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This paper critically discusses the work of three women artists of colour who, in different ways, engaged with environmental catastrophe and called for climate justice during the late 1980s and early 1990s. Leslie Hakim-Dowek, Gurminder Sikand, and Nina Edge each engaged in particular types of thoughtful, practice-led decolonial feminism that addressed the consequences of rampant corporate neo-colonialism and the ways that the global North has treated the global South as a site for material extraction and exploitation. Echoing the non-violent systems of protest of the women-led Chipko environmental movement in northern India, Sikand's delicate and gentle paintings may nonetheless be understood as searing eco-feminist statements; Edge's work from 1991 combines image and poetry to address the on-going consequences of the devastating industrial disaster at Bhopal, India, in 1984; while Hakim-Dowek's 1991 series of paintings titled Endangered Species (1991) presents a memorial to what has already been lost. This paper will argue that despite the curatorial and critical neglect experienced by these artists, their work nonetheless offers entryways into current, globally important, conversations about the ongoing struggle of women in the global South against white neo-colonial capitalism, and the fight for climate justice. [ABSTRACT FROM AUTHOR]

Afrofuturism (an artistic perspective in which Black voices tell alternative narratives of culture, technology, and the future) and the Dark Fantastic (interrupting negative depictions of Black people through emancipatory interpretations of art) are two interrelated concepts used by Black artists in the Atlantic World to counter negative images and emphasize a story from a Black perspective. Likewise, these concepts have been used to recreate and re-narrate history with an eye towards subverting white supremacist historical narratives. By using Afrofuturism and the Dark Fantastic as lenses through which texts by authors from the African Diaspora in the Atlantic World are examined, an alternative narrative of Black histories and futures concerned with revolution, liberation, and justice can be seen. The two texts that are the subject of this research include José Antonio Aponte's descriptions of his book of paintings under interrogation in 1812–1813, and Martin Delany's novel Blake; or the Huts of America (1859–1862), providing images of enslavement that run counter to a white supremacist telling of history. They both imagine alternative pasts and futures for Africa and the Afro-Diaspora involving revolution and magic. These works, though produced at different times and locations in the nineteenth century, offer new ways in which to discuss liberation and freedom in the context of the artistic production of the Atlantic World. [ABSTRACT FROM AUTHOR]

This document is an introduction to a special issue of the journal Arts, focusing on topical abstraction in contemporary sculpture. The essays in this issue explore how artists in the United States and Europe since the 1960s have used sculptural abstraction to address social issues without conforming to traditional figuration. The essays discuss the use of abstraction to challenge social configurations related to class, gender, and race, and highlight the political and social implications of sculptural abstraction. The document also mentions several museum exhibitions that have contributed to reevaluations of topical sculptural abstraction. The essays in this special issue aim to expand the understanding of the political, social, and cultural aspects of abstraction in sculpture by examining issues of materiality and process. The authors argue that contemporary sculptors have used materials and methods in inventive and experimental ways to engage with social, historical, environmental, and aesthetic contexts. The document also acknowledges that abstraction still faces biases and is often under-studied as a political vehicle. The essays included in this special issue examine the work of specific artists, such as Mel Edwards, Lynda Benglis, Beverly Buchanan, Senga Nengudi, Betye Saar, Barbara Chase-Riboud, Simone Leigh, and Veronica Ryan, and explore how their use of abstraction intersects with issues of race, gender, and temporality. The authors argue that these artists have leveraged the materiality of sculptural abstraction to challenge mainstream values and offer new possibilities for inhabiting the world. [Extracted from the article]

This article explores the role of artist Keith Pollard in the Black arts movement and his contributions to Marvel Comics during the Silver Age of Comics. Pollard, a Black creator, worked at Marvel while also drawing gag cartoons for Black World magazine, which focused on the Black arts movement. His cartoons used humor to critique race, class, and social relationships, and he aimed to create universal messages that anyone could appreciate. Despite facing challenges and stereotypes, Pollard became a highly regarded artist at Marvel and worked on popular titles such as The Amazing Spider-Man and The Fantastic Four. His work, along with other Black artists, helped pave the way for more diverse voices in the comic book industry. [Extracted from the article]

The article discusses the National Arts Festival held in Makhanda, South Africa from June 22-July 2, 2023, which focused on smaller-scale, local stories, particularly emphasizing work by Black feminist artists.

