Archive

Post List

• Why I Collect: Herman Steyn
• For His First U.S. Museum Show, Igshaan Adams Creates Tapestries That Reflect on South African History
• Igshaan Adams at The Art Institute of Chicago
• Abyssal simulacra: Phokeng Setai’s ‘This stays between you and me’
• Scheryn Art Collection Newsletter 2021
• Bronwyn Katz at the Griffith University Art Museum
• Exhibition launch | “This stays between you and me”
• Conversation | “This stays between you and me”
• “This stays between you and me” | Join us for a conversation and sonic odyssey
• Johannes Phokela is on the comeback trail
• Original Sin – Fall of the Damned as Damaged by Johannes Phokela at Zeitz MOCAA
• Beauty and Prisons: ‘I have made a place’ at Norval Foundation
• In Swirling Canvases, Gareth Nyandoro Expresses the Rhythms of Labor
• ‘I’ve Always Been a City Girl With a Nature Brain’: Watch Sculptor Wangechi Mutu Weave Worlds Together in Her Sculpture
• ‘I have made a place’ – Artworks from Scheryn Art Collection on display at the Norval Foundation
• Samson Kambalu Wins Fourth Plinth Commission
• ‘An Artist Is a Visionary’: Cameroonian Artist Barthélémy Toguo on Why He Began Making Art About Viruses Well Before 2020
• NIGHT WATCH: A conversation with Lynette Yiadom-Boakye
• Billie Zangewa Makes Art Where the Light is Best
• Penny Siopis on confronting shame
• Painting with Words and Brush: Misheck Masamvu’s ‘Talk to me while I’m eating’
• Simphiwe Ndzube’s magical, borderless world of celebration
• Faces Without Features: Georgina Gratrix’s ‘The Reunion’
• Movable Archives: Serge Alain Nitegeka’s ‘Lost and Found’
• Curatorial Connective
• A Portraitist Whose Subjects Are All in Her Head
• Zanele Muholi Walks In With the Ancestors
• Speak with the Eye: Frida Orupabo’s ‘Hours After’
• Zanele Muholi review – portraiture as activism
• How Abdoulaye Konaté Knits Together West African Cultural Heritage
• Scheryn Art Collection Newsletter 2020
• Can ‘The Nonrepresentational’ prove a new model for artists and galleries?
• Linda Givon, Founder of South Africa’s Goodman Gallery, Has Died at Age 84
• Honoring Motherhood and the Mundane
• Portia Zvavahera’s Painted Dreams
• Athi-Patra Ruga’s Myth-Making of Identities Historically Uncelebrated
• A Madagascan Telecoms Magnate Is Opening an Innovative Paris Gallery to Support African Artists
• Studio Visit: Zimbabwean Artist Portia Zvavahera on Why She Had to Escape to the Mountains to Create Her New Show at David Zwirner
• Whitney Museum Cancels Show of Mutual Aid Art After Artists Decry It as ‘Predatory’
• Gerhard Marx’s sculptural works map distance and detail
• ‘I’m Proposing Many Ways of Seeing’: Artist Kapwani Kiwanga on Unearthing Buried Histories to Imagine the World Anew
• The art ecosystem and the pandemic – so many questions, so few answers
• David Goldblatt: Seven decades of Johannesburg
• Online: The changing space of art
• Cinga Samson’s Haunting Portraits Honor His South African Community
• How Ethiopian art secured its spot on the world’s stage
• In Front Of That Light: Athi-Patra Ruga’s ‘Interior/Exterior / Dramatis Personae’
• Zanele Muholi: Art and activism
• Will the African Art Market’s Recent Rise Withstand the Shutdown? Dealers Say There’s Reason for Hope
• The Textile Artist Who’s Always Known How to Care for Herself Billie Zangewa on strength, femininity, and the healing nature of domesticity
• On the Limits of Care and Knowledge: 15 Points Museums Must Understand to Dismantle Structural Injustice
• John Akomfrah in conversation with Tina Campt, Ekow Eshun, Saidiya Hartman
• Letter from Cape Town: Tensions Surrounding Refugees Leave South Africa in a Bind
• John Akomfrah’s Best Films, Ranked: Strange Futures, Black Identities in Flux, Earthly Damage, and More
• 10 Nonprofits You Can Support to Amplify Black Voices in the Arts
• Find Here a List of Freedom Funds and Mutual Aid Networks in the US
• Here Are 26 Organizations You Can Donate to That Support Emerging Black Artists, Thinkers, and Change-Makers
• Artist Georges Adéagbo’s New Exhibition in Berlin Juxtaposes Cultural Artifacts From Around the World to Spark New Ways of Seeing
• ‘I Was Building a Suit of Armor’: Watch Artist Nick Cave Explain the Origins of His Signature ‘Soundsuit’ Sculptures
• Igshaan Adams: Personal Devotion
• Venice Biennale Curator Cecilia Alemani Doesn’t Want to Do a ‘Coronavirus Biennial’
• Obituary: Henri Vergon (1968-2020) Afronova
• Why the Contemporary African Art Market Is Uniquely Positioned to Weather COVID-19
• Intimacy and Exposure in an Age of Lockdown
• An Artist’s New Migration Song
• Five African artists demonstrating creative resilience in challenging times
• Artists relief funds and opportunities in the midst of Covid-19
• World View: Letter from South Africa
• Venice Biennale Postponed to 2022
• Free Online Workshops Help Artists Navigate Finances During COVID-19
• Multiplicity of Knowing: Mawande Ka Zenzile’s ‘Udludlilali’
• Lynette Yiadom-Boakye: The Huntington
• The show must go on: the uphill rush to take culture into the digital space
• How I Work: Ibrahim Mahama
• On View: ‘Alpha Crucis – Contemporary African Art’ at Astrup Fearnley Museum in Oslo, Norway
• How the R150m relief fund for the arts and sports sector will work
• 10 Binge-Worthy Art Podcasts in the Age of Coronavirus
• Matereality at the Iziko South African National Gallery – a testament to the challenge of tradition
• Scheryn Art Collection Newsletter 2019
• Cinga Samson by ARTDRUNK
• Stellenbosch Triennale, a Bold Experiment
• Artist Banele Khoza embraces the brave new world of art with online 3D tours
• ‘I Had to Fight to Show What I Could Do’: How Elias Sime Emerged as One of Africa’s Leading Contemporary Artists
• Covid-19 and virtual reality: The cultural cost of going online
• Samson Kambalu Toys with Heidegger’s Bourgeois Romantic Fantasies
• Meleko Mokgosi’s Virtuosic Paintings of Southern Africa Show a Different Side of the Tourism Industry—See Pictures Here
• ‘African Cosmologies’ Deftly Navigates the Challenges of Photographing the Diaspora
• 2,500 Museums You Can Now Visit Virtually
• ‘A queer person can be anybody’: the African photographers exploring identity
• The Yemisi Shyllon Museum of Art: An Educational Collection
• Artistry of The Continent Shines Brightly in The ‘Lumières d’Afriques’ Exhibition
• What You Need to Know from the Art Market 2020 Report
• Can Palais de Lomé Change Arts Funding Models in Africa?
