{"title":"Soul of a Nation: Art in the age of Black Power","authors":"Jody B. Cutler-Bittner","doi":"10.1215/10757163-7917204","DOIUrl":"https://doi.org/10.1215/10757163-7917204","url":null,"abstract":"","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"43 1","pages":"150 - 153"},"PeriodicalIF":0.3,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74545321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Charles White","authors":"Jody B. Cutler-Bittner","doi":"10.1215/10757163-7917192","DOIUrl":"https://doi.org/10.1215/10757163-7917192","url":null,"abstract":"The recent exhibition Charles White: A Retrospective (Museum of Modern Art, New York, October 7, 2018–January 13, 2019) offered a chance to consider the technical and iconographic breadth of an oeuvre that has been exhibited mainly in sporadic doses for the past few decades and has expanded in scope through recent attention from a subsequent generation of African American artists, including several students as well as art scholars. White (1918–79) was vocally committed from the mid-1960s through his final decade to African American art subjects in tandem with social issues, climactic in poignant, politically charged lithographs in a realist drawing style set in increasingly abstract environments. By then associated with the Black Arts Movement, he continued to recycle historical figures and references from his earliest work in the milieu of a Black Renaissance in Chicago and bolstered by the Works Progress Administration, which, with reciprocal viewing, takes on a collective modernist context in terms of current events related to African American experience and American life broadly, even where allegorical. White’s prolific graphic experimentation yielded varied surface patterns that often evoke content-laden textures, elided into several distinctive late paintings also featured.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49211125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Posing Modernity: The Black Model from Manet and Matisse to Today","authors":"Kristen D. Windmuller-Luna","doi":"10.1215/10757163-7917216","DOIUrl":"https://doi.org/10.1215/10757163-7917216","url":null,"abstract":"","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"55 1","pages":"154 - 158"},"PeriodicalIF":0.3,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78424703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Denis Williams's London","authors":"Maryam Ohadi-Hamadani","doi":"10.1215/10757163-7916832","DOIUrl":"https://doi.org/10.1215/10757163-7916832","url":null,"abstract":"Abstract:This article is a study of several works by Guyanese artist Denis Williams and the exhibitions of these works. Williams (1923–98) was a key figure in the history of artists of the then British Empire who made their way to London in the middle of the twentieth century (Williams himself arriving in 1946). The article discusses one of Williams's most celebrated works, Human World (1950), and examines how the artist's practice engaged with anticolonial resistance and modernist discourse surrounding abstraction. The author also explores and comments on the exhibitions in which Williams participated during his time in London and the reception his works received from artists and critics.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"6 1","pages":"18 - 33"},"PeriodicalIF":0.3,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87253314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"New Directions in Black British Art History","authors":"E. Chambers","doi":"10.1215/10757163-7916820","DOIUrl":"https://doi.org/10.1215/10757163-7916820","url":null,"abstract":"This article discusses the changing nature of art history when it comes to black British artists and suggests that such history has perhaps moved away from existing to instead correcting or addressing the systemic absences of such artists from British art. This is typified by Rasheed Araeen’s 1989 exhibition The Other Story, the first major attempt to create a broad black British art history, and several other not dissimilar, exhibitions. The article also considers what changes to the fortunes of a small number of black British artists might be deduced from the awarding of honors by the queen and the extension of membership in the Royal Academy to a handful. The article draws attention to the ways in which major London galleries such as the Institute of Contemporary Arts, the Serpentine, and the Whitechapel have, over the course of the past two decades, hosted the first main-space solo shows of black British artists’ work. With so much having happened to limited numbers of black British artists, this introduction suggests that burgeoning scholarship on these and other artists is timely, and that the articles assembled for this issue of Nka are a reflection of this increased attention. Among its concluding considerations are the ways in which much of this new scholarship emanates from US rather than from British universities. Finally, the article urges a “rescuing from obscurity” of important pioneering texts on black British artists.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45847467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Eugene Palmer and Barbara Walker","authors":"R. Hylton","doi":"10.1215/10757163-7916904","DOIUrl":"https://doi.org/10.1215/10757163-7916904","url":null,"abstract":"In Britain, black artists are arguably receiving the most sustained level of attention in a generation, from several historical exhibitions and international conferences to academic-based research initiatives and acquisitions by prestigious national museums. While offering artists a certain level of exposure, such initiatives have tended to privilege institutional agendas rather than the very artistic practices they purport to endorse. The paucity of genuine exhibition opportunities and significant publishing are factors that continue to bedevil a wider selection of black British artists. This article focuses on two specific exhibitions and artists: Eugene Palmer’s Didn’t It Rain (2018) and Barbara Walker’s Sub Urban: New Drawings (2015), both organized at the University for the Creative Arts, Farnham, UK. The author stresses the contrasting relationship to photography that each artist pursued in the making of their respective bodies of work and argues for a more engaged assessment of practice. The works of these artists deserve to be recognized for their fascinating and singular contributions to contemporary art practices.