Copyright of Revista Latinoamericana de Ciencias Sociales, Niñez y Juventud is the property of Centro de Estudiso Avanzados en Ninez y Juventud alaianza Cinde, Universidad de Manizales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article investigates the centrality of Black art collectors in the dissemination of Black art and culture as the art world became less accessible to Black artists, ironically, during the 1980s art boom. The essay chronicles the controversy over a proposed move of the Studio Museum in Harlem to Museum Mile on the predominantly White Upper East Side, investigates the importance of cultivating a Black art-buying constituency, and assesses the quest of Black visual artist Romare Bearden and his allies for mainstream recognition at the cost of a Black arts institution. This article draws on newspaper articles, personal correspondence, and organizational records to examine the politics of Black middle-class patronage networks and their impact on Black artists and art institutions as the art world became financialized in the 1980s. [ABSTRACT FROM AUTHOR]

This article explores the opening scene of the film "Get Out" and its significance in relation to horror films, race, and spectatorship. It analyzes the use of sound and dialogue to address questions of audience, fear, and violence against black bodies. The article suggests that while "Get Out" is groundbreaking in terms of representation, it also reifies certain stereotypes and tropes associated with blackness and horror. It further examines the connection between horror films, slavery, and the gaze in visual culture, arguing that they fail to truly subvert racial stereotypes. The text concludes by discussing the sadistic treatment of Black bodies in American culture and the use of the gimp suit in horror films to perpetuate racialized violence. It critiques the concept of the oppositional gaze and suggests that the gaze in film should be understood as a traumatic encounter with the Real. The article concludes by examining the film "Get Out" as an example of a work that employs fantasy while revealing the limits of fantasy and the difficulty of escaping racialized violence. [Extracted from the article]

The article discusses the Polaroid Evidence Project (PEP), which provided police in Long Island with Polaroid cameras in the 1990s to document domestic violence. The project aimed to professionalize police work by adopting social service practices. While the images were used as evidence in domestic violence cases, the original photographs are not easily accessible to the public due to record-keeping practices. The article also explores how artists Eleanor Macnair and Laetitia Ky incorporate domestic violence imagery into their work, challenging traditional notions of evidence and expanding the aesthetic registers used to describe domestic violence. Additionally, the monograph "Legal Spectatorship: Slavery and the Visual Culture of Domestic Abuse" examines the use of photographic evidence in domestic violence cases, exploring the historical context of slavery and its impact on the visual representation of abuse. This study provides valuable insights into the role of photography in shaping perceptions of domestic violence and offers a unique perspective for those interested in the intersection of law, visual culture, and social issues. [Extracted from the article]

"Black Matrilineage, Photography, and Representation: Another Way of Knowing" is an edited volume that challenges dominant narratives and explores the experiences of Black women and mothers. The book examines the intersection of racialized maternity and photography, covering topics such as health, sexuality, migration, and digital culture. It features academic essays, interviews, poetry, and visual artworks, providing a comprehensive exploration of the Black maternal body. While the book primarily focuses on North America and English-speaking contributors, it acknowledges the need for a more inclusive representation of diverse experiences and calls for a critical reflection on Western-centric perspectives. [Extracted from the article]

This article explores the gendered dimensions of public space and its impact on marginalized groups. It discusses various disciplinary perspectives on gender and public space, examining different types of public spaces and the experiences of women and marginalized communities within them. The article emphasizes the need for inclusive and participatory public spaces that prioritize solidarity, care, and citizenship. It also discusses the role of digital spaces, architecture, and design in shaping the experience of public spaces. The text calls for a rethinking of public spaces that prioritizes inclusivity and empowerment for marginalized communities. [Extracted from the article]

