Title | Date | Reference | Authors | Call # | ISSN | |||
---|---|---|---|---|---|---|---|---|
Why there is still an illicit trade of cultural objects and what can we do about it | 2022 | Journal of field archaeology 47 (2): 117-30 | *H6/KE [JOURNAL-] | 2042-4582 | ||||
Un trono dividido: el origen y movimientos de la banca jeroglífica 1 de Ixtutz, Guatemala | 2022 | Latin American antiquity 33 (2): 262-78 | *H6/KE [LATIN-] | 1045-6635 | English summary | |||
Launched: Whangarei's Wairau Māori Art Gallery | 2022 | Art New Zealand (182): 76-9 | H6/KX [ART-] | 0110-1102 | ||||
The rallying call to decolonize: Okwui Enwezor's legacy | 2021 | Nka: journal of contemporary African art (48): 24-39 | H6/KY [NKA-] | 1075-7163 | in special issue 'Okwui Enwezor: the art of curating' | |||
In the wake of Okwui Enwezor | 2021 | Nka: journal of contemporary African art (48): 14-22 | H6/KY [NKA-] | 1075-7163 | in special issue 'Okwui Enwezor: the art of curating' | |||
Abdelkader Lagtaâ and his conceptual exercises in Poland, 1972–74 | 2021 | Nka: journal of contemporary African art (48): 40-52 | H6/KY [NKA-] | 1075-7163 | in special issue 'Okwui Enwezor: the art of curating' | |||
Okwui Enwezor's exhibition making as a practice of hospitality | 2021 | Nka: journal of contemporary African art (48): 54-69 | H6/KY [NKA-] | 1075-7163 | in special issue 'Okwui Enwezor: the art of curating' | |||
Enwezor's model and Copenhagen's Center for Art on Migration Politics | 2021 | Nka: journal of contemporary African art (48): 70-95 | H6/KY [NKA-] | 1075-7163 | in special issue 'Okwui Enwezor: the art of curating' | |||
Ethnic envy and other aggressions in the contemporary "global" art complex | 2021 | Nka: journal of contemporary African art (48): 96-110 | H6/KY [NKA-] | 1075-7163 | in special issue 'Okwui Enwezor: the art of curating' | |||
Cherry River: where the rivers meet | 2021 | Nka: journal of contemporary African art (48): 112-30 | H6/KY [NKA-] | 1075-7163 | in special issue 'Okwui Enwezor: the art of curating' | |||
Laughing with, laughing at: humor and revolution in the 2019 Venice pavillions of Chile and Egypt | 2021 | The Cambridge journal of anthropology 39 (2): 39-58 | H6 [CAMBRIDGE-] | 2047-7716 | in special issue 'Beyond revolution: reshaping nationhood through senses and affects' | |||
Mexico's interamerican biennals and the hemispheric Cold War | 2021 | Anales del Instituto de Investigaciones Estéticas 43 (119): 249-85 | H6/KFY [MEXICO-] | 0185-1276 | Spanish summary | |||
The contemporary art world, Africa, and the women who brought about change | 2021 | African arts 54 (1): 1-5 | H6/KFY [AFRICAN-] | 0001-9933 | in thematic issue 'The contemporary art world, Africa, and the women who brought about change' | |||
Dream no small dream | 2021 | African arts 54 (1): 30-5 | H6/KFY [AFRICAN-] | 0001-9933 | in thematic issue 'The contemporary art world, Africa, and the women who brought about change' | |||
Shifting landscapes | 2021 | African arts 54 (1): 36-47 | H6/KFY [AFRICAN-] | 0001-9933 | in thematic issue 'The contemporary art world, Africa, and the women who brought about change' | |||
Supporting new futures in the arts: from the Prince Claus Fund and back | 2021 | African arts 54 (1): 48-59 | H6/KFY [AFRICAN-] | 0001-9933 | in thematic issue 'The contemporary art world, Africa, and the women who brought about change' | |||
N'Goné fall | 2021 | African arts 54 (1): 60-71 | H6/KFY [AFRICAN-] | 0001-9933 | in thematic issue 'The contemporary art world, Africa, and the women who brought about change' | |||
Bisi Silva interviewed by Temitayo Ogunbiyi | 2021 | African arts 54 (1): 72-81 | H6/KFY [AFRICAN-] | 0001-9933 | in thematic issue 'The contemporary art world, Africa, and the women who brought about change' | |||
