...Celeste-Marie Bernier “When people think of enslavement often art is the last thing on anyone’s mind,” declares Kimathi Donkor. He refuses to shy away from the stark reality that the “profits of slave trading and slavery resulted in money spent commissioning art works that ended up on walls...

... and early 1990s as evidence of racial racial of evidence as 1990s early and 1980s late inthe prominence new artists’ American African interpreted critics and scholars several Although subjectivity. black to pose slavery of phantoms the and multiculturalism, representation...

...: Contemporary Collaborative Art in a Global Context (Durham, teaching focus on modern and contemporary art. He NC: Duke University Press, 2011); Maria Lind, “The Collabora- is author of Bound to Appear: Art, Slavery, and the tive Turn,” in Taking the Matter into Common Hands: On Con- Site...

... fundamentalist historical narratives. Sembène’s films imagine alternatives to the recorded past and become a resource for continuous reinvention: Guelwaar inscribes a path out of divisive ethnoreligious essentialisms into a unified vox populi, and Ceddo uses the imagery and rhetoric of slavery to expose...

...Françoise Vergès The objective of the organized visits titled “The Slave in the Louvre: An Invisible Humanity (2012)” was to explore how slavery had contaminated Europeans’ tastes, ways of living, consuming, receiving, and representation of themselves. Looking at the paintings featuring men smoking...

... sparked in the 1970s by the Black and Latinx Lesbian Gay Bisexual Transgender Queer/Questioning (LGBTQ+) communities in New York. The muses are disenfranchised African American trans women who have faced a long-standing subjugation anchored in America’s history of racial slavery and classed transphobic...

... reference to machetes as code for Black criminality). Other associations, ones that Sinclair is keen to advance in his work, relate to the African diaspora, Caribbean history (particularly that of Haiti), and the machete as a symbol of enslavement and a tool in insurrections against slavery. The article...

... Stephanie Smallwood’s concept of “anomalous intimacies,” articulated in her book Saltwater Slavery: A Middle Passage from Africa to American Diaspora , in order to think about how these two artists are in conversation with one another and how they represent the black community after the slave trade. I...

... to reveal the ways in which racism, the history of slavery, and the legacy of the British Empire are embedded in such practices. For over twenty years, Evans has been exploring recurring motifs that resonate not only with her personal biography as a Lagos-born, London-based artist, but also...

... behind which a waterfall tumbles, a weather-stained wooden pagoda, a white gable-roofed bird house perched on a stand, a stream of dry pebbles, a small stone "fire" fountain, and a stone bench. It is there that I read about the history of slavery in New Jersey. Earlier this morning I spent...

... of slavery, allows Walker to challenge, indeed taunt, our individual and collective his• torical imaginations. From Baldwin's generation to Walker's, the issue as to how to come to terms with a painful past persists. How does one write oneself into a painful history without first inquiring...

... possibilities by curtail- and collectors of Walker’s work approach it dispas- ing continuance of the work still required for such sionately from their side of the slavery legacy, and a moment to occur. Walker’s artworks, using simple they can be terribly enervated and excited about the forms with details...

... the Courtesy of Sikkema Jenkins & Co. Photo: Joshua White. violence and terror of traumas such as slavery, 48 •Nka Journal of Contemporary African Art Nk a•49...

... happened in the Haitian Revolution. People conceived of as slaves by Africans and Europeans, acting in the name of freedom, broke free of the idea of slavery itself.9 An idea freedom that claims universal va- lidity plays out on the contingent field of political action and is transformed in the process...

... of the modern industrial age. He Homologies between racist science and the slave trade were widely accepted be• understood that to think historically about slavery was to grapple with a pro• cause the equation of blacks with cannibalism, for example, offered the conve• found...

... Goldman writes that Lam's work after affirming culture. America are usually considered in social his return to Cuba "was work at a cross• My father talked to me about slavery, and science research only...

... resistance to slavery and racism’s grateful to Ms. Goerlitz, the Terra Foundation, and pernicious onslaught against their humanity. the Smithsonian for including Africa as an impor- To be sure, slavery, colonialism, and racism have tant component in the making of and discourse on not only perpetuated...

... stage of life, people create their own culture, SG: We have had the experience of slavery, of coloniza- mark their epoch. And move forward! So when I discovered tion; now, it’s globalization and neocolonialism. The African culture, I used it in that sense. Politics—­not the politician’s people always...

.... pixels generated in the photolitho - this historical backdrop, Halter’s en - Many of the Essops’ images operate nival of the days of slavery, or maybe there is a radical inversion of the dy - Power play. Reality contests perspec - graphic medium a part of the immedi - larged vanity...

.... pixels generated in the photolitho - this historical backdrop, Halter’s en - Many of the Essops’ images operate nival of the days of slavery, or maybe there is a radical inversion of the dy - Power play. Reality contests perspec - graphic medium a part of the immedi - larged vanity...