... of the French Empire in which the film takes place: West Africa and Southeast Asia, Benin, and Vietnam; the 1950s and today. Far from a politicohistorical documentary, however, Indochina explores the human possibilities of racial mixing and the psychological traumas of the Afro-Asian children most often torn...

... the early twentieth-century impe• War (subsequently called "the first Vietnam") rialist forays that brought U.S. expansion into the allows for the locating and tracking of certain cul• Pacific Theater in a quest for territory, labor, tural vectors of aggression that are today constitu...

... journey, from laws, passport controls and ideologi• 'good' and 'evil', from 'whiteness' to cal barriers remain enforced, a 'darkness', recurs in a Vietnam War process of globalisation has meant setting in Francis Ford Coppola's film, that artists from...

...-­dominated African American art rights movement had affected her, Faith recalls: scene. In 1967 Martin Luther King Jr., denouncing the During the years from 1968 to 1970, I was caught up Vietnam War, joined the future of the civil rights in a steady stream of activities protesting MOMA’s movement...

... depicted are lurk everywhere. exotic or ancient, the sort of thing you hear Africans do (not our soldiers in Vietnam or Nicaragua mind, nor the CIA...

... American artists (among others) as irrelevant and even irresponsible in light of the Vietnam War debacle and contin- ued racism and sexism in American society. An influential weigh-in was Raymond Saunders s essay Black is a Color (1967; self-published), which contested any and all expectations for black...

... site-specific have lived in Iran for more than forty years. The installation at the abandoned ice factory in Kalba. video considers two historical events, the Vietnam Titled Planetarium (2015), this major work covered War (1955–75) and the Iran-Iraq­ War (1980–88), the entire interior...

...Santu Mofokeng Copyright © 2000 Nka: Journal of Contemporary African Art 2000 Vietnam Series, 1998. Courtesy of John Peffer I paid for it to be repaired with my own stop me just to gape at the apparatus or to machines, including cars (I do not drive), money, which...

..., the Vietnam War, Martin Luther King's death, riots, and the poverty of as that's where they played jazz at night the ghettoes. Smith's work came to reflect these struggles; his view was Smith's goal has been, from the very beginning, to depict the Black contribution...

..., but also late in the century —  exploration narratives. I explain how Peary’s very during the Vietnam War and, at the time of the American scientific enterprise, which stressed tan- book’s writing, during the first Persian Gulf War. gible results, contrasts with Scott’s account, which...

... inspiration unrest and the war in Vietnam.8 Large planes of color from De Kooning’s house paintbrushes and repro- in cool blue and gray, as well as hot tints of red, yellow, graphic technology, which allowed him to reduce and orange, ripple across the canvas. Punctuated by expressionist painting...

... juxtaposi• Movement, Black Power, Vietnam war, mass protests, and political tions, between reification and exemplification are the ways in which assassinations produced an atmosphere of civil unrest so severe, that the avant-garde in Europe and the United States has structured much it exploded...

... reproduced portrait of Huey Newton as an armed potentate perched inside a wicker throne while sug- gesting that here, as in Vietnam, even the most non- threatening figure...

..., "nothing protects us from our memory and its hor• It is worth mentioning that Hassan Musa often composes rid• ror. As he argues, "the Americans have not forgotten the Vietnam dles and proverbs to accompany his work and the Graphic war, neither the French with regard to Algeria or the Germans...

...- (1987), the late auteur’s searing indictment of the tial query, how during “these liminal moments of Vietnam War, opens with the same symbolic scene: transition . . . a young man — whether voluntarily the close-­up of the shorn hair falling to the floor or forced — lets go of one identity...

... name often given to ambitious that addressed spiritual and religious themes. Many or aggressive African American women; the subtitle of his early works exhibited at Gallery 32 took up came from the advertising campaign of the ciga- the American involvement in Vietnam and African rette brand...

... violence, first in Vietnam in the 1970s and, most re- cently, refugees fleeing across the Mediterranean en route to Europe on overloaded dinghies, often to be consigned to the depths only to be recovered in nets, the tools of large-scale fishing operations. These contemporary migrants from Asia to Europe...

... that much blood in Vietnam,” ties involved. Nonetheless, Ringgold and Bearden indexes his ability to connect spectacular violence produced or exhibited their most stark visions of at home and abroad via Ringgold’s large-scale paint- race in America—pictures that marked turning ing.29...

... TO THE ART ESTABLISHMENT. 30 In later exhibitions of the work, including Artists for Democracy: Vietnam Festival (1975), Art from the British Left (1979), and, more recently, The Place Is Here (2017), the artist recreated the four origi- nal iterations of the panel as four separate displays, hung...

... narrative into 'heart of darkness'. Europe. Although the immigration This dichotomous journey, from laws, passport controls and ideologi• 'good' and 'evil', from 'whiteness' to cal barriers remain enforced, a 'darkness', recurs in a Vietnam War process...