Sung Hwan Kim's exhibition at the Van Abbemuseum in Eindhoven focuses on the intertwined narratives of Korean migration and Hawaiian sovereignty. The exhibition showcases Kim's project, A Record of Drifting Across the Sea, which explores the concept of Aloha 'āina and its connection to Korean migration. Additionally, the exhibition includes other works and installations that touch on urban legends, personal experiences, and historical events. Kim's artwork challenges conventional narratives and delves into the complexities of identity and place. The text also describes another exhibition by Kim titled "Protected by Roof and Right-Hand Muscles," which features a range of artworks spanning two decades. These artworks, including photographs, film installations, drawings, and installations, explore themes such as identity, displacement, language, and history. Kim's work is described as a philological project that displaces and individualizes towards a complex collective self. The exhibition offers a wealth of artistic possibilities and encourages viewers to engage with the artist's conceptual and political work. [Extracted from the article]

Modernist propositions long have been understood as atemporal—somehow outside of time—or insistently hailing the future. This temporal framework suppresses the contributions of those excluded from modernist canons, particularly Black women. In this article, visual and material analysis of sculptural works produced in the 1970s and 1980s by U.S. Black women artists Beverly Buchanan, Senga Nengudi, and Betye Saar reveal how Black feminists have engaged with modernist protocols in order to redress cultural erasures of Black women. These practices exemplify Black feminist modernisms, or creative practices that unsettle the racist and sexist logics of dominant cultural institutions. Each of these artists utilizes haptic surfaces as a method for defying institutional modernism's obfuscation of the past. The analysis focuses on Buchanan's defiance of memorial erasures, Nengudi's reenactment of labor, including in its historical forms, and Saar's adaptation of generational memory-making processes. Ultimately, these artists' rejection of a "timeless" modernism demands that viewers understand the present moment in relationship to a still-evolving past. In this way, Buchanan, Nengudi, and Saar position the present as an accumulation, rather than transcendence, of historical occurrences. [ABSTRACT FROM AUTHOR]

Art historians trace the history of printmaking as a creative endeavour among Black people in South Africa to the mid-twentieth century. While these genealogies are valuable, they exclude and are silent on the deep history of printmaking as both an artistic and trade skill within the black press. Using a polyphonic art-historical framing, I tap into the Black archive to demonstrate how printmaking was cultivated as both a creative and a visual communications strategy by Black artists during the early 1900s. By examining printed images published in the Ilanga Lase Natal newspaper from 1903 to 1905, I propose a revised chronology of printmaking as a creative endeavour among Black people. The formative Black printmaking tradition I discuss was enabled by colonial-era multinational pharmaceutical enterprises that commissioned many of the etchings and engravings that appeared. A speculative art-historical approach is used to analyse and interpret the various visualisations of New Africans created by these early Black printmakers. [ABSTRACT FROM AUTHOR]

The article discusses the Avignon Theatre Festival, directed by Theatre actor Tiago Rodrigues, which has evolved into a political laboratory and platform for questioning identity. It reports that the festival includes works by Black French women and explores pressing issues like ecological destruction, war, immigration, racism, and patriarchy. It mentions that Rodrigues's approach disrupted the festival's traditional programming, bringing optimism and protest theater back to Avignon stages.

"At Risk: Black Youth and the Creative Imperative in the Post-Civil Rights Era" by Jennifer Griffiths is a study of literary depictions of Black adolescents who use art as a means of liberation. The book examines various texts, including plays, novels, and multi-genre books, that portray young Black artist characters responding to social forces that stereotype and limit them. Griffiths analyzes the complex processes by which these characters assert their personal integrity and defy societal expectations. The book situates each text within its historical and cultural context and draws on a range of secondary sources to provide a comprehensive understanding of the works. [Extracted from the article]

In this article, I conceptualize the term "black op art" to consider how black artists are centralizing speculative sensory effects as both object and subject within their work and therefore as dynamic interventions within the political, hyper-racialized, and dispossessing field of visuality. I consider themes of dispossession through a studied meditation of two works that similarly play and push on the edges of optical effects: James Baldwin (2018) by Nekisha Durrett and Requiem for Charleston (2016) by Lava Thomas. Black op art is neither about what is knowable nor enigmatic through the visual field, but rather about what lengths black artists must go to in order to work within it, as well as the ciphered language of mattering and meanings embedded within their works of art. [ABSTRACT FROM AUTHOR]

