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{"work":{"id":34690128,"created_at":"2017-09-27T00:57:15.414-07:00","from_world_paper_id":null,"updated_at":"2021-01-14T04:21:14.599-08:00","_data":{"abstract":"Published by Art Africa in the 'Liberation is Not Deliverance' issue, this article explores the similarities and differences between the exhibitions 'Soul of a Nation: Art in the Age of Black Power' showing at Tate London from 12 July - 22 October 2017, and 'The Place is Here' showing at South London Gallery from 22 June - 10 September 2017. ","publication_date":"2017,,","publication_name":"Art Africa"},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Black (Art) Consciousness, Art Africa, Issue 09, September 2017","broadcastable":true,"draft":false,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [3562536]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "full_page_mobile_sutd_modal"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":54548919,"attachmentType":"pdf"}"><img alt="First page of “Black (Art) Consciousness, Art Africa, Issue 09, September 2017”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/54548919/mini_magick20190116-15248-s0h5o5.png?1547684542" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Black (Art) Consciousness, Art Africa, Issue 09, September 2017</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="3562536" href="https://uwc.academia.edu/CAllison"><img alt="Profile image of Candice Allison" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/3562536/3881505/14918936/s65_candice.allison.jpeg" />Candice Allison</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">2017, Art Africa</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">4 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 34690128; 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if (!viewCountBody) { throw new Error('Failed to find work views element'); } viewCountBody.textContent = `${commaizedViewCount} views`; } catch (error) { // Remove the whole views element if there was some issue parsing. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); throw new Error(`Failed to parse view count: ${viewCount}`, error); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Published by Art Africa in the 'Liberation is Not Deliverance' issue, this article explores the similarities and differences between the exhibitions 'Soul of a Nation: Art in the Age of Black Power' showing at Tate London from 12 July - 22 October 2017, and 'The Place is Here' showing at South London Gallery from 22 June - 10 September 2017. </p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":54548919,"attachmentType":"pdf","workUrl":"https://www.academia.edu/34690128/Black_Art_Consciousness_Art_Africa_Issue_09_September_2017"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":54548919,"attachmentType":"pdf","workUrl":"https://www.academia.edu/34690128/Black_Art_Consciousness_Art_Africa_Issue_09_September_2017"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div><div class="ds-signup-banner-trigger-container"><div class="ds-signup-banner-trigger ds-signup-banner-trigger-control"></div></div><div class="ds-signup-banner ds-signup-banner-control"><div id="ds-signup-banner-close-button"><button class="ds2-5-button ds2-5-button--secondary ds2-5-button--inverse"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">close</span></button></div><div class="ds-signup-banner-ctas" data-impression-entity-id="34690128" data-impression-entity-type="2" data-impression-source="signup-banner"><img src="//a.academia-assets.com/images/academia-logo-capital-white.svg" /><h4 class="ds2-5-heading-serif-sm">Sign up for access to the world's latest research</h4><button class="ds2-5-button ds2-5-button--inverse ds2-5-button--full-width js-swp-download-button" data-signup-modal="{"location":"signup-banner"}">Sign up for free<span class="material-symbols-outlined" style="font-size: 20px" translate="no">arrow_forward</span></button></div><div class="ds-signup-banner-divider"></div><div class="ds-signup-banner-reasons"><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Get notified about relevant papers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Save papers to use in your research</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Join the discussion with peers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Track your impact</span></div></div></div><script>(() => { // Set up signup banner show/hide behavior: // 1. 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Located adjacent to the recently (April 2015) reopened renovated and expanded galleries for African art, its 680 square feet fosters an intimate space for engagement through close looking, nding connections, critical thinking, and quiet re ection (Fig. 1). Shi ing Views, curated by Shannon Hill, Associate Curator for African Arts, with Kevin Tervala, former Curatorial Fellow in the Arts of Africa, the Americas, Asia, and Paci c Islands, features twenty-four works on paper by seven artists from the museum’s growing collection of contemporary art: David Goldblatt, Gavin Jantjes, William Kentridge, Julie Mehretu, S...