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| Title | Date | Reference | Authors | Call # | ISSN | ||
|---|---|---|---|---|---|---|---|
| The spiral and the crossroads: the dual universalisms of Senegal's first art museum | 2025 | African arts 57 (4): 44-59 | H6/KFY [AFRICAN-] | 0001-9933 | |||
| Egúngún: reminiscence of colors, dance, and fun | 2025 | African arts 57 (4): 60-79 | H6/KFY [AFRICAN-] | 0001-9933 | |||
| 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 | |||
| Shifting paradigms and practice. An ethical rerturn from the Fowleer Museum at UCLA | 2024 | African arts 57 (4): 1-2, 4-7 | H6/KFY [AFRICAN-] | 0001-9933 | |||
| Sankofa conversations - a conversation with Herbert M. Cole | 2024 | African arts 57 (4): 8-15 | H6/KFY [AFRICAN-] | 0001-9933 | |||
| Hilaire Balu Kuyagiko's reverse appropriation as counter discourse of African art | 2024 | African arts 57 (4): 16-27 | H6/KFY [AFRICAN-] | 0001-9933 | |||
| Public art forms as image and cultural identity of indigenous towns in the Òkè-Ògùn regions of Òyó state, Nigeria | 2024 | African arts 57 (4): 28-43 | 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 |
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