The assignment awarded to pioneering Black sculptor Meta Vaux Warrick Fuller—to envision an inherited past and future offerings for "Americans of Negro lineage" at the 1921 America's Making Exposition—was daunting. The result, Ethiopia, takes this charge as an opportunity to reclaim an African birthright rooted in a decolonial counter-history of Ethiopia and Egypt. Transported in Fuller's work beyond present conditions of archaeological dispossession and eugenicist anti-Blackness, these territories become the grounds for reestablishing kinship across the Black Atlantic in a symbolic act of repair toward the development of an African American selfhood uniquely capable of imagining a future beyond longstanding regimes of systemic racism. Foreshadowing by several decades the full flourishing of pan-Africanism, Ethiopia takes up the nascent Harlem Renaissance quest for a "New Negro" identity and singles out for particular concern the construction of Black womanhood circa 1921 atop a racialized and gendered foundation of "Egyptian" and "Ethiopian/Nubian" as contested discursive formations. Considering the manifold genealogies of Fuller's sculpture and its politics of diasporic relation, I aim to contextualize this polysemous signifier within the immediate legacy of a tumultuous, preceding half century. These decades saw the rise of a particular fascination with ancient Egyptian "heritage" alongside and as part of the development of racial pseudoscience in the United States, the decisive anticolonial Battle of Adwa in Ethiopia, and the momentary promise of decolonization at the end of World War I. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One theme in complaints from those with marginalized social identities is that they are seen primarily in terms of that identity. Some Black artists, for instance, complain about being seen as Black first and artists second. These individuals can be understood as objecting to a particularly subtle form of morally problematic attention: “relative attentional surplus on the wrong property.” This attentional surplus can coexist with another type of common problematic attention affecting these groups, including attentional deficits; marginalized individuals and groups themselves are routinely insufficiently attended to in virtue of the surplus attention given to their social identity properties. [ABSTRACT FROM AUTHOR]

The few known African American photographers in the 19th and early 20th centuries faced significant challenges, including racial prejudice and competition from white photographers for both white and the relatively few Black customers. The New Jersey photographers examined here were no exception and this may help explain why images by an artist with a long career, William M. Dutton, are so hard to find today and why other artists, like Isaiah Burton and Levi Bankson, worked only briefly in the medium before moving on to other, more remunerative occupations. Beginning his photographic career at the end of the 1800s, Albert Thomas Moore achieved considerable success in the first part of the 20th century in New Brunswick and South River but less so in Atlantic City. [ABSTRACT FROM AUTHOR]

The author shares his reflections on the recognition of Black artists in Great Britain. Topics discussed include the increase in the number of Black artists in the Royal Academy of Arts, reasons for the difficulty in challenging white supremacy in art, and art gallery Tate Britain's disregard of Jamaican-born sculptor Ronald Moody, with the artist's reputation restored by "Tate Magazine" in its 2003 feature describing him as one of the country's most remarkable Modernist sculptor.

The arts sector in South Africa is portrayed as a multiracial, emancipatory and inclusive sector that promises to reduce youth unemployment and to mitigate inequality. In postapartheid art institutions, artistic merit and perseverance are deemed to be sufficient in order to access the art sector and its market. The paths of individual black artists from poor areas who have succeeded in accessing the institutional art circuit are praised by the media, policymakers and curators. A romanticisation of their efforts is coupled with identifying them as role models for younger generations. Despite emphasis on the inclusivity of the art sector and the hailing of successful paths, black artists report a long-standing difficulty in gaining access to, and being fully accredited in, the institutional art circuit. The ambiguity of the art sector, which claims to be inclusive in word but is de facto exclusionary, deeply affects young black artists whose first steps into the art sector are often accompanied by a feeling of uneasiness and bewilderment. Drawing on the multivocal accounts of the everyday life of young black artists who work in the field of performance art in Gqeberha, this article unveils the 'entrance fees' that black artists have to negotiate in order to access the institutional art circuit, i.e. the obstacles they have to overcome, but also the deals and concessions they have to make in order to build their career and be fully recognised as artists. Moreover, the article sheds light on a double invisibility in the performing arts sector: on one side the economic, spatial and reputational obstacles that artists deal with are dismissed as part of the everyday life of individuals coming from marginal areas; on the other side, the performing arts and spaces that young black artists create within alternative or complementary circuits are not considered part of the city's artistic production. [ABSTRACT FROM AUTHOR]