Because the movement, it's never done | 2021 | Journal of American folklore 134 (534): 492-500 | H6/KF [JOURNAL-] | 0021-8751 | in special issue 'African American expressive culture, protest, imagination, and dreams of Blackness' | |||
Artistic movements: visual arts and cross-border exchange on the Central African Copperbelt | 2021 | Journal of southern African studies 47 (6): 951-72 | H6/KY [JOURNAL-] | 1465-3893 | ||||
Interpretation, topography and chronology of the Greco-Catholic medals of the 17th-18th centuries (according to archaeological research and analysis of private collections) | 2021 | Vestsi Akademii Navuk Belarusi 1: 41-57 | H6/KVY [AKADEMIYA NAVUK BYELARUSKAY SSR. Vestsi seryya hramadskikh navuk] | 0321-1649 | Russian and English summaries | |||
Exhibitions and visual culture in Latin America,19th and 20th century. Introduction | 2021 | Iberoamericana 21 (77): 7-13 | H6/KUL [IBEROAMERICANA-] | 1577-3388 | introduction to special section 'Exposiciones y cultura visual en América Latina, siglos XIX y XX' | |||
Lagos art world: the emergence of an artistic hub on the global art periphery | 2020 | African studies review 63 (1): 170-96 | *H6/KY [AFRICAN-] | 0002-0206 | French and Portuguese summaries | |||
Zimbabwe's journey to the Venice Biennale from 2011 to 2019 | 2020 | African arts 53 (1): 1-3 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
The Mostra di Arte Negra at the Venice Biennale in 1922 | 2020 | Tribal art (95): 86-101 | *H6/KFY [WORLD-] | 1354-2990 | ||||
Participatory space and the spectatorship in the museum. A problem and answer about the use of today's exhibition space | 2020 | Anales del Instituto de Investigaciones Estéticas 42 (116): 29-59 | H6/KFY [MEXICO-] | 0185-1276 | ||||
Contemporary art and the disciplining of novelty in the UAE | 2020 | Museum anthropology 43 (2): 79-93 | H6 [MUSEUM-] | 0892-8339 | ||||
Prestige in social dilemmas: a network analytic approach to cooperation among Bogotá's art organizations | 2020 | Social networks 61: 196-209 | H6/KF [SOCIAL-] | 0378-8733 | ||||
Turning the Pushkin Museum into a 'Russian Tate': informal creative labour in a transitional cultural economy (the case of privately funded Moscow art centres) | 2019 | International journal of cultural studies 22 (2): 281-97 | H6/KF [INTERNATIONAL-] | 1367-8779 | ||||
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' | |||
Oriental taste in imperial Japan: the exhibition and sale of Asian art and artifacts by Japanese department stores from the 1920s through the early 1940s | 2019 | Journal of Asian studies 78 (1): 45-74 | *H6/KW [JOURNAL-] | 0021-9118 | ||||
Diasporas of and by design: exploring the unholy alliance between museums and the diffusion of Navajo (Diné) textile designs | 2019 | Histories of anthropology annual 13: 111-49 | H1 [HISTORIES-] | 1557-637X | ||||
The art of opening: proximity and potentiality at events | 2019 | Theory, culture and society 36 (7-8): 135-52 | H6 [THEORY-] | 0263-2764 | ||||
Le caractère marchand du fétiche et son secret. L'art de profiler les objets chez les antiquaires ouest-africaines | 2019 | Gradhiva: revue de anthropology et museologie (30): 70-91 | H6 [GRADHIVA-] | 0764-8928 | in thematic issue 'Précieux' | |||
At the center of the controversy: confronting ethnic fraud in the arts | 2019 | American Indian culture and research journal 43 (4): 13-24 | H6/KUB [AMERICAN-] | 0161-6463 | in special issue 'Fraud in Native American communities essays in honor of Suzan Shown Harjo' | |||
Decentering Durham | 2019 | American Indian culture and research journal 43 (4): 25-8 | H6/KUB [AMERICAN-] | 0161-6463 | introduction to thematic section 'Decentering Durham', in special issue 'Fraud in Native American communities essays in honor of Suzan Shown Harjo' | |||
