... I and the present and investigates the power relations between Western and non-Western worlds. Beloufa’s Kempinski overturns the idea of a globalized, materialistic future for everybody by filming dystopic yet realistic narratives. In this essay, the author examines how these three works are linked...

... Africa’s First Black Artist Working in the Western Tradition Angela Read Lloyd Journal of Contemporary African Art • 33 • Fall 2013 20 • Nka DOI 10.1215/10757163-2352884  © 2014 by Nka Publications From...

..., since such iden- decolonization, which sets out to change the order tities were more or less figments of the colonial of the world, is clearly an agenda for total disorder. 1 imagination. 3 They note the stubborn persistence So how does one go about such an undertaking, to of Western stereotypes about...

... with traditional women’s handiwork, such as sewing, quilting, and cooking, and notes that her maternal grandfather was a tailor in Nigeria. Evans contrasts Western academic art...

... took solace in the lit by a gentle reflection Woman( of Ndebele, Fruits Oriental imaginary, his works may not be circum- of Bali, Zulu Maiden, Swazi Girl, etc Tretchikoff scribed by preconceptions and prejudices inherent in sometimes places a strong emphasis on the figures Western...

... legacy within Egypt and in international surrealist circles. This article serves as a preview of contributions to this special issue of Nka , which serves as a followup to these two events, documenting the relationship of the Egyptian surrealists with Western counterparts, especially the French...

...Salah M. Hassan In spite of his visionary work and enduring legacy, Karl Marx was a product of his time and of Europe as a rising colonial empire with ambitions of conquest and domination, and the larger framework of his analysis was bound by the evolutionary thinking of that time. Most western...

... of art history. Through a series of portraits of black subjects produced in Haiti during the nineteenth century, it sets aside temporally bound notions of innovation and avant-garde aesthetics that center art history and considers the manner in which these portraits defused the authority of Western...

... industry signals a newfound creative energy and prosperity, yet it also raises debate around such issues as Westernization, postcolonialism, race, gender equality and religion. Haute Africa focused on the work of photographers who are not interested in African fashion per se but who choose instead...

..., and social meanings of blackness and the body. Second, it argues that these artists directly challenge the seeming invisibility of black bodies in Western art history by reworking the linear trajectory of canonical discourses. They do not so much insert black bodies back into the Western canon as reveal...

..., this energy and visibility has not been matched by a parallel regime of art criticism that lives up to the levels of their work. Second, we find a rising interest in exhibiting and collecting works by contemporary African and diaspora artists among Western museums as well as private and public collections...

... in 2006 from the University of St Andrews, Scotland. Formative experiences for his art were his exposure to the diversity of Sudanese visual culture, arts, crafts, and landscape through annual trips to various parts of the country organized by the College of Fine and Applied Arts; the Western modernist...

... the Western conceit of Africa as primitive, his 1960s and early ’70s writings chart a new direction, showing the linked struggle between African independence and the civil rights and Black Power movements in the United States. Again, we see another figure of the continent emerging in Baldwin’s late works...

... 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...

.... As the first society built entirely on slave labor, Barbados soon became the hegemonic model—what Hilary Beckles identifies as “the Barbados Experiment”—which was then exported throughout the Western hemisphere and had an indelible impact on contemporary African diaspora societies and, we argue, the way...

... while incorporating Western themes implies a precontemporary creation, an egalitarian existence in a story from which the black body is painfully absent. When a work of art depicts a figure (mythical, biblical, allegorical) the narrative is identified with the help of pictorial codes. Eros would...

...Amelia Jones This article looks at Okui Enwezor’s theory of countering the art world’s “Westernisms” and his actualization of this theory in his organization of Documenta11 to mount an argument against the universalizing and Eurocentric conception of “global” art. It offers two examples of recent...

... through the lens of the Western ethnographic museum. Focusing on the aesthetic and material effects of the sketchbooks, Twombly’s drawings will be discussed in regard to the objects he saw while traveling. How was the range of artifacts incorporated, transformed, and possibly even obliterated within his...

... of transatlantic slavery provided the capital that galvanized white Western art systems of patronage, collection, and exhibition into existence. He represents black women, men, and children as the appropriate subjects of fine art at the same time that he remains dedicated to restoring the history...