.... This article considers his exhibition-making practice within the context of hospitality. Conventionally, hospitality entails warmly welcoming guests to make themselves at home. This interaction between guest and host involves not only implicit codes of etiquette and manners but also an economy of exchange...

...-8308282 © 2020 by Nka Publications PRACTICING ART in Revolutionary Times Bahia Shehab, Imprisoned Butterfly, 2016. Street intervention, New York City. Courtesy the artist Shehab Nka 169 Bahia Shehab W hen the Egyptian revolution started in January 2011, I, like millions of Egyptians in the country...

...• practice, but their critical fluency in the global tagonists' paths intersect in one of the halls of nature of contemporary arts discourses. Western culture, Van Peebles encounters his own wax image as he wanders through the museum. Derek Conrad Murray is Assistant Professor of Con• Having...

..., this article highlights the artistic contributions of figures such as Ayrson Heráclito, Alex da Silva, Kiluanji Kia Henda, and Filipe Branquinho. The works of these artists are analyzed as reflections of decolonial practices, intertwined with discourses of resistance against the exploitation of natural...

... during the mid-1980s there were certainly many Eddie Chambers is a curator and writer of art other such tragedies that spoke of a somewhat frac- criticism. Since the early 1980s, he has been involved tious or ill-at-ease Black British presence, the 1985 in the visual arts, particularly the practice...

... of art of graffiti and the ways in which, in cities such as criticism. Since the early 1980s, he has been involved Cairo, the graffiti artist articulates and documents in the visual arts, particularly the practice of Black social upheaval. Her images reveal the extent to British artists. He is also...

... as a translucent stained-glass Madonna and later as the portrait motifs of seven hundred fifty stars arranged as the celestial constellation above the Caribbean capital of Haiti at the instant of January 2010’s devastating earthquake. Even today, his art practice continues to articulate the body, be it present...

... housing is laid bare in porary artistic practice the investigation of racial 624 W, Division, a photograph of demolition cur• identity is not limited by one's person nor by the rently progressing through Cabrini. The proximi• expectation to be what you make. In Fetichito, ty...

... - Or, to put it another way, can artistic somehow reclaiming some of Africa’s ern and still extant practices. And to topography alone. Territories bear the nomenological issues of orientation. face of the rich red cloth as it extends engagement with dispossession, en - natural...

... works (her concept matter), photographic with painted elements and drawn as well as thetic syn (she organic with combines terial ma- of terms in expressed is that one hinges on a practice of notion duality, artist’s The is located. practice Mutu’s in figures...

... in this compressed time span and these different locations, this essay addresses the young Angolan artist’s engagement with the perils and possibilities of art practice as it transverses multiple art worlds. Kia Henda’s artworks engage with the potential of mis-seeing, the visual equivalent of mistranslation...

... of collaborative practice in Africa and its diasporas. In this article, conference organizers Huey Copeland and Naomi Beckwith introduce the aesthetic, conceptual, and political stakes animating the conference and the issue emerging from it with an eye toward both critiquing mainstream artistic discourses around...

... of metals and other materials long before the practice became fashionable among artists and environmentalists alike. Wosene’s works in the 1990s, including those that form part of his series Africa: The New Alpha- bet, continue his exploration of motifs and colors connected to his native...

... with our willingness to understand the a utopic individual even though there are moments economies between political space and people. If I of utopic enterprise. I just don’t want to be alone on could have an artistic practice that would allow me Dorchester. to be an individual — and I...

... in institutions, exhibition histories, curatorial practice, and the commercial art world. Instead, we have Okwui Enwezor to accompany us on our quest and to remind us to keep consulting both histories and imaginaries, theories and practices, and to continue to interrogate how cycles are reproduced or radically...

... societies and periods. Placing the sensory experience at the forefront of cultural analysis and activity has been one of the driving forces behind Camille Norment’s practice as a whole, and her project Rapture , in particular. Her practice has been inspired by the contextual relationships between sound...

...Margo Natalie Crawford This essay considers the very use of the word “black” in diasporic freedom struggles as a type of strategic abstraction. Crawford’s focus on blackness as a strategic abstraction deepens our understanding of the practice of diaspora as the practice of black abstraction...

... artist pursued in the making of their respective bodies of work and argues for a more engaged assessment of practice. The works of these artists deserve to be recognized for their fascinating and singular contributions to contemporary art practices. Copyright © 2019 by Nka Publications 2019...

... on to things that are specific to the subjectivity of the artist and to locations of practice that cannot be simply erased by the idealism of a global art scene that has no boundaries. This specificity is something that could contribute to the complexity of our thinking about the dimensions of the contemporary...

... artists, a critique of institutional power and title, Salah M. Hassan and Olu Oguibe, developed the privileging of language-based art and that they a list of African artists associated with conceptual highlighted ideas over materialist modes of produc- approaches to artistic practice. They added a few...