... their at the shootingsto time. of some truth It degree only I in composed real-life means done oriented magazines and printed materials published in New York during the seventies. At one point, the name One of the first assignments that I did for Essence that Anthony Barboza so routinely...

... the city in which the portrait of Tamara and Tireka with the pseudo-science ordained by the illogic of was made. Weeks earlier, on August 19, 1839, the white racial supremacy. It is important to point out French Academy of Sciences had revealed the that the nudity of the subjects in these photographs...

... collectivity. Often the instances of black collectivity it maps are physically grounded in a prime setting, such as “the corner” and “the block,” pointing to the possibility of new forms and formations that allow for conscious placing, burrowing, and settling. The work of Theaster Gates serves as a point...

...-roots culture into highbrow capital. The author argues that the movement resisted the “museum exhibit” of the dominant-culture industry by dramatizing the tension points between inner space, outside space, and unbound space. The aesthetic warfare of the movement is shown to be a struggle against...

...The Otolith Group (Kodwo Eshun and Anjali Sagar) From “Black Collectivities: A Conference,” held May 3–4, 2013, at Northwestern University’s Mary and Leigh Block Museum of Art, the Museum of Contemporary Art Chicago, and the University of Chicago’s Arts Incubator. The text proceeds from the point...

...Okechukwu Nwafor This article reviews an exhibition of the works of Vladimir Griegorovich Tretchikoff (1913–2006) that was mounted at the Iziko South African National Gallery in May 2011. Nwafor suggests that the posthumous show marked a turning point in Tretchikoff’s artistic career by bringing...

... as a metaphor for the meeting point of two indecipherable South Africas. Under apartheid, Johannesburg was two “countries,” and people lived in two different realities, depending on one’s history, geography, race, ethnicity, class, gender, culture, education, and opportunities. Enwezor constantly confronted...

... 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...

... American photographer Robert Mapplethorpe reveal how Russell, Bynoe, Kaersenhout, and Patterson question prior visual epistemologies for the ways they have understood and represented the modern subject more broadly in such canonical genres as the portrait and the nude. All point to the ways in which...

... history of artistic convention and transcultural exchange, drawing on references ranging from seventeenth-century Dutch genre painting to contemporary art. In Mthethwa’s photographs an intense pictorial visuality serves as a starting point for both documentary portraiture and critical inquiry...

... pointing toward the possibility of reinventing alternative relations with(in) the city. Drawing upon a theoretical framework indebted to postcolonial, diaspora, globalization, area, and urban studies, this essay also explores more or less acknowledged art historical affiliations of Chagas’s work...

...Elizabeth Robles This article proposes a rereading of the timeline of the British Black Arts Movement, and offers early work by the Pakistan-born British artist, writer, and editor Rasheed Araeen as possible starting points for reading the work of a new generation of artists who emerged...

... the man and his empire contained seeds of their own destruction, the tragic conflation of destiny and desire. Nelson’s victory marks the point of no return, the beginning of an era of imperial crime on a new scale. Shonibare retells the myth of Nelson’s victory as the West’s tragic moral demise, dead...

... (2007)—and then turns to fictional artists (2008–10). Just when the series appears to have reached an end point, Marshall surprises with his most expansive studio scene to date— Untitled (Studio) —in 2014. In no instance does Marshall portray himself as the artist inside the painting, yet we can never...

... concentric layers of subordination, pointing to the instability of social identities and the possibility of subversion. Copyright © 2010 Nka: Journal of Contemporary African Art 2010 History in Ousmane Sembène’s Guelwaar and Ceddo Awam Amkpa and Gunja SenGupta...

... and animal that during Enlightenment thought was metaphorically converted into an intrahuman distinction of insurmountable differences among diverse “races.” If her achievement is remarkable for the quiet way its terrible and horrifying content is put forward without judgment or finger-pointing, it is all...

..., as a pivotal image from a sequence of contiguous photographic statements and counterstatements by several of the leading fashion photographers from the Swinging Sixties. What this account points to is the often undertheorized role of race and gender in modern visual studies and, in particular, this picture’s...

..., local articulation of black consciousness on Chicago’s South Side in 1967 in order to illustrate how local dimensions of black consciousness relate to the making of a global black consciousness. Crawford’s starting point is a photo archive of Bob Crawford, her father, a photographer who worked...

... starting points are two of Cardoso’s key works: Repúblika (2014), created for the commemoration of the fortieth anniversary of the death of Amílcar Cabral, and Ferrugem ( Rust ), exhibited at the Tarrafal labor camp in 2017. She explores how these pieces act as political gestures of decolonization through...

... between two or more elements of the tout-monde . Convinced that Western philosophy was unable to extricate itself from the privilege of filiation and legitimation, Glissant created himself as an “orphan” philosopher to speak for a new condition of the world. Diawara calls Glissant’s point of view...