Mahon notes that Baker has not been the recipient of the kind of critical attention that her position as one of the first rock and roll stars warrants, such as "sustained attention in college textbooks surveying rock and roll from its beginnings in the post-World War II era to the twenty-first century" (53). While both Brooks and Neal present us with meticulous theoretical and critical work whose implications are wide ranging, Mahon's work has a more granular focus. Mahon examines how Tina Turner "wended her way into the mainstream of rock through a skillful navigation of the race, gender, and genre boundaries that governed American popular music at the end of the twentieth century" (240). In their recent books, Daphne Brooks, Maureen Mahon, and Mark Anthony Neal reckon with such questions raised by Black musicians and musical archives at a time when Black music and its influence on popular culture is both ubiquitous and contentious. [Extracted from the article]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Through this generic recategorization, she argues that Griggs critiques the idea of the social survey's observer in a way that Du Bois, author of the more traditional social survey I The Philadelphia Negro i , could not quite manage. Womack insists that "this is not expressly a book about Du Bois, but he haunts every chapter" (29). Womack calls his remarkable 1899 I Imperium in Imperio i "liberation sociology" and "more of a social survey than a novel" (72). [Extracted from the article]

Body Vessel Clay: Black Women, Ceramics and Contemporary Art set out to explore form and function as this relates to object histories. In presenting a range of ceramics and clay artworks by an intergeneration of Black women artists working with clay, the exhibition conveys the material's conceptual, transformative and metaphoric qualities. Additionally, it brings to the foreground a group of Black women artists, in particular a younger generation whose work looks to matrilineal links, black female subjectivity. The exhibition expands on my curatorial position, that of framing ceramics as an expansive and evolving field intersecting with performance art. [ABSTRACT FROM AUTHOR]

During the 1960s, tapestries from Swedish art and craft centres in southern Africa were acclaimed in the Nordic country as an outcome of its own expertise and largesse. Yet when these works by marginalised women artists in Africa were exhibited at the National Museum in Stockholm in 1970, they were dismissed as the fruits of Swedish cultural imperialism and naive artistic minds. Despite the ensuing public debate, the exhibition and its discourses, like the works themselves, are little known in southern Africa and now largely forgotten in Sweden. In considering the visual vocabularies of some of these tapestries, many of which were woven at the renowned centre at Rorke's Drift in KwaZulu-Natal, this article addresses the implications of these Swedish 'culture-rescue' projects, showing how women's artistic 'voices' on the subcontinent were silenced, not merely by apartheid suppression but also in Swedish representations. By interrogating the attitudes that the audiences of the exhibitions held towards black women artists, the article reveals how the tapestries' woven iconographies were a complex response to circumstance, covertly interrogating white hegemony while invested with self-definition. [ABSTRACT FROM AUTHOR]

Rosana Paulino, a multimedia artist, creates lithographs that explore the trauma of slavery and its impact on Black women and their descendants. Her artwork challenges the official narrative of slavery in Brazil and dismantles visual regimes that perpetuate anti-Black violence. Paulino's installation "Assentamento" features photographs of an enslaved woman from the 19th century, confronting the violence of the white supremacist gaze and the objectification of the archive. The concept of "assentamento" encompasses the creation of spaces that sustain social reproduction and resist annihilation, emphasizing the agential possibilities of Black geographies. Paulino's work seeks to reimagine and reframe the narratives of Black history and identity. [Extracted from the article]

This article is based on a painting by Los Angeles-based Black artist Mark Bradford, On a Clear Day, I Can Usually See All the Way to Watts (2001), which was exhibited at SFMOMA in an installation that juxtaposed it to a series of drawings by abstract artist Agnes Martin, Untitled (Study for 'On a Clear Day'), <> (2019–2020). In an extended reading of abstraction and its social implications and of Bradford's engagement with abstract traditions, the article explores the material traces of impurity in his contemporary non-representative visual art. In particular, it focuses on hair as complex sign of impurity, concealment, animality, decay, aesthetic beauty, etc, and of the ways in which its incorporation, materially and metonymically, in the painting disturbs the clarity of the white aesthetic gaze. The article thus considers how the material practices of certain, broadly speaking, postcolonial artists, but in particular the Black Abstraction exemplified by Bradford's work, challenge the Kantian aesthetic tradition that has dominated the visual arts even in a post-Kantian artistic realm. [ABSTRACT FROM AUTHOR]