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Shifting Views: People and Politics in Contemporary African Art","attachmentId":83028509,"attachmentType":"pdf","work_url":"https://www.academia.edu/75139244/Shifting_Views_People_and_Politics_in_Contemporary_African_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/75139244/Shifting_Views_People_and_Politics_in_Contemporary_African_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="73033527" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/73033527/_On_Labels_Colonial_Legacies_and_the_Current_Crisis_in_African_Art_Studies_">"On Labels, Colonial Legacies, and the Current Crisis in African Art Studies"</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="909223" href="https://stanford.academia.edu/JCohen">Joshua I Cohen</a></div><p class="ds-related-work--metadata ds2-5-body-xs">African Arts, 2020</p><p class="ds-related-work--abstract ds2-5-body-sm">response to Yaëlle Biro & Susan Gagliardi, "Beyond Single Stories: Addressing Dynamism, Specificity, and Agency in Arts of Africa," African Arts 52, no. 4 (2019)</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"\"On Labels, Colonial Legacies, and the Current Crisis in African Art Studies\"","attachmentId":81716531,"attachmentType":"pdf","work_url":"https://www.academia.edu/73033527/_On_Labels_Colonial_Legacies_and_the_Current_Crisis_in_African_Art_Studies_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/73033527/_On_Labels_Colonial_Legacies_and_the_Current_Crisis_in_African_Art_Studies_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="43095968" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/43095968/1_54_Contemporary_African_Art_a_not_so_decolonial_heterotopia">1-54 Contemporary African Art: a [not-so] decolonial heterotopia</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1280453" href="https://edinburgh.academia.edu/RaquelVillarP%C3%A9rez">Raquel Villar Pérez</a></div><p class="ds-related-work--abstract ds2-5-body-sm">This research critically analyses the Contemporary African Art Fair 1:54, in London. Created as a space of resistance to promote African art and artists within the international art scene, it is sustained that indeed, the counterspace is the casualty of a manoeuvre of the Western art world to renew itself after the end of art in postmodernism. The art fair 1:54 fails its purpose because, being in its nature, purely commercial and following the Western model of art market, it becomes accomplice of the spectacularisation and further exoticisation of the works of art produced by artists of African heritage. Furthermore, it is argued that, being part of the mainstream is the ultimate goal of artists of African heritage and therefore, their art practices respond to parameters establish by the West that enable them to get it. As a result there is no such a thing as African Aesthetics anymore. This investigation proposes further research looking at decolonial art practices happening in the continent and the Diaspora, which favour social value over exchange and surplus value.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"1-54 Contemporary African Art: a [not-so] decolonial heterotopia","attachmentId":63349624,"attachmentType":"pdf","work_url":"https://www.academia.edu/43095968/1_54_Contemporary_African_Art_a_not_so_decolonial_heterotopia","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/43095968/1_54_Contemporary_African_Art_a_not_so_decolonial_heterotopia"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="23674934" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/23674934/Unmixing_the_Chaos_Contemporary_African_and_Diasporic_Art_on_Display_in_Global_Context">Unmixing the Chaos: Contemporary African and Diasporic Art on Display in Global Context</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="994430" href="https://georgetown.academia.edu/JROsborn">J. R. Osborn</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2008</p><p class="ds-related-work--abstract ds2-5-body-sm">Simon Njami opens his introduction to the 2005 Africa Remix catalogue with a description of the “chaos” and “metamorphosis” of contemporary African art. This paper addresses three exhibits, Africa Remix (2005), African Art Now (2005), and Josephine Baker: Image and Icon (2006) in terms of the political economy, audiences, and semiography of the displays as they move across diverse venues. Both Africa Remix, curated by Simon Njami, and African Art Now, organized by collector Jean Pigozzi, reinvent and reconfigure contemporary African art in relationship to avant-garde genres, new aesthetic themes, and contrasting audience demands. Audience responses and critical interpretations to all three exhibits differed as they moved from site to site. These responses will be viewed in comparative perspective and global context. Although the reception of Josephine Baker: Image and Icon, curated by Olivia Lahs-Gonzales, was more local than the two African displays, it introduced similar issues of provenance, ownership, and audience response. The Josephine Baker exhibit raised questions concerning the iconographic representation of “Africa” in