The Latest

Apr 15, 2014 / 126 notes

blackcontemporaryart:

Danielle Dean
Con-Tact, 2011

The actors performed in a set covered in ‘Contact’ sheet which is sticky back plastic with a digital marble print found globally, I noticed it here in the U.S and in Nigeria. The script performed in the set combined product information and company history of Contact (including corruption and court cases) with an autobiographical origins story set in Nigeria. I was interested in looking at post-colonialism and the persistence of imperialisms through corporations.

passaxpassa:

Njideka Akunyili
Nwantinti [Detail], 2012
Apr 14, 2014 / 638 notes

passaxpassa:

Njideka Akunyili

Nwantinti [Detail], 2012

(via mambubadu)

Apr 14, 2014 / 73 notes

afrofuturistaffair:

The Time Travel Convention was an exhibition that explored time travel as a practical activity – something that does not necessarily require a machine, an advanced degree, or any other privileges. Using afrofuturism and the speculative as lenses, the exhibition featured time travel devices and objects from creators who use tools such as memory, dreams, imagination, manipulation of language and perception, light, and music to craft their temporal devices.

In this temporal-spatial instance, AfroFuturist Affair Creator Rasheedah Phillips debuted her speculative fiction collection, Recurrence Plot (and Other Time Travel Tales)

More photos at: https://www.facebook.com/AfroFuturistAffair

Featuring Time Machines from:

MMGzPsychoAcoustics & Memory 
Black ShesusThe Pyramid of Shesus
R.PhillipsRecurrence Plot (RP)
Kameelah Janan RasheedNo Instructions of Assembly, Activation II
Alisha B. Wormsleythere are black people in the future
Mourl FerrymanThe Shadow and the Substance 2014
Melissa MooreAn Infinitygram: Diasporan Object Design For A New Future

Noni Red - everything begins within

stayingunderground:

Original illustration created by Jamilla Okubo for the cover of Love Life Music, a mix by Mistah Rapsey.

follow her tumblr @vivaillajams
Apr 14, 2014 / 2,618 notes

stayingunderground:

Original illustration created by Jamilla Okubo for the cover of Love Life Music, a mix by Mistah Rapsey.

follow her tumblr @vivaillajams

(via cre8tivesilence)

vanessapeterson:

nana ocran
brixton, march 2014

nana ocran is a writer based in london, specialising in contemporary african culture. she has written for arik air & time out lagos, as well as sat on juries for various international film festivals. in 2011, she was nominated for CNN’s prestigious african journalist of the year award.

it was great to spend time with nana as she showed me the sights of brixton. we talked about the creative arts in the diaspora, moving to Ghana and how to survive as a freelancer. 

she updates her website, Words Sewn With An African Thread regularly.
Apr 14, 2014 / 21 notes

vanessapeterson:

nana ocran
brixton, march 2014

nana ocran is a writer based in london, specialising in contemporary african culture. she has written for arik air & time out lagos, as well as sat on juries for various international film festivals. in 2011, she was nominated for CNN’s prestigious african journalist of the year award.

it was great to spend time with nana as she showed me the sights of brixton. we talked about the creative arts in the diaspora, moving to Ghana and how to survive as a freelancer.

she updates her website, Words Sewn With An African Thread regularly.

ofoesaysit:

Accra City, My City
Photography by Ofoe Amegavie, 2014
Apr 14, 2014 / 30 notes

ofoesaysit:

Accra City, My City

Photography by Ofoe Amegavie, 2014

Apr 14, 2014 / 55 notes

ofoesaysit:

Portraits of Accra City, My City

Photography by Ofoe Amegavie, 2014

nativefunkk:

A train of thought~ Art by Nativefunkk
Apr 14, 2014 / 419 notes

nativefunkk:

A train of thought~ Art by Nativefunkk

(via holaafrica)

mocada-museum:

Don’t miss the Re: purpose Artist Talk this Wednesday at FiveMyles from 7-8:30PM. 
Apr 14, 2014 / 21 notes

mocada-museum:

Don’t miss the Re: purpose Artist Talk this Wednesday at FiveMyles from 7-8:30PM. 

Join us tomorrow for our second twitter chat this month, discussing Women Artists & Their Voices with Aida Muluneh and Nakeya Brown. 1 pm EST / 5 pm GMT / 8 pm EAT. Tweet your questions to us on @aadatart.
Mar 29, 2014 / 8 notes

Join us tomorrow for our second twitter chat this month, discussing Women Artists & Their Voices with Aida Muluneh and Nakeya Brown. 1 pm EST / 5 pm GMT / 8 pm EAT. Tweet your questions to us on @aadatart.

Mar 28, 2014 / 30 notes

We dig this music video by Blitz The Ambassador, sharing his pride for his homeland Ghana. The track features Afro-Beat star Seun Kuti who adds an awesome brassy sound. Make You No Forget ooooo! 

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Mar 28, 2014 / 11 notes

This weekend, we’re jamming to dj100proof’s “Happy Mentality”, mixed from Pharrell‘s hit “Happy” with Fela Kuti‘s “Colonial Mentality”.

We love it. What do you think?

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This weekend we’re jamming to dj100proof’s “Happy Mentality”, mixed from Pharrell’s hit “Happy” and Fela Kuti’s “Colonial Mentality”. Visit our Facebook page, listen, and tell us what you think! www.facebook.com/AADATArt
Mar 28, 2014 / 1 note

This weekend we’re jamming to dj100proof’s “Happy Mentality”, mixed from Pharrell’s hit “Happy” and Fela Kuti’s “Colonial Mentality”. Visit our Facebook page, listen, and tell us what you think! www.facebook.com/AADATArt

Mar 27, 2014 / 5 notes

[In Depth] ‘Lagos In The Red’ by Nigerian artist, Jelili Atiku

For contemporary Nigerian artist Jelili Atiku, art and violence occupy two counterparts of human existence: one fosters understanding and growth while the other produces only stagnation. Through his multimedia practice, involving drawing, installation sculpture, photography, video, and performance art, Atiku appeals to a general humanity in the hopes of bringing about an egalitarian society.

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Mar 27, 2014 / 26 notes

Admiration or Appropriation? The Use of African imagery by African-American Artists

“Memory is repeatedly preserved by artist, whose work keeps the past alive.” (Ferris 1989: 78)

​The fusion of African imagery within African-American art not only pays homage to the continent, but has also been an essential element in the remaking of the black identity. To appreciate black folk art, one must first understand the community in which it derives from, or historic legacy. The statements made by the artists, within their works are “closely linked to their black experience and repeatedly evolve the long memory of the elders and their remembered worlds” (Ferris 1989: 77).

Memories are the heart of the black community, passed down from one generation to the next. Whether through Negro Spirituals, hidden in African-American quilt patterns or coded in Ebonics, African-Americans have always found ways to share their stories, even under surveillance and opposition.  But what happens when the past can no longer be remembered? Are artists allowed to look for inspiration within other countries and cultures? Or should they look deeper into their own past to visualize a future?

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