The article analyzes the representations and discourses about black and white women artists in the magazines O Cruzeiro and Manchete (1950-1959), through the concept of intersectionality, imbricated with the categories of color, class and gender in historical analysis. The narratives about women artists in these magazines presented themes involving discrimination and race and gender relations, evidenced in their pages from the construction of discourses of ambiguous character about black women artists, presented under principles of hypersexualization and/or under the pure manifestation of structural and cultural racism, from the stereotyping of black female bodies. The white women artists were represented according to the standards usually imposed on women, such as the vocation to marriage and motherhood, corroborating to consolidate the stereotype of the ideal wife/woman. [ABSTRACT FROM AUTHOR]

It's Life as I See It: Black Cartoonists in Chicago, 1940-1980 It's Life as I See It: Black Cartoonists in Chicago, 1940-1980. It is a tribute to the talent of several generations of Black cartoonists whose work deserves to be better known, not only for the sake of Black cartoonists but for the sake of us all. [Extracted from the article]

The Evangelical Lutheran Church’s Art and Craft Centre at Rorke’s Drift provided an enlightened environment for black artists during the apartheid years when they had few other opportunities. There is a growing literature on these achievements, but potter Judith Mkhabela, who benefited from this influence, has not yet been recognised in print, probably because she worked mainly at home. This paper documents, as far as we have been able, the range of items, including the distinctive ceramic elephants, made by her and her associates, as well as some details about her life. [ABSTRACT FROM AUTHOR]

Undoubtedly, racism is a deeply-anchored problem that continues to vex our world. There is a long history behind it, which can easily be traced back to the Middle Ages and beyond. This article, however, takes into consideration a number of medieval narratives and art works in which surprisingly positive images of Blacks are provided. The encounter with black-skinned people tended to create problems even for the best-intended white intellectuals or poets during the pre-modern era, but the examples studied here reveal that long before the modern age there was already an alternative discourse to embrace at least individual Blacks as equals within the courtly and the religious context. Since Europe did not yet know the large-scale form of slavery, as it emerged in the sixteenth and seventeenth centuries, there were much less contacts between Blacks and Whites. Nevertheless, the evidence brought to the table here clearly signals that we would commit a serious mistake by equating modern-day racism with the situation in the Middle Ages, as much as modern research (Heng) has argued along those lines. It would be more appropriate to talk about the encounter of races within the literary and arthistorical context. Even the notion of Black diaspora would not fully address the issue because the evidence brought to the table here engages mostly with black or half-black knights and other individuals who enjoy considerable respect and appear to be integral members of courtly society both in the East and in the West. Instead of working with theoretical models developed for the analysis of racism in our own times, such as Critical Race Theory (CRT), this study offers close readings of literary examples of personal encounters between members of different races in medieval German and Dutch literature, and of the representation of Blacks in late medieval and early modern art history, concluding with some comments on the first Black philosopher in eighteenth-century Germany. [ABSTRACT FROM AUTHOR]

The author discusses the 1960s Black Arts Movement, its artists and their impact on contemporary arts as of 2023. Topics covered include the artists' challenge of prevailing cultural norms and encouragement of Black self-expression of their own experiences, and the pivotal roles of visual artists Wadsworth Jarrell and Jae Jarrell who respectively founded an artists' collective, and empowered fashion via the "Revolutionary Suit." Also noted is the movement's influence on artists like Nick Cave.