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42021950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sonia Boyce","authors":"Anjalie Dalal-Clayton","doi":"10.1215/10757163-7916868","DOIUrl":"https://doi.org/10.1215/10757163-7916868","url":null,"abstract":"The British artist Sonia Boyce was a central figure in the British Black Arts Movement and has in recent years achieved widespread critical acclaim within the field of British art. Although she is now known for her performative and collaborative approach to art making, she began her career making figurative oil pastel and charcoal portraits that have become synonymous with black artistic practices of the 1980s. This article presents a new reading of three of these iconic portraits—Auntie Enid–The Pose (1985), Missionary Position II (1985), and Big Women’s Talk (1984). The new reading respects, but diverges from, previous interpretations that have typically focused on representations of black domestic life and the politics of identity. Taking direction from several interviews with the artist, including one conducted by the author in 2015, the article uses a formal analysis to propose the hitherto unacknowledged or under-appreciated interplay with modernism and other art movements within the three artworks in question.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46683285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Illness as Metaphor","authors":"Jareh Das","doi":"10.1215/10757163-7916892","DOIUrl":"https://doi.org/10.1215/10757163-7916892","url":null,"abstract":"The late British artist Donald Rodney (1961–98) developed a unique vocabulary critiquing wider representations of the black male body that extended beyond his status as a person living with sickle cell disease to the lives of others with a shared racial background. Critical yet full of wit, Rodney was, until his death in 1998 from complications related to sickle cell disease, one of the most compelling artists to come out of the Black Arts Movement of 1980s Britain. From X-rays of his cells to tiny sculptures made from his own skin, Rodney created conceptual self-portraits of his life as a young black man. This article considers illness, art, and activism while reflecting on the effects of living with sickle cell disease and the continued invisibility around this illness, both on the African continent and beyond for the very reasons Rodney’s works highlight. In focusing on the notion of illness as metaphor in art and analyzing the metaphorical tropes of illness present in Rodney’s artworks produced during the late 1980s to early 1990s, the author’s intention is to think through the entangled understandings of illness and masculinity to seek new readings of Rodney’s works. The artist’s deeply moving, conceptual, and critically engaging oeuvre not only confronts the viewer with both the presence and absence of the black male body, but also presents the spectator with the realities of the artist’s daily negotiations living with sickle cell disease. This disease affects people of African, Caribbean, Eastern Mediterranean, Middle Eastern, and Asian descent, and there is still no cure for it. It is a “black” disease that raises polemics of care toward black bodies and the invisibility of sufferers within the wider medical discourse. Rodney’s works form a compelling case for an artist’s dedication to making both him and his works visible while simultaneously acting as a form of resistance against marginalization and oppression on the basis of both race and gender. Rodney’s practice is considered here within wider discourses dealing with a postcolonial reading of pain, aesthetics of illness, and representations of the male body.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44449327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Aesthetics of Migration in an Age of Anxiety: Zineb Sedira, Allan deSouza, and Mary Evans","authors":"Monique Kerman","doi":"10.1215/10757163-7916916","DOIUrl":"https://doi.org/10.1215/10757163-7916916","url":null,"abstract":"Abstract:Propelled by the sometimes opportunistic, sometimes desperate desire for better living conditions, migrants leave one land to occupy another. This act is inherently transgressive; whether this transgression is justified as \"progress\" or used as fodder for persecution depends on who controls the historical narrative. In recent work, artists Zineb Sedira, Allan deSouza, and Mary Evans express both the instability of the migrant as a cipher and the anxieties that the migratory experience creates. The current global refugee crisis has fanned the flames of xenophobia and virulent nationalism in Europe and the United States, and these works offer a rebuttal to degrading rhetoric and imagery that stigmatizes the migrant. Sedira's 2008 photographs and 2009 videos of a Mauritanian ship graveyard evoke desperate emigration as well as economic stagnation and environmental degradation. DeSouza's World Series (2011), inspired by Jacob Lawrence's Migration Series (1941), suggests bodily movement within a matrix of geopolitical, state-controlled, and natural environments, while referencing historical precedents such as Columbus. Evans's series Please Do Not Bend (2015–16) is a touching tribute to the resilience of Africans and their descendants who have migrated, voluntarily or by force, over the centuries. In Evans's Thousands Are Sailing (2016), anonymous silhouettes of brown bodies are in a liminal space, unmoored from one nation and locked out of another. Migration is an unstable experience, and an equally unstable subject. These works reclaim the imagery associated with the \"abject immigrant\" to restore their agency as well as their humanity.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"103 12 1","pages":"114 - 126"},"PeriodicalIF":0.3,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86533524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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