diasporic settings. All three exhibits interrogate how the term “contemporary” is configured and transmogrified in African art, a question that compels curators and participants to “unmix” the chaos and locate traces of homogeneity and difference in the metamorphosis of the global art scene. Unmixing will be used as a performative semiotic method of exploring layers of artistic production and display by manipulating signifiers in the topological structure of an art work and its environment. This manipulation allows the remixing of artistic elements for comparative analysis</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Unmixing the Chaos: Contemporary African and Diasporic Art on Display in Global Context","attachmentId":44078747,"attachmentType":"pdf","work_url":"https://www.academia.edu/23674934/Unmixing_the_Chaos_Contemporary_African_and_Diasporic_Art_on_Display_in_Global_Context","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/23674934/Unmixing_the_Chaos_Contemporary_African_and_Diasporic_Art_on_Display_in_Global_Context"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="94275685" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/94275685/To_Be_Real_Figuring_Blackness_in_Modern_and_Contemporary_African_Diaspora_Visual_Cultures">To Be Real: Figuring Blackness in Modern and Contemporary African Diaspora Visual Cultures</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="99914874" href="https://independent.academia.edu/JacquelineFrancis7">Jacqueline Francis</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Radical History Review, 2009</p><p class="ds-related-work--abstract ds2-5-body-sm">This essay explores figuration in artistic- and museum-exhibiting practices of the late twentieth and early twenty-first century that undermine the authority of authentic blackness as a primary tenet of African diasporic identification. It takes its cue from the cultural theorist Stuart Hall&#39;s keen assessment: “The fact is that `black&#39; has never been just there. It has always been an unstable identity, psychically, culturally, and politically.” The essay&#39;s first section is an analysis of art by Rasheed Araeen and Roshini Kempadoo created in the 1970s and 1990s, an era during which they and other progressives of African, Asian, and Caribbean descent in the United Kingdom claimed the political and cultural position “black.” The essay&#39;s second section considers the representation of blackness in three exhibitions from 1997 to 2007 at the Charles H. Wright Museum of African American History. The essay&#39;s final section examines the cartoonlike paintings of the African ...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"To Be Real: Figuring Blackness in Modern and Contemporary African Diaspora Visual Cultures","attachmentId":96777992,"attachmentType":"pdf","work_url":"https://www.academia.edu/94275685/To_Be_Real_Figuring_Blackness_in_Modern_and_Contemporary_African_Diaspora_Visual_Cultures","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/94275685/To_Be_Real_Figuring_Blackness_in_Modern_and_Contemporary_African_Diaspora_Visual_Cultures"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="7403806" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/7403806/African_Arts_making_history">African Arts making history</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="13109235" href="https://leeds.academia.edu/WillRea">Will Rea</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"African Arts making history","attachmentId":33992930,"attachmentType":"pdf","work_url":"https://www.academia.edu/7403806/African_Arts_making_history","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/7403806/African_Arts_making_history"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="27897995" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/27897995/Where_Is_Africa_Re_Viewing_Art_and_Artifact_in_the_Age_of_Globalization_The_Sainsbury_African_Galleries_African_Worlds_African_Voices">Where Is "Africa"? Re-Viewing Art and Artifact in the Age of Globalization:The Sainsbury African Galleries.;African Worlds.;African Voices</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="6503415" href="https://carleton-ca.academia.edu/RuthPhillips">Ruth Phillips</a></div><p class="ds-related-work--metadata ds2-5-body-xs">American Anthropologist, 2002</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Where Is \"Africa\"? Re-Viewing Art and Artifact in the Age of Globalization:The Sainsbury African Galleries.;African Worlds.;African Voices","attachmentId":48184745,"attachmentType":"pdf","work_url":"https://www.academia.edu/27897995/Where_Is_Africa_Re_Viewing_Art_and_Artifact_in_the_Age_of_Globalization_The_Sainsbury_African_Galleries_African_Worlds_African_Voices","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/27897995/Where_Is_Africa_Re_Viewing_Art_and_Artifact_in_the_Age_of_Globalization_The_Sainsbury_African_Galleries_African_Worlds_African_Voices"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="36815109" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/36815109/_Afrofutures_Africa_and_the_Aesthetics_of_Black_Revolution_Third_Text_31_5_6_2017_633_649">“Afrofutures: Africa and the Aesthetics of Black Revolution,” Third Text 31: 5-6 (2017), 633-649.