"Resurrecting the Black Body: Race and the Digital Afterlife" by Tonia Sutherland explores the intersection of Black death and evolving technology. The book examines how the Black body has been used posthumously to advance fields and entertain audiences, such as through the proliferation of recorded police murders of Black individuals and the resurrection of famous Black artists as holograms. Sutherland also delves into the power of memory and the ways in which technology has transformed the concept of living and dying. The author proposes two theoretical interventions, the "right to be forgotten" and the "right to be remembered," to address the ethical dilemmas posed by technology's impact on memory. Sutherland's work challenges Western archival practices and calls for new ways of remembering individuals. Overall, the book offers a thought-provoking exploration of race, technology, memory, and the meaning of existence. [Extracted from the article]

How has presence transformed under recent pandemic conditions and ongoing digital saturation? José Esteban Muñoz's now classic critique of liveness illuminates the works of several contemporary Black performance artists whose work intervenes against the corporeal burdens of our moment. [ABSTRACT FROM AUTHOR]

This article addresses the linguistic policing of grime and UK drill music. Existing studies often focus on the immediacy of the penal system. This article will instead explore the extent to which institutional bodies uphold and maintain a programme of racialised censorship across radio broadcasts, seeking to understand how these value judgements impact upon creative practice. It presents an ethnographic study of three radio shows that aired on BBC 1Xtra, demonstrating through interviews and analysis how the broadcaster's censorship practice unfairly renders Black artists as dangerous with criminal associations. Lyrical assertions of musical skill are misread as direct threats, while evocations of the quotidian are seen to cause violence rather than reflect artists' surroundings. Importantly, it will show how artists' work and words are adversely discriminated against owing to a legacy of racialised public morality that imposes greater sanctions and restrictions on artistic output: radio personalities must strike a balance between presenting voyeuristic excitement about a genre, and the need to meet (racialised) editorial standards; producers assiduously monitor new slang to make sure that it is censored; and artists are encouraged to self-censor and alter their musical output, to protect themselves from unwanted ramifications. [ABSTRACT FROM AUTHOR]

The identity of Jewish-Israeli men of Ethiopian descent has undergone deep-seated changes in the last decade, as evident in visual representations created by contemporary black artists living in Israel. In recent years, a new generation of Ethiopian-Israeli artists has revitalized local art and engendered deep changes in discourse and public life. Ethiopian-Israelis, who comprise less than two percent of the total Jewish population in the country, suffers multiple forms of oppression, especially due to their religious status and given that their visibility—as black Jews—stands out in a society that is predominantly white. This article draws links between events of the past decade and the images of men produced by these artists. It argues that the political awareness of Jewish-Ethiopians artists, generated by long-term social activism as well as police violence against their community, has greatly impacted their artistic production, broadened its diversity, and contributed a wealth of artworks to Israeli culture as a whole. Using intersectional analysis and drawing on theories from gender, migration and cultural studies, the article aims to produce a nuanced understanding of black Jewish masculinity in the ethno-national context of the state of Israel. [ABSTRACT FROM AUTHOR]

Later Odundo pots are displayed upstairs alongside works by Kwali and Bisila Noha. As expected, Ladi Kwali's pots reflect the examples of the Nupe and Gwari water pots, and seeing them alongside each other, the power of a single artist signature cannot be ignored. In mid-twentieth century Nigeria, Ladi Kwali was taught to make pots by her aunt in the traditional Gwari style of her community. [Extracted from the article]

In 1971, Harold Cousins published an essay explaining the sculptures that he had begun creating in the mid-1950s, following his relocation in October 1949 from New York to Paris. Cousins described his series named Plaiton, his own neologism combining the English word plate with the French word laiton (brass). This linguistic combination paralleled Cousins's description of himself as a "sculptor-welder," a practice that grew from experiments in oxyacetylene welding while studying in Paris with funding from the GI Bill. Providing the first scholarly analysis of sculptor Cousins's rich career, this article recovers the artist's early biography through family archives, including correspondence and period criticism. It then examines Cousins's early artwork and his own description of his artistic practice culminating in Plaiton. Finally, it considers Cousins's 1950s sculptures, particularly Plaiton Suspendu, and speculates on its relation to his later work. In considering Cousins's sculpture in relation to racial constructions of the immediate postwar period, I draw on prior scholarship focused on postwar African American artists in Paris. I also look to studies of the ways Black artists employed abstraction—histories that often begin in the mid-1960s or 1970s. In examining the mid-1950s Plaiton works, I hope to both bring Cousins and his work back to visibility and suggest that this history actually began substantially earlier. [ABSTRACT FROM AUTHOR]

This article contextualizes the professional life and traumatizing lynching death of African American blackface minstrel Louis Wright in New Madrid, Missouri, in 1902. It unearths the physical dangers of "entertaining while Black" in early twentieth-century America. Wright's life serves as a window into the racialized, gendered world of the American minstrel stage, which is gleaned from advertising information, entertainer biographies, and the early twentieth-century theatrical press. The essay highlights the mid-nineteenth-century origins of African American blackface minstrelsy, chronicles obstacles unique to Black traveling performers, and investigates contradictory reporting in African American and White newspaper media accounts of white supremacist violence. Ultimately, the Wright case and the persistence of racial violence were among the motivating factors in the pursuit of autonomous Black traveling theater in American entertainment during the nadir. [ABSTRACT FROM AUTHOR]

In I Black Diamond Queens i , Maureen Mahon simultaneously highlights the labor of Black women rock and roll creatives and dispels ideas that pigeonhole Black women into narrow categories of artistic and intellectual expression in music performance. In other words, Mahon argues that Davis upended the expected portrayal of female sexuality, directly challenging these aesthetic norms to carve out space for multiple kinds of female sexual energies on the rock stage. As a project of "recovery and inclusion", Mahon underscores the labor of Black women creatives by reframing their voices as foundational to the genre of rock and roll. [Extracted from the article]

SLĀV is a musical stage play directed by Robert Lepage, and based on recordings by singer Béatrice "Betty" Bonifassi. The recordings are Bonifassi's reinterpretations of music composed by enslaved and incarcerated African Americans--that is Black people labouring under, and resisting, the conditions of slavery and its afterlife. Though Lepage and Bonifassi promoted the show as an homage to Black people, SLĀV opened at the 2018 Montreal International Jazz Festival to protests by the SLĀV Resistance Collective, accusing it of cultural appropriation. SLĀV was eventually cancelled as Black artists began pulling out of the festival. Unsurprisingly, Lepage, Bonifassi and much of the Quebec public accused the protestors of censorship, and of misunderstanding Quebec's unique context. Situating its analysis within the field of Black Canadian Studies, in this article Howard examines the discourse around SLĀV as manifested through the words of Bonifassi, Lepage, journalists, and commenters. Howard argues that SLĀV instantiates the broader context of antiblackness in Quebec, and pays particular attention to gestures of inclusion and proximity consistent with modes of slavery and its afterlife in New France/Quebec. These gestures attempt to contain Blackness within national, linguistic, and other boundaries, disciplining the ways it is allowed to assert itself. Black resistance must therefore defy these boundaries and claim solidarity between and across variously located Black people. [ABSTRACT FROM AUTHOR]

This article uses the landmark 1956 Congress of Black Writers and Artists to re-examine the gendering of the Black public sphere. Organized by Présence africaine , the journal/publishing house that served as the hub for the negritude movement, the congress is one of the iconic moments in African and Black intellectual history. Women were notoriously absent among its delegates, yet this article reconstructs the contributions of Christiane Yandé Diop, Dorothy Brooks and other collectives whose myriad contributions were critical to its success. It argues that the congress was representative of what feminist theorists and organizers have called the fused nature of 'work' (production) and 'domestic work' (social reproduction), that is, labour necessary to sustain life. As they have shown, where labour takes place impacts its gendering. Because most of the planning for the congress took place in social reproductive settings like homes and cafés, this often compressed re/productive labours, gendering negritude's intellectual life in consequential ways. Yet though negritude's women exemplify the frequently blurred lines between re/productive labour, between so-called 'intellectuals' and those who operated without such a designation, their own self-understandings sometimes reinstated these gendered divisions. Yandé Diop, Brooks and many others were critical to shaping negritude, and yet the alternative choices they made in that shaping need to be reckoned with on their own terms. I thus argue that we need to take such choices seriously at the same time as we do justice to the integral nature of their contributions. Doing so can help us negotiate with greater nuance the different choices that women made in their contributions to intellectual life. [ABSTRACT FROM AUTHOR]