Asking whether white people should curate African art anymore, may be outdated. Instead we should ask: what is African art now and does the category matter anymore?
A new exhibit of Jean-Michel Basquiat’s life and work explores the influences of his family and the African world on his visual sensibilities and identity.
What is one particular place when represented photographically?
The painter Cassi Namoda situates herself squarely in the artistic history of Mozambique, especially its rich tradition of anticolonial photography, as she turns outwards to the world.
Three prominent curators on how they are (re-)situating their respective curatorial practices in relation to the political moment.
The painter Thenjiwe Niki Nkosi speaks to Drew Thompson about the evolution of her practice and how she locates herself in contemporary African art.
The painter talks about how the distance between Nairobi and London allows him to take on topics at the heart of Kenya’s body politic.
Meleko Mokgosi’s multimedia works offer complex views of history and powerful critiques of pan-Africanism and the postcolonial moment we are currently living.
Ozier Muhammad captures, for black American audiences, the expressive possibilities of Africa’s liberation struggles.
The South African photographer has a complicated place within his country’s photographic culture.
Santu Mofokeng’s photographs keep you wanting to know who are these people, what’s their sophistications, and what’s going to happen to these aspirations?