..., the sense of vast scale that may be apparent in numbers of people or monumental structures or, even, in insignia may be suggested or, per• haps...

...Peter Erickson William Kentridge’s 9 Drawings for Projection present white characters in the context of apartheid caught between guilt and redemption, with special attention to the intermediate terrain. Felix in Exile , the fifth film, suggests that the dismantling of the structures of white racism...

... of a quota - structure in the solid black exterior frames, as well BLACK MAN.” Ligon’s individual name is ex - in the fonts of the Narratives , the typeface remains tion according to the metaphor of the box, then the as in some cases the interior boxed insets; in addi - pressly used...

... answers to the hows and whys of contemporary African architecture, ultimately succeeding in its intention to supplant media-based stereotypes of the continent with alternative narratives. Juxtaposing architecture’s two dominant global modes—that of the architect-designed structure with that of the user...

...Theaster Gates From “Black Collectivities: A Conference,” held May 3–4, 2013, at Northwestern University’s Mary and Leigh Block Museum of Art, the Museum of Contemporary Art Chicago, and the University of Chicago’s Arts Incubator. After examining the vast structural responses to the need...

... the public a unique experience by bringing together the conventional structures of a museum with Gaba’s unconventional and playful structures, which question the nature of the museum and change the Western viewer’s perception of African art. Copyright © 2014 Nka: Journal of Contemporary African Art 2014...

...Fatima El-Tayeb This article addresses the long-term impact of colonialism on Europe’s internal structures and on its self-positioning in a global context. Using the 2015 refugee crisis as a focal point and centering the German example, the author explores the complex relationship between memory...

... spots that hinder conceptual, hence political, imagination—a writing of universal history upside down. A universal history worthy of the name will go far beyond the notion of correcting the Eurocentricity of history writing; it will need to be based on a deprivatized, denationalized structure...

...: conquest, commerce, and cosmopolitanism. Global commerce was the condition of possibility of cosmopolitanism, but what had long structured global commerce was a composite of rapacity, enslavement, violence, domination, and some good. The author proposes that the contemporary study of cosmopolitanism...

... elements of Enwezor’s exemplary transformation of curating into the creation of platforms for political interventions at his Documenta11 exhibition. The second part seeks to answer three questions: What was the curatorial strategy and multisited structure that Enwezor and his team developed? How did...

... of displacement, by showing photographic representation of Ethiopian modernity structured around Muluneh’s invocation of her personal history and reference to Ethiopia’s many ethnic groups. For the purpose of clarifying the term “modern,” this assignation refers to the demarcation of time in Ethiopia’s history...

...Silvi Naçi Rico Gatson is a cultural producer. Long before other artists, his work embodied the pursuit of light and pushed the boundaries of modernity by building new structures for understanding and representing black bodies in contemporary dialogue and the art market. Each piece commands...

..., overlapped, and intertwined. The result is a complex structure of stories that exists between past and present, combines shared histories with personal stories, and ranges from the highly visual to the completely invisible. Throughout the exhibition past and present are in constant ebb and flow...

... of art history from a Middle Eastern perspective or address some of the critical issues that are emblematic of our contemporary world. Finally, I consider how the biennial disrupts and/or affirms the typological structures and narratives that shape our understanding and experience of art biennials—what...

... to explore new possibilities in their own artistic practices. Not only did such writings allow artists to explore (and re-create) new structures of meaning for their works, but also African art history provided viewers and intellectuals in the arts community with a guide for reading these complex works. I...

... state structures and unifying societies with often staggering ethnic and linguistic diversity? This article seeks at once to place the festival in the context of such challenges and criticisms and notes the ways in which the festival enabled new possibilities, indeed a new moment, in global black...

...Benjamin Tiven This article engages the German architect Ernst May and the complex legacies of his work in colonial Kenya from 1933 to 1953. Tiven examines three structures and parses their political, aesthetic, and biographical dimensions: one proposed, but never built (the Native House...

...Benjamin Tiven This article engages the German architect Ernst May and the complex legacies of his work in colonial Kenya from 1933 to 1953. Tiven examines three structures and parses their political, aesthetic, and biographical dimensions: one proposed, but never built (the Native House...

...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...

... that the historical past is effectively “dead” because of its seemingly fixed status as a static object in structures of nostalgia and memory. Film, video, and installation work by Fusco, Julien, Pettibon, Bill Jones, Lyle Ashton Harris, and Carrie Mae Weems position still photography and graphic images in ways...