Taking Stakes in the Unknown Tracing Post-Black Art Nana Adusei-Poku

Format:

Book

Thesis/Dissertation

Author/Creator:

Adusei-Poku, Nana <p>Nana Adusei-Poku, Bard College (NY), USA</p>, Author.

Series:

Image

Language:

English

Subjects (All):

Black Art.

Black Diaspora Art.

Critical Race Art History.

Cultural Studies.

African American.

Black German.

Art.

Postcolonialism.

Gender.

Theory of Art.

Gender Studies.

Fine Arts.

Local Subjects:

Black Art.

Black Diaspora Art.

Critical Race Art History.

Cultural Studies.

African American.

Black German.

Art.

Postcolonialism.

Gender.

Theory of Art.

Gender Studies.

Fine Arts.

Physical Description:

1 online resource (218 p.)

Edition:

1st ed.

Other Title:

Adusei-Poku, Taking Stakes in the Unknown Tracing Post-Black Art

Place of Publication:

Bielefeld transcript Verlag 2021

Language Note:

In English.

Biography/History:

Nana Adusei-Poku (PhD) is a Senior Academic Advisor and Luma Fellow at the Center for Curatorial Studies and Contemporary Art at Bard College. Her main research interests are cultural shifts and how they articulate themselves through the intersections of art, politics, and popular culture; artistic productions from the Black diasporas and critical pedagogy in relationship to decolonial aesthetics. She has articulated these interests through her academic work, the development of performative Lectures & Workshops as well as curatorial projects. Her articles have been published in Nka- Journal of Contemporary African Art, eflux, Kunstforum International, Flashart!, L'Internationale, multidudes, Darkmatter, Afterall and Yale Theater Magazine a.o. and translated into English, German, Portuguese, French and Swedish.

Summary:

In 2001, Freestyle, a survey exhibition curated by Thelma Golden at the Studio Museum in Harlem, introduced both a young generation of artists of African descent and the ambitious yet knowingly opaque term post-black to a pre 9-11 and pre-Obama world. In Taking Stakes in the Unknown, Nana Adusei-Poku contextualizes the term post-black in its socio-historical and cultural context. Whilst exploring its present legacy and past potential, she examines works by artists who were defined as part of the post-black generation: Mark Bradford, Leslie Hewitt, Mickalene Thomas and Hank Willis Thomas – and, by expanding the scope of the definition, the Black German artist Philip Metz.

Contents:

Frontmatter

Bibliographic information published by the Deutsche Nationalbibliothek

Contents

Acknowledgement

I. Introduction

II. Destabilizing Meaning

1. The Textures of History

2. What is the script of your time?

3. Economies of the Double-bind

III. Historical Entanglements of Black Revolutionary Women

1. De-Interpellating Interpellation—Visual Disobediences

2. How do I look? (Very good, I must say I am amazed!)

3. O my Body, will always remain in question!— Reviewing the Fanonian Moment

IV. Heterotemporality as a Way of Understanding the Contemporary

1. Reclaiming our time

2. Riffs on Real Time and the present that is fleeting though captured

3. Rewind Selecta

4. Hetero-temporality

V. Paradox Synchronicities

1. Contextualization

2. IWHISHIWAS or WISHIWASHI ?

3. From Leitkultur to Leightkultur

VI. Abstract Facts

1. Enter and Exit the New Negro

2. Enter and Exit the New Negro—From Invisible Visibilities

3. Enter the New Negro

4. Ambiguity as Chance—Abstraction as Means of Identity

VII. Post-Post-black

VIII. Bibliography

Notes:

Doctoral Thesis Humboldt Universität zu Berlin 2015

ISBN:

9783839452943

3839452945

OCLC:

1248759653