...Malek Khouri In its origins, surrealism transpired as a radical subversive culture within advanced capitalist societies in Europe during the first few decades of the twentieth century. In colonial and postcolonial societies, however, surrealism variously assumed a quintessence of a protracted...

...Amanda Gilvin Scholars of African visual culture will be well served by Akin Adesokan’s recent book Postcolonial Artists and Global Aesthetics , which offers a model for interpreting artworks within the many cultural and economic contexts in which they function. The book is structured...

..., postcolonial the throughout museums with sation conver- in space this reads museum. Pieprzak national the of structures foreign the with argues, Belghazi as encourage- in comparison, arts Moroccan of ment the for pri- institution a vate as authenticity claims space...

... the more unique in the optimism it invests in the monstrous and grotesque as “imaginative universals” of the fragile human soul. Copyright © 2013 Nka: Journal of Contemporary African Art 2013 Postcolonial Grotesque Jane Alexander’s Poetic Monsters...

... that have relocated to United Arab Emirates (UAE), contributing to the area s booming economy and phenomenal growth.3 Beyond this injunction of historical reflection, another driving principle of the show was its attempt to deterritorialize itself within a postcolonial constellation of exhibitions...

... a photocopy of Le Corbusier’s use of the “Producing the Common” to really be animated, we needed brise-soleil for the spectator to take away) as well as its to have the participating artists to collectively produce colonialist ambitions in juxtaposition with postcolonial “Anonymous...

... and consumption— postcolonial thinker Michel-Rolph Trouillot.2 “The sweet sugar with femininity; tobacco with mascu- Slave at the Louvre” was about this ghost. linity, prostitution, and revolution. Then a poet, an The program’s attention to history illuminated artist, and/or a writer in attendance evoked...

... of authenticity. What is and against the repercussions of his political lead• striking about the two frontispieces taken togeth• ership, particularly the problematic postcolonial er is the contrast between Picasso's realism and status of the islands as Overseas Departments— Lam's...

... past to pres- the dissident’s body not only a floating signifier of ent). The paradigm of plural modernities departs key elements of Senegal’s postcolonial history but from binary models that see Africa as “traditional,” 16 • Nka Journal of Contemporary African Art • 27 • Fall 2010...

..., Richard Mayhew: An American at Sonoma State University and author of Art and Abstractionist (exhibition catalogue) (New York: Studio Museum in Harlem, 1978), n.p. Architecture in Postcolonial Africa (2006) and of 29. LeFalle...

.... Postcolonial Studies and Critical Interventions. 12. Ibid., 135. 13. Ibid., 144. 14. Quoted ibid., 139. Notes 15. Quoted ibid. 1...

... and suturing questions of the postcolonial in relation to diasporic perspectives in twentieth-century photography. Barnor’s remarkable portraits represent significant moments in African diasporic subject formation and the cosmopolitan self-fashioning that emerged in tandem with transcultural journeys through...

... and traditional visual culture or Islamic art as a postcolonial claim of local identity, Gharbaoui’s work is more elusive. Many critics have framed his abstraction primarily through his schizophrenia, as Gharbaoui died from suicide in 1971; this continual recourse to biography over the actual art objects puts...

... osmopolitanism in relationship to the entanglement of Africa and the West and its reconfiguration at the intersection of modernity and postcoloniality. © 2020 by Nka Publications 2020 Afropolitanism cosmopolitanism xenophobia postcoloniality African and African diaspora art Journal of Contemporary...

... 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...

... and postcolonial monuments while incorporating colors and patterns from textiles into elaborate backgrounds. However, Wiley’s response to Africa extends beyond formal considerations. In the spirit of Négritude he mined a collective African identity to contest former colonial hegemonies, critiquing...

... Moroccan independence in 1956, these artistic practices were interwoven with a deep commitment to postcolonial national culture and a clear anticolonial stance. These same ideas can be read in the exhibition history of this group of artists. Together, the exhibitions suggest an alternative cartography...

... leveled against the festival by outside critics. At stake in these controversies was the question: how best to create a cultural politics that enabled collective thinking about vexing challenges faced by postcolonial societies, including resolving questions of power and authority after inheriting colonial...

... scholars of Marxism have, thus far, ignored non-Western (including African) contributions to Marxism as they have been appropriated and reshaped in the context of decolonization and postcolonial struggles. The author revisits the contribution of non-Western Marxism to the discourse of liberation...