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="33852794" href="https://vcu.academia.edu/TobiasWofford">Tobias Wofford</a></div><p class="ds-related-work--abstract ds2-5-body-sm">African American relations to Africaas diasporic relations to a site of originare structured by a complex temporality. Invocations of Africa in contemporary African American art often suggest a concern with the pastpart of a project of recovering black histories that has dominated black diasporic thinking during the twentieth century in what Kodwo Eshun described as 'an urgent need to demonstrate a substantive historical presence'. 1 Certainly, Africa has been a key point of inquiry in black artistic strategies that seek to mine the past and expose the workings of historical discourses that deny black roles in history. 2 However, in the diasporic logics of African American art, Africa can function not only as a means to stake black presence in the past, it can also function as a means to assert black presence in the future, offering aesthetic form through which to project the possibility of radical black futures.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"“Afrofutures: Africa and the Aesthetics of Black Revolution,” Third Text 31: 5-6 (2017), 633-649.","attachmentId":56765899,"attachmentType":"pdf","work_url":"https://www.academia.edu/36815109/_Afrofutures_Africa_and_the_Aesthetics_of_Black_Revolution_Third_Text_31_5_6_2017_633_649","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/36815109/_Afrofutures_Africa_and_the_Aesthetics_of_Black_Revolution_Third_Text_31_5_6_2017_633_649"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="8020420" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/8020420/The_Observer_and_the_Observed_The_Dynamics_of_Representation_in_African_Art">The Observer and the Observed: The Dynamics of Representation in African Art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="10885338" href="https://mcgill.academia.edu/nadialampkin">nadia lampkin</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Representation has always been two-way between Europe and Africa. Through the concentration on artwork from the colonial encounter until post-colonial times, this paper seeks to highlight both the agency and different forms of resistance from the side of Africans, which have responded to the forms of representations that have been created by the West. These responses by African artists demonstrate how there has always been a process of Africa "observing the other" while at the same time inverting the images of Africa that have been created by foreigners.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The Observer and the Observed: The Dynamics of Representation in African Art","attachmentId":34481752,"attachmentType":"docx","work_url":"https://www.academia.edu/8020420/The_Observer_and_the_Observed_The_Dynamics_of_Representation_in_African_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/8020420/The_Observer_and_the_Observed_The_Dynamics_of_Representation_in_African_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="5606347" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/5606347/The_Contemporary_Present_and_its_Modernist_past_in_Postcolonial_African_Art">The Contemporary Present and its Modernist past in Postcolonial African Art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="708689" href="https://moma.academia.edu/UgochukwuSmoothNzewi">Ugochukwu-Smooth Nzewi</a></div><p class="ds-related-work--abstract ds2-5-body-sm">This article addresses ‘modern’ and ‘contemporary’ as two distinct categories in African artistic practices and art history. It engages with exhibitions as sites of knowledge production and examines how they construct narratives of artistic modernism, modernity, and contemporaneity. By focusing on the Tendances et Confrontations exhibition, at the Premier Festival Mondial des Arts Negres Dakar in 1966, and Dak'Art biennials since 1992, it explores the role of the two exhibition platforms in shaping artistic practices and discourse in two moments in African art and history in the last 50 years. The article also places particular emphasis on the interpretation of artworks in Tendances et Confrontations and Dak'Art to outline a transformation in artistic practices and knowledge production.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"The Contemporary Present and its Modernist past in Postcolonial African Art","attachmentId":35855790,"attachmentType":"pdf","work_url":"https://www.academia.edu/5606347/The_Contemporary_Present_and_its_Modernist_past_in_Postcolonial_African_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/5606347/The_Contemporary_Present_and_its_Modernist_past_in_Postcolonial_African_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":54548919,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":54548919,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_54548919" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. 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