists within BC’s parent body, the South African Students’ Organisation (SASO). Each...

...Benjamin Tiven This article engages the German architect Ernst May and the complex legacies of his work in colonial Kenya from 1933 to 1953. Tiven examines three structures and parses their political, aesthetic, and biographical dimensions: one proposed, but never built (the Native House...

...Benjamin Tiven This article engages the German architect Ernst May and the complex legacies of his work in colonial Kenya from 1933 to 1953. Tiven examines three structures and parses their political, aesthetic, and biographical dimensions: one proposed, but never built (the Native House...

... 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...