... in the reportage vein in Chicago in the 1960s and early ’70s. The elder Crawford traveled to Lagos, Nigeria, in 1977 for FESTAC as part of the delegation of American artists who were invited to attend. Ten years before his FESTAC experience he had been active photographing at the Wall of Respect , a mural at 43rd...

... of Chicago artists came together Culture) — who created the Wall of Respect in Chi- at the request of Jeff Donaldson in the studio of cago in 1967. This mural became a visual symbol of I Wadsworth Jarrell to discuss the premise that Black nationalism and liberation. Black visual art has innate...

... in mination. We would be free. those days. Education, Integration, Accommoda- 78 • Nka Journal of Contemporary African Art • 30 • Spring 2012 Jae Jarrell, Urban Wall Suit, 1970. Multicolored silk quilted patchwork, women’s size 10, hand-painted graffiti, acrylic. Azzi-Lusenhop Black Arts Movement...

... , 2014. Charcoal and granite on paper, 312 paper, on x138 cm. granite and , 2014. Charcoal Boswell explains, the-wall...

... with philosophical speculation on the potential for a black aesthetic, from my own surprise on seeing, suddenly gracing our 345 West 145th Street walls, this perfect conjunction...

...-built structure— AFRICA makes it clear that architectural modernity is an act of negotiation with no clear final outcome. Notwithstanding curatorial declarations that the exhibition would neither try to “pinpoint the specifically African” nor rely upon generalizations, too often the wall texts...

...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...

... title, Phoebe Boswell: For Every Real Word Spoken , is taken from Audre Lorde’s essay, “The Transformation of Silence into Language and Action” (1977). The exhibition is composed of a series of eight drawings of eight female figures, an animation, and ephemeral drawings and texts on the gallery walls...

... devastated Detroit and Newark, NJ, she painted Die expressly for the show. The wall-size canvas depicts an interracial cast of clean-cut antagonists trying to kill one another. Although the painting represented the kind of large-scale, politically motivated figuration that had been out of favor since...

...Elizabeth Harney Recent readings of El Anatsui’s metal wall hangings celebrate their sheer beauty and grandiosity, marveling at their clever quotations of modernist tropes. However, these readings tend to miss the spiritual drama and melancholy informing his transformation processes; they overlook...

...Terry Smith In his wall hangings of sewn-together tops from alcohol bottles and other detritus, most of them made since 2002, El Anatsui has accomplished one of the very few genuine breakthroughs in contemporary art anywhere in the world today. This exhibition at Royal Ontario Museum, Toronto...

... DIALOGUE Bob Crawford, Wall of Respect, 43rd Street and Langley Avenue...

... is looking anxiously at a runny, spray-­painted spot on a bare wall; her left hand is lightly touching the wall; her right hand appears on the brink of grasping something in the air. There are several such spots and other spray-­painted marks and drips on the wall she is facing...

... is roofed with perspex and therefore allows more light into the known world. In the effect, the installation is the altar not of a particu• 'room'. The partitioning wall which is made of jute provides a canvas lar, localized culture situated somewhere on the map. Rather it is a on which...

...Claire Tancons Copyright © 2003 Nka: Journal of Contemporary African Art 2003 South-African artist in his mid-twenties, Robin Rhode often comes up against a wall. Since 1998, in A his native city of Cape Town and in Johannesburg...

... sufferers, which were recorded in vari• on the gallery walls). that appears to only present two ous local languages. The fluidity of options: heads or tails. The outcome...

... that are suspended on chains; and colored plaster pieces hovering head- high from hundreds of ne threads, con gured according to the cartographical shape of the United Arab Emirates. Alongside this, leaning on nails in the walls, there is a small archive of everyday traces, xed on acrylic glass...

...- ferently: the punctures on the wall yet another level of objectification bition we saw Mutu interrogating the become shrapnel, and the “sleeping gets added by having these images on politics of space. The gallery walls heads” the result of decapitations. display in the vitrines...

...,   shapes of assemblage an onto tacked tically More wall. a precisely, of image an with be gan Views Inner Mthethwa: Zwelethu 152...