Not Jimmy Durham's Cherokee | 2019 | American Indian culture and research journal 43 (4): 29-32 | H6/KUB [AMERICAN-] | 0161-6463 | in thematic section 'Decentering Durham', in special issue 'Fraud in Native American communities essays in honor of Suzan Shown Harjo' | |||
Walk-through at the hammer | 2019 | American Indian culture and research journal 43 (4): 33-6 | H6/KUB [AMERICAN-] | 0161-6463 | in thematic section 'Decentering Durham', in special issue 'Fraud in Native American communities essays in honor of Suzan Shown Harjo' | |||
A chapter closed? | 2019 | American Indian culture and research journal 43 (4): 37-40 | H6/KUB [AMERICAN-] | 0161-6463 | in thematic section 'Decentering Durham', in special issue 'Fraud in Native American communities essays in honor of Suzan Shown Harjo' | |||
What shall we do with the bodies? Reconsidering the archive in the aftermath of fraud | 2019 | American Indian culture and research journal 43 (4): 41-54 | H6/KUB [AMERICAN-] | 0161-6463 | in thematic section 'Decentering Durham', in special issue 'Fraud in Native American communities essays in honor of Suzan Shown Harjo' | |||
Living in a (Schrödinger's) box: Jimmy Durham's strategic use of ambiguity | 2019 | American Indian culture and research journal 43 (4): 55-64 | H6/KUB [AMERICAN-] | 0161-6463 | in thematic section 'Decentering Durham', in special issue 'Fraud in Native American communities essays in honor of Suzan Shown Harjo' | |||
The artist knows best: the de-professionalism of a profession | 2019 | American Indian culture and research journal 43 (4): 65-76 | H6/KUB [AMERICAN-] | 0161-6463 | in thematic section 'Decentering Durham', in special issue 'Fraud in Native American communities essays in honor of Suzan Shown Harjo' | |||
Hustling and hoaxing: institutions, modern styles, and Yeffe Kimball's "Native" art | 2019 | American Indian culture and research journal 43 (4): 77-92 | H6/KUB [AMERICAN-] | 0161-6463 | in special issue 'Fraud in Native American communities essays in honor of Suzan Shown Harjo' | |||
Closing the gap: ethics and the law in the exhibition of contemporary Native art | 2019 | American Indian culture and research journal 43 (4): 115-22 | H6/KUB [AMERICAN-] | 0161-6463 | in special issue 'Fraud in Native American communities essays in honor of Suzan Shown Harjo' | |||
“Young artists can try out everything”: redefining contemporary Ghanaian art in the 21st century | 2019 | Critical interventions: journal of African art history and visual culture 13 (1): 4-20 | H6/KFY [CRITICAL-] | 1930-1944 | in special issue 'Twenty-first century contemporary art in Ghana' | |||
Institutional activations and interventions in art practice in Ghana: the case of Nubuke Foundation | 2019 | Critical interventions: journal of African art history and visual culture 13 (1): 105-19 | H6/KFY [CRITICAL-] | 1930-1944 | in special issue 'Twenty-first century contemporary art in Ghana' | |||
Cargo of art and pictorial materials in the galeons of the Firm Land of 1586. Shipments from Seville to the cities of Bogotá, Tunja, Cuzco and Lima | 2019 | Anales. Museo de América (Madrid) (27): 95-130 | H6/KUL [MUSEO DE AMERICA. Anales] | 1133-8741 | English summary | |||
Which art history in Africa? A question of method | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 148-57 | H6/KFY [CRITICAL-] | 1930-1944 | in special issue 'African modernisms and its terminologies and methodologies - a critical mapping of the field' | |||
A summer of art? | 2018 | African arts 51 (1): 1-2, 4-7 | H6/KFY [AFRICAN-] | 0001-9933 | ||||
Skipping the blockade run: Andile Dylavane and Camagu | 2018 | Critical interventions: journal of African art history and visual culture 12 (1): 97-106 | H6/KFY [CRITICAL-] | 1930-1944 | in special issue 'African art markets' |