... World Imagery: Contemporary Jamaican Institute, University of London, for her critical study Art. That particular exhibition was one of the high- of Negrophilia (the somewhat skewed white embrace lights and focal points of the africa 95 season. Ten and love of things black and African...

... offering Recent Black Artists in Britain Artists Black Recent of Politics Cultural The Change: Done Things His book, of Austin. Texasat University the at history art and of art Chambers Eddie...

... sketches? Relating Twombly’s studies to his own writings and retrospective commentaries, this article aims to show that Twombly’s attraction to African art corresponds to his exploration of the materiality of things, leading toward modes of mark making that would prove significant for his future production...

...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...

... also concedes that “beginnings are notoriously unstable things.” Copyright © 2019 by Nka Publications 2019 Rasheed Araeen David Oluwale Stuart Hall black British art history AfroAsian definitions of black Journal of Contemporary African Art 45 November 201948 Nka DOI 10.1215...

... is displayed and viewed changes with each generation, constantly allowing young diasporic innovators from the Americas, Europe, Africa, and the Caribbean to add their own ideas about reinvention and self-representation. Paris, an internationally key and highly influential Western space in all things concerning...

... in Ballen’s photographs remain semiotically unclear, as do the arranged part-objects, people, and animals in the photographs. The French psychoanalyst Julia Kristeva’s (and French Romantic poet Gérard de Nerval’s) description of the Thing of melancholia as “a light without representation” provides a poetic...

... 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...

... to invite a number of African American male artists to create a collaborative installation exhibition. According to the exhibition organizers, African American artists Charles Abramson and Senga Nengudi, “1 + 1 = 3” is an erotic equation. Male and female work together to create a third thing that has...

... cut . . . Symmetry that is free , repetition with change, based on African music and African movement . . . We want the work to look like the creator made it through us . . . We want the things to shine, to have the rich luster of a just-washed ’Fro, of spit-shined shoes . . . Color that shines...

... doctoral research into the recent upsurge of multidisciplinary and collective projects in Africa. It focuses on artists and artist collectives whose works intervene in everyday experience, emphasizing elements of the “common things” and questioning “the habitual.” Proceeding to a series of examples...

..., including corporations. While examining the role of legal entities, Gates also posits the necessity for temporary and informal collectives, the gatherings that convene and dissolve around caring for places, things, and people. Referencing the archives housed at his Dorchester Projects, Gates discusses...

... was in engineering and I engaged in many chemical experiments. One thing I remember from my thesis was that we were required to find different ways of producing sugar. I've always been interested in producing food through industrial methods, because of my background and origins from Nigeria. When I was younger...

... reason or another. He would rather have me been in the fields, feeding the horses, the chickens, and the cows and doing things of that sort. The only time I really was allowed to play when my moth• er was around, and she insisted that if I wanted...

... the idea of the penumbra: no one cares what tures and then a willingness to disengage, reengage, you’re doing except you yourself. I find the first reinvent, or massage in some way the very idea of the thing you have to do as an artist is to find support- structure. That’s to say, if the market offers...

..., and the market didn’t continue your conversation and perhaps to open it by asking know me; I could sell a bowl for twenty-­five dollars. So I had you both to expand on the complex interrelations you dis- this period of ten years where the practice was really just cussed between people, spaces, and things...

... found things that were like any other tool; language is a tool. I had a project, and positive for me and for my thinking. All of that has always I boldly announced it to poet Jayne Cortez, and it’s called been helpful. People ask, are you doing this research for “Before Words”—because “before words...

... there is nothing to see here, you have to abandon such an enclosure to have a larger view of things. You just spoke about great African artists working today. In your view, who are some of these artists that you think deserve a place within the formulations of modernism? There have always been great...

... in show became a part of their educational curriculum for high this site of what Paul Gilroy termed the "Black Atlantic"— school. And I'm thinking of the museum being so large and the Black Atlantic being both the site of turbulence and the other things...

... to photography. TE: Here again, you touch on an intimate question and I don't really want to say. Well, I'll briefly survey it. No, OE: How is your personal life connected to your pho• it is a number of different things. It happened...