... Publications 2022 abstraction sculpture postwar art in Paris Plaiton Harold Cousins Harold Cousins s Plaiton Sculpture Lauren Kroiz I n 1971, Harold Cousins published an essay explaining the sculptures that he had begun creating in the mid-1950s, following his relocation in October 1949 from New...

... minimalist space recalls a modernist vocabulary and representation as well as a surrealist aesthetic and outlook. Youssef s first trip to Paris in 1954 for the pur­­ pose of organizing an exhibition in Galerie André Maurice on behalf of the Contemporary Art Group ushered the beginning of a series...

..., and ephemera related to Thomas s travels remain in the artist s archival record. These circumstances, in turn, have precluded much scholarship on Thomas s place in the postwar international art world. Strategic, careful, and persistent digging, however, reveals not only how Thomas and her work traveled beyond...

... Gallery, Enciclopedico / The Encyclopedic Palace, 55th International Art Paris, July–November 1976, reprinted in “It Is Being Which Makes Exhibition: La Biennale di Venezia (Venice: Marsilio Editori, 2013), Symbol Possible . . . ” (1976), in Carl Andre, Cuts: Texts 1959–2004, 18. See also “Marino...

... prostration of its upright patience.9 104-Wka Journal of Contemporary African Art Aime Cesaire, Cahier d'un retour au pays natal (Paris: Presence Africaine, 1983). Fronticepiece by Wilfredo Lam. The syntax of the passage...

... of cosmopolitan societies and selves; and the changing representation of blackness, desire, and beauty across time and space. His archive thus not only constitutes a rare document of the black experience in postwar Britain during the Swinging Sixties, but also provides an important frame of reference, overlapping...

... in Nkrumah and Jomo Kenyatta, redefined the move- the post – World War II era, the age of independence. ment as primarily concerned with African political Whereas Onabolu asserted his artistic freedom sovereignty. To the Africans, postwar global poli- from the bounds of ancestral arts by replacing...

...Cheryl Finley Copyright © 2007 Nka: Journal of Contemporary African Art 2007 TO TRAVEL IN HER SHOES JOY GREGORY'S CINDERELLA TOURS EUROPE 1997-2001 Cheryl Finley West Indian emigrants, such as my parents...

... abroad during the postwar period to escape racial discrimination that hindered their creative development and success in the United States. Others included avantgarde baritone singer William Pearson, with whom Patterson collaborated in Cologne, and painter Bob Thompson, whom he met in Paris.4...

.... Individually and collectively, its blend of bright pattern, bold figuration, and copious hand-written text impressed also in aesthetic scope, reining diverse stylistic strands of postwar American art together, not least (but not limited to) several she had been exploring for decades in short, a personal...

... to it, Merkel attempts to construct a language of tropes, forms, and contexts that determine the palatability of African art, notably in metropolitan France. Copyright © 2013 Nka: Journal of Contemporary African Art 2013 RACHID BOUCHAREB’S OUTSIDE the LAW...

... modern than the modern. But the modern, in the meanwhile, appears rather as our past or, as one of- ten reads, as our antiquity. In the United States, modern art first was regard- ed as European, located in Paris. Meanwhile, it had disintegrated in Europe, where it was even attacked as an official enemy...

... Scribner Nka • 51 Eugène Atget, Living Quarters of a Ragpicker, Porte d’Ivry, Paris, 1912 – 27. PHO1990-­2. Repro-­photo: Gérard Blot. © RMN-­Grand Palais / Art Resource, New York 52 • Nka Journal of Contemporary African Art • 33 • Fall 2013 divisions, and the country convulsed in violence...

... of the first two of what Stuart Hall has called waves of black arts activ- ity in postwar Britain, this article takes as a starting point a critical examination of the notion of black art in a British context in order to unravel atten- dant questions around the formation and fram- ing of what has come...

... Fosso, Self-Portrait, from the 70 s Lifestyle series [SM 16], 1975 78. Gelatin sliver print, 40 x 40 cm. Courtesy Jean Marc Patras, Paris. © Samuel Fosso 26 Nka Journal of Contemporary African Art 48 May 2021 As Frantz Fanon wrote in Wretched of the Earth, in its notion of African identities...

... experimentation of a New York avant-garde but also determined to assert the centrality of African art, not by mimicking the artists of Paris in some primitivist/imitative fashion but through marrying the formal skill of the modern artist with a determined emphasis on the world that they encountered around them...

... Despite her desire to create a more globally for postwar artists like Richter, for whom art, beauty, focused set of debates on beauty, Nuttall’s insistence and semblance are all transformed not only by mass on the flexibility and duality of beauty (as a con- media...

... of the units. architecture at the Académie des Beaux- Arts in Windows and doors are o en covered or recessed to Paris, and so when she heard that the British admin- create pockets of shade, and the inner stairwells are istration was establishing a Ministry of Towns and aerated by an open lattice pattern...

... of the units. architecture at the Académie des Beaux- Arts in Windows and doors are o en covered or recessed to Paris, and so when she heard that the British admin- create pockets of shade, and the inner stairwells are istration was establishing a Ministry of Towns and aerated by an open lattice pattern...