• Mohamed Bourouissa: Free Trade
• An Artist Paints Love and Life in Maputo, Mozambique
• The London gallery making space for contemporary African art
• HOW SANTU MOFOKENG SHAPED SOUTH AFRICAN PHOTOGRAPHY
• Collectors Flock to the 1-54 Art Fair in Marrakesh as the Demand for African Art Soars, Sparking Concerns About a Masterwork Exodus
• Tate and MoMa ‘playing catch up’ in collections of modern African art
• Cinga Samson: ‘a different conversation on representation’
• The Limits of Categories: Ernest Mancoba Symposium at A4 Foundation
• With Help from a Nigerian Prince, a Bold New Contemporary Art Museum Is Set to Open in Lagos
• Trans­continental Dialogues: in Conversation with Laura Vincenti
• SANTU MOFOKENG (1956–2020)
• Nakanjani, Dada Khanyisa’s got a good feeling
• Latifa Echakhch, Rising Star Focused on Immigration and Alienation, Will Represent Switzerland at 2021 Venice Biennale
• Zineb Sedira Becomes First Algerian Artist to Represent France at Venice Biennale
• Zeitz Museum Director Koyo Kouoh Looks to Transform South Africa’s Art Scene
• A Show of African Solidarity
• SLIPSTREAMS
• This Art Was Looted 123 Years Ago. Will It Ever Be Returned?
• A Short History of the 2010s in Art
• A Letter to President Macron: Reparations Before Restitution
• I was here, I saw here: Six visions of contemporary Africa
• Why Africa’s future museums should forget Western models
• Zanele Muholi at Tate Modern
• ‘I’m Finished When I Start Looking at the World in a Different Way’
• CECILIA ALEMANI APPOINTED ARTISTIC DIRECTOR OF FIFTY-NINTH VENICE BIENNALE
• Yinka Shonibare: ‘I see what’s happening as an African renaissance’
• Julie Mehretu’s Sublime Abstractions of History
• Lubaina Himid: Labor and the Art of Becoming
• ‘An unprecedented event’: is this the most important art show ever seen in Africa?
• Meleko Mokgosi’s Discursive Art
• FRANCE VOWS TO RETURN PLUNDERED BENIN ARTIFACTS BY 2021
• The Fight to Decolonize the Museum
• Robin Rhode’s canvas: Westbury walls
• FOTOFEST BIENNIAL RELEASES 2020 ARTIST LIST
• France Released a Groundbreaking Report on the Restitution of African Art One Year Ago. Has Anything Actually Changed?
• Bamako Encounters: Streams of Consciousness
• Cultural resurgence highlights Africa’s place in the new world
• Why African cultural restitution matters
• David Koloane’s art is a love letter to Jo’burg
• An Ethiopian Gallery Enriches a Global Art Conversation
• Have You Seen a Benin Bronze in an Art Museum? The Guardian Launches a Campaign to Locate and Return African Art
• Togo opened its first major contemporary art center in a restored colonial palace
• Painting Home, When It Won’t Let You Stay
• Building a Future from the Rubble: The Second Lagos Biennial
• Mapping Worlds: Selected Works from the Scheryn Art Collection
• Black Art Has Its Moment, Finally
• Why Nando’s has built a huge art collection
• Who Needs Canvas? In Dakar, Street Artists Express Their Visions on Sides of Homes
• Democratic Republic of Congo to inaugurate national museum
• As African Art Thrives, Museums Grapple With Legacy of Colonialism
• PHOTO ESSAY: Mother City gets infected by all things arty as performance fest returns
• Meet the 6 Rising-Star Artists Competing for the Coveted $100,000 Hugo Boss Prize
• Baltimore Museum of Art Will Only Acquire Works By Female-Identifying Artists in 2020
• OPEN SOCIETY PLEDGES $15 MILLION IN SUPPORT OF RESTITUTING AFRICAN ARTIFACTS
• France Returns to Senegal an 18th-Century Saber That It Looted During the Colonial Period
• Paint it black: artists of colour breathing new life into ‘inert’ art form
• Out of Africa, a Collection and a Dedication to Giving Back
• The Visionary Art Schools of South Africa
• ‘It Was a Sