Title | Date | Reference | Authors | Call # | ISSN | |||
---|---|---|---|---|---|---|---|---|
Barbara Winston Blackmun 1928-2018 | 2019 | African arts 52 (1): 11-13 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
How masks travel. Aesthetics, trade, war, and authority in Eastern Nigeria, an introduction | 2019 | African arts 52 (1): 15-17 | H6/KFY [AFRICAN-] | 0001-9933 | introduction to thematic issue 'How masks travel: aesthetics, trade, war, and authority in eastern Nigeria' | |||
Expressive currencies. Artistic transactions and transformations of warrior-inspired masquerades in Calabar | 2019 | African arts 52 (1): 18-33 | H6/KFY [AFRICAN-] | 0001-9933 | in thematic issue 'How masks travel: aesthetics, trade, war, and authority in eastern Nigeria' | |||
Warrior masking, youth culture, and gender roles. Masks and history in Aro Ikeji festival | 2019 | African arts 52 (1): 34-45 | H6/KFY [AFRICAN-] | 0001-9933 | in thematic issue 'How masks travel: aesthetics, trade, war, and authority in eastern Nigeria' | |||
In the spirit and in the flesh. Women, masquerades, and the Cross River | 2019 | African arts 52 (1): 46-61 | H6/KFY [AFRICAN-] | 0001-9933 | in thematic issue 'How masks travel: aesthetics, trade, war, and authority in eastern Nigeria' | |||
Igala's royal masks. Borrowed, invented, or stolen? | 2019 | African arts 52 (1): 62-71 | H6/KFY [AFRICAN-] | 0001-9933 | in thematic issue 'How masks travel: aesthetics, trade, war, and authority in eastern Nigeria' | |||
African arts at the Princeton University Art Museum | 2019 | African arts 52 (1): 72-89 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
The museum, colonization, and restitution | 2019 | African arts 52 (3): 1-2, 4-6 | H6/KFY [AFRICAN-] | 0001-9933 | also in French | |||
Restitution and the logic of the postcolonial nation-state | 2019 | African arts 52 (3): 6-8 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Lost to fire: the African collection of the National Museum of Brazil | 2019 | African arts 52 (3): 12-15 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
The Epa masquerades of Èkìtì: a structural approach | 2019 | African arts 52 (3): 16-27 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
A mask of the Western Kuranko | 2019 | African arts 52 (3): 28-33 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Carving postcolonial Kongo culture: Bakala Kalundi Daniel | 2019 | African arts 52 (3): 34-47 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Continuity and change in Nsukka art: George Odoh's illustration of Things Fall Apart | 2019 | African arts 52 (3): 48-61 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Mining time in Sammy Baloji's Mémoire | 2019 | African arts 52 (3): 62-71 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Ezio Bassani. 1924-2018 | 2019 | African arts 52 (2): 9 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Condition report 3: art history in Africa. Debating localization, legitimization and new solidarities | 2019 | African arts 52 (2): 10-17 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Masked in metaphors. Counter narratives in the works of Nigerian cartoonist Mike Asukwo | 2019 | African arts 52 (2): 32-9 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Paper beads on the move. Mobilizing trajectories and subjectivities to shape contemporary art in Uganda | 2019 | African arts 52 (2): 40-51 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Reconfiguring the Omweso board game. Performing narratives of Buganda material culture | 2019 | African arts 52 (2): 52-65 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Invisible woman. Reclaiming Josephine Ifueko Osayimwese Omigie in the history of the Zaria Art Society and postcolonial modernism in Nigeria | 2019 | African arts 52 (2): 66-79 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Beyond single stories: addressing dynamism, specificity, and agency in the arts of Africa | 2019 | African arts 52 (4): 1-2, 4-6 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Christopher Damon Roy 1947-2019 | 2019 | African arts 52 (4): 7-8 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Bisi Silva, 1962-2019 | 2019 | African arts 52 (4): 9-11 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
African visual cultures and colonial histories: an expanding field | 2019 | African arts 52 (4): 12-17 | H6/KFY [AFRICAN-] | 0001-9933 | introduction to special issue 'African visual cultures and colonial histories: an expanding field' | |||
Battles for hearts and minds: the Nogent mosque during World War I | 2019 | African arts 52 (4): 18-33 | H6/KFY [AFRICAN-] | 0001-9933 | in special issue 'African visual cultures and colonial histories: an expanding field' | |||
Creative mediations: the figurative ceramics of Voania (from) Muba | 2019 | African arts 52 (4): 34-51 | H6/KFY [AFRICAN-] | 0001-9933 | in special issue 'African visual cultures and colonial histories: an expanding field' | |||
I could be happy with you, if you could be happy with me: the playful inventions of a visionary headrest artist from the Msinga region of Kwazulu-Natal | 2019 | African arts 52 (4): 52-65 | H6/KFY [AFRICAN-] | 0001-9933 | in special issue 'African visual cultures and colonial histories: an expanding field' | |||
A wider loom? French colonial preoccupations with West African weaving | 2019 | African arts 52 (4): 66-83 | H6/KFY [AFRICAN-] | 0001-9933 | in special issue 'African visual cultures and colonial histories: an expanding field' | |||
A summer of art? | 2018 | African arts 51 (1): 1-2, 4-7 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Richard Pankhurst 1927-2017 | 2018 | African arts 51 (1): 8-9 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Archive of darkness: William Kentridge's Black Box/Chambre Noire | 2018 | African arts 51 (1): 10-23 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
The case of the recurring Woodabe: visual obsessions in globalizing markets | 2018 | African arts 51 (1): 24-45 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
The art and material culture of the Eloyi (Afo) people, Nigeria 1969/70: a photographic essay | 2018 | African arts 51 (1): 46-63 | H6/KFY [AFRICAN-] | 0001-9933 | with comment by S Littlefield Kasfir in this issue, 64-5 | |||
Commentary on "The art and material culture of the Eloyi (Afo) people, Nigeria 1969/70: a photographic essay" by Anna Craven | 2018 | African arts 51 (1): 64-5 | H6/KFY [AFRICAN-] | 0001-9933 | see this issue, 46-63 | |||
Striking iron: the art of African blacksmiths | 2018 | African arts 51 (1): 66-85 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Zimbabwe mobilizes: ICAC's shift from coup de grâce to cultural coup | 2018 | African arts 51 (2): 4-17 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
"The bag is my home":recycling "China bags" in contemporary African art | 2018 | African arts 51 (2): 18-31 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Bodies, buildings, and borders: navigating the divided nation through contemporary South African and Palestinian art practice | 2018 | African arts 51 (2): 32-43 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
This is our story: iconography of carved doors and panels in Oyo palace | 2018 | African arts 51 (2): 44-57 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
The Vigango affair: the enterprise of repatriating Mijikenda memorial figures to Kenya | 2018 | African arts 51 (2): 58-69 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Instant ancestors: looking into a cache of South African photographic erratics | 2018 | African arts 51 (2): 70-9 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Cutting edge of the contemporary: KNUST, Accra, and the Ghanaian contemporary art movement | 2018 | African arts 501 (3): 1-2, 4-9 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Locating Senghor's École in Dakar: international and transnational dimensions to Senegalese modern art, c. 1959-1980 | 2018 | African arts 501 (3): 10-25 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
The mantis wedding: performing power in the loom | 2018 | African arts 501 (3): 40-51 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Performing realization: the Sufi music videos of the Taalibe Baye of Dakar | 2018 | African arts 501 (3): 26-39 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
A twin image from Abeokuta, Nigeria | 2018 | African arts 501 (3): 74-7 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Visualizing marriage in northern Ethiopia: the production and consumption of Gama | 2018 | African arts 501 (3): 52-73 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Producing, collecting, and exhibiting Bizango sculptures from Haiti. Transatlantic Vodou on the international art scene | 2018 | African arts 51 (4): 8-19 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Assemblage, occlusion, and the art of survival in the Black Atlantic | 2018 | African arts 51 (4): 20-33 | H6/KFY [AFRICAN-] | 0001-9933 |