Title | Date | Reference | Authors | Call # | ISSN | ||
---|---|---|---|---|---|---|---|
Mapping the earth's embrace: queer life-building in Mame-Diarra Niang's Éthérée | 2024 | African arts 57 (1): 32-45 | H6/KFY [AFRICAN-] | 0001-9933 | |||
In memoriam Atta Kwami, September 14, 1956–October 6, 2021 | 2024 | African arts 57 (1): 4-7 | H6/KFY [AFRICAN-] | 0001-9933 | |||
That the House May Stand Again: veranda posts in Ọyọ́ Palace | 2024 | African arts 57 (1): 46-63 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Tragedy of the nation in Ndidi Dike’s State of the Nation | 2024 | African arts 57 (1): 64-75 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Egypt in/and Africa exhibitions, questions and complexities in American art museums | 2024 | African arts 57 (2): 1-9 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Risks, challenges, and possibilities building a future in African arts | 2024 | African arts 57 (2): 9-15 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Pragmatism in Yoruba art: Dada Areogun's narrative woodcarving as cultural stewardship | 2024 | African arts 57 (2): 16-33 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Panoramas from the periphery: women's history tapestries at Rorke's drift | 2024 | African arts 57 (2): 34-47 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Contemporary myths of spirits and genies. An interview with Ibrahima Thiam | 2024 | African arts 57 (2): 48-75 | H6/KFY [AFRICAN-] | 0001-9933 | |||
An ancient terracotta figure from Sierra Leone | 2024 | African arts 57 (2): 76-85 | H6/KFY [AFRICAN-] | 0001-9933 | |||
We made It in Venice! But then …? Reversing notions of center and periphery | 2023 | African arts 56 (1): 1-9 | H6/KFY [AFRICAN-] | 0001-9933 | |||
The long view: leadership at a critical juncture for "African art" in America | 2023 | African arts 56 (1): 10-12 | H6/KFY [AFRICAN-] | 0001-9933 | |||
"Knowledge" or "progress?" Do they have to be mutually exclusive? | 2023 | African arts 56 (1): 12-13 | H6/KFY [AFRICAN-] | 0001-9933 | |||
A museum of Black civilizations in the contemporary world: in conversation with Hamady Bacoum | 2023 | African arts 56 (1): 14-19 | H6/KFY [AFRICAN-] | 0001-9933 | |||
The flip-flop toys of Saarenald T.S. Yaawaisan in the Bryn Mawr art and artifact collections | 2023 | African arts 56 (1): 20-5 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Breathing room: working principles of indipendent art spaces in African cities | 2023 | African arts 56 (1): 26-41 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Urban taxi slogans: the people's arts | 2023 | African arts 56 (1): 42-61 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Remembering the Herero-Nama genocide in Namibia | 2023 | African arts 56 (1): 62-81 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Touched and changed: self-reflexivity and reciprocity in fieldwork | 2023 | African arts 56 (2): 1-9 | H6/KFY [AFRICAN-] | 0001-9933 | |||
On the origins of Récades of the kings of Dahomey | 2023 | African arts 56 (2): 10-19 | H6/KFY [AFRICAN-] | 0001-9933 | |||
African vernacular symbols of Black intersex children in Sinethemba Ngubane's installations (2007-2016) | 2023 | African arts 56 (2): 20-9 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Present pasts of colonial modernity: embroideries by Lucie Kamuswekera | 2023 | African arts 56 (2): 30-47 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Artifacts from the perspective of Effutu masquerade performance, an aesthetic album | 2023 | African arts 56 (2): 48-63 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Beyond the “popular” versus “serious” criticism binary: towards new histories of Black art criticism | 2023 | African arts 56 (2): 64-77 | H6/KFY [AFRICAN-] | 0001-9933 | |||
African textiles, fashionable textiles: a historiography | 2023 | African arts 56 (3): 1-5 | H6/KFY [AFRICAN-] | 0001-9933 | |||
African textiles, fashionable textiles: an introduction | 2023 | African arts 56 (3): 6-7 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Unravelling regional and global connections: historical Kente and related textiles in Ghana, Togo, and Côte d’Ivoire | 2023 | African arts 56 (3): 8-19 | H6/KFY [AFRICAN-] | 0001-9933 | |||
The cloth that eats money: Ṣeghoṣen as a symbol of prestige | 2023 | African arts 56 (3): 20-33 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Complex geometries: creativity, motif, and the study of contemporary handwoven cloth from Côte d’Ivoire | 2023 | African arts 56 (3): 34-43 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Motifs in motion: Fes belts (Ahzima) and Moroccan design innovation in the Mediterranean world | 2023 | African arts 56 (3): 44-55 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Kanga cloths at Vlisco: an object-based study of Dutch printing for the colonial East African market, 1876-1971 | 2023 | African arts 56 (3): 56-71 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Igshaan Adams: a body of work | 2023 | African arts 56 (3): 72-81 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Textiles in the history of African art | 2023 | African arts 56 (3): 82-91 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Personal reflections on technologies and the study of African art | 2023 | African arts 56 (4): 1-7 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Lagos and its representation in visual arts | 2023 | African arts 56 (4): 24-41 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Gatekeepers and vengeful spirits of the Ọ̀wọ̀ past: word and act made visible | 2023 | African arts 56 (4): 8-23 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Morphing identity and style in contemporary Ghanaian painting: two artists from Sekondi-Takoradi | 2023 | African arts 56 (4): 42-61 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Practical work: sapeuses (women sapeurs) in Kinshasa, Democratic Republic of Congo | 2023 | African arts 56 (4): 62-79 | H6/KFY [AFRICAN-] | 0001-9933 | |||
"We are Yoruba" or the notion of African art in Brazil | 2023 | African arts 57 (3): 1-6 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Teaching African art in the time of AI | 2023 | African arts 57 (3): 6-7 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Uli: the colonial archive as decolonial cultural resource | 2023 | African arts 57 (3): 8-25 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Sam Joseph Ntiro: mapping the path of a pioneering artist, educator, scholar, diplomat, and civil servant | 2023 | African arts 57 (3): 26-43 | H6/KFY [AFRICAN-] | 0001-9933 | |||
I hold in my hand...Prestige, rank, and power | 2023 | African arts 57 (3): 44-65 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Pape Diop's mystical graffiti: a twenty-year retrospective | 2023 | African arts 57 (3): 66-83 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Doran Hrothgar Ross scholar, trickster, connoisseur | 2022 | African arts 55 (1): 1-7 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Doran H. Ross | 2022 | African arts 55 (1): 8-14 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Full circle: a half century of friendship | 2022 | African arts 55 (1): 15-16 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Deep Ties: Cole and Ross, 1972–2020 | 2022 | African arts 55 (1): 17-19 | H6/KFY [AFRICAN-] | 0001-9933 | |||
Doran Ross the scholar of Akan art | 2022 | African arts 55 (1): 20-5 | H6/KFY [AFRICAN-] | 0001-9933 | |||
An unwavering passion: Doran Ross’s scholarship on Asafo flags | 2022 | African arts 55 (1): 26-8 | H6/KFY [AFRICAN-] | 0001-9933 |