...Sarah Elizabeth Lewis Copyright © 2008 Nka: Journal of Contemporary African Art 2008 HOW TO SEE A WORK OF ART IN TOTAL DARKNESS Darby English Cambridge, MA MIT Press, 2007 In How to See a Work of Art...

...Gervais Marsh Opacity as Possibility Only When It s Dark Enough Can You See the Stars Gervais Marsh What would it mean to think about blackness as that which experimentalizes being .as unfettered ur-matter, unthinkable exorbitance, and deregulated transubstantiation What might it mean to think...

... specter of racial politics in the South, Seeing the Unspeakable: caused Walker to see "her racial identi• ty...

... 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...

... in a formalist milieu and that, like Lewis’s oeuvre, presents simultaneous themes around the visibility and invisibility of blackness and speaks to an unmistakable black presence in the evolution and miscegenation of modernity. Copyright © 2011 Nka: Journal of Contemporary African Art 2011 Seeing Black...

...Kanitra Fletcher How do you see blackness? What does it look like? Can it be shown? In seeming response to such uncertainties, artists Renée Green, Satch Hoyt, and Sheila Pree Bright forgo representation of the black body altogether. In installation and photographic works— Seen (1990), Say It Loud...

... live. This review suggests that Pope.L’s heterogeneous practice, which includes painting, collage, performance, video, and text excerpts, employs an allegorical mode of seeing in which fragmentary objects, particularly commodity forms, are depleted of their original meanings and associated...

...Napoleon Jones-Henderson This essay, written by one of AfriCOBRA’s members, places the group as an aesthetic life force and a way of seeing the visual world coupled with the social, spiritual, relational, and political realities. The members of AfriCOBRA agitated for a new aesthetic, a new sense...

...Erin Farrell The exhibition Revisions offers a unique opportunity to see the development of Lalla Essaydi’s ideas as they pertain both to her personal history and to the greater story of Moroccan women. Through analysis of the various collections on view at the Smithsonian National Museum...

... formation and daily operations, its aesthetic principles, and how Jones Hogu sees the members’ work and activities affecting the present and future for black artists. Copyright © 2012 Nka: Journal of Contemporary African Art 2012 Barbara Jones Hogu in Conversation...

... of Los Angeles in the last century’s middle decades, but as a way of adding nuance to our ways of seeing art history, art making, and the art world generally during that period. Copyright © 2013 Nka: Journal of Contemporary African Art 2013...

...Julie L. McGee To situate this inquiry— visualizing the riot —within South Africa is to take on an overload of imagery, a saturated field, and mechanisms of seeing and framing that risk topical exhaustion, clichéd readings, or indiscriminate generalizations. Critical analysis of the dominant tropes...

... also suggests that in the 2011 Egyptian pavilion exhibition we can see the earliest manifestations of the now well-established counterrevolution, as the Ministry of Culture—a representative of “deep” state—seeks to assert itself as the continued sponsor of cultural production, as well as the guardian...

... in affective terms. Using materials culled from daily life, he redirected our focus to our daily field of vision, urging us “to really see what we look at” and feel its effect. By addressing Diba’s work in relation to the city as both source and frame, this article examines how Tout Se Sait brought new levels...

...Anne Anlin Cheng Can we think of racialized skin as dress, as a form of fashion-consciousness? Instead of seeing this question as trivializing the history of denigrating corporeality attached to the raced subject, through a reading of Josephine Baker this paper argues for the importance...

... the Western conceit of Africa as primitive, his 1960s and early ’70s writings chart a new direction, showing the linked struggle between African independence and the civil rights and Black Power movements in the United States. Again, we see another figure of the continent emerging in Baldwin’s late works...

...Michelle Stephens “Defacing the Gaze and Reimagining the Black Body: Contemporary Caribbean Women Artists” examines works by visual artists Oneila Russell, Holly Bynoe, Patricia Kaersenhout, and Ebony Patterson, exploring how these contemporary artists wrestle with the terms in which we see black...

... forget that he is the creator of the artists we see within the paintings. Copyright © 2016 Nka: Journal of Contemporary African Art 2016 artist’s studio self-portraits black portraiture posing the black figure POSING THE BLACK PAINTER KERRY JAMES MARSHALL’S PORTRAITS OF ARTISTS’ SELF...

... as a something opposed to the logic of the commodity.3 mode of production finds a striking correspondence Accordingly, what we see scattered in the photo- in the presentational structure of the sketchbooks graph’s lower edge are raw materials such as wool or themselves. With the exception of one...

..., it sees. Take for example, avant-garde post-modernity, sought, albeit differently, to make Cox's Olympia's Boyz (C-Print, 2001). In the image, which stands visible the intangible effects of fragmented identities. Here, the more than eleven square feet, a nude Cox reclines...