How does one situate the apparent inclusion of or attention paid to black art by major and signif... more How does one situate the apparent inclusion of or attention paid to black art by major and significant art institutions? Specifically, how is the figure of the contemporary black artist being produced by the global art market? Looking at the work of Nandipha Mntambo, Wangechi Mutu, and Kehinde Wiley—three black artists from three different countries—we might examine how their work has alternately been distilled into sums of their references by art criticism and tokenized for their difference by certain curatorial practices that at once drive and are reified by the art market.
A reading of three films—Black Girl, The Wound, and Black Venus—arguing through a formal analysis... more A reading of three films—Black Girl, The Wound, and Black Venus—arguing through a formal analysis of image and sound that postcoloniality, the condition which refers to the conditions and orientations of the postcolonial subject, seems to be understood best within a time-image cinema that does not apply a logical montage of image and action or image and movement, but draws time-based contact between objects, bodies, and the spaces these bodies inhabit.
How does one situate the apparent inclusion of or attention paid to black art by major and signif... more How does one situate the apparent inclusion of or attention paid to black art by major and significant art institutions? Specifically, how is the figure of the contemporary black artist being produced by the global art market? Looking at the work of Nandipha Mntambo, Wangechi Mutu, and Kehinde Wiley—three black artists from three different countries—we might examine how their work has alternately been distilled into sums of their references by art criticism and tokenized for their difference by certain curatorial practices that at once drive and are reified by the art market.
A reading of three films—Black Girl, The Wound, and Black Venus—arguing through a formal analysis... more A reading of three films—Black Girl, The Wound, and Black Venus—arguing through a formal analysis of image and sound that postcoloniality, the condition which refers to the conditions and orientations of the postcolonial subject, seems to be understood best within a time-image cinema that does not apply a logical montage of image and action or image and movement, but draws time-based contact between objects, bodies, and the spaces these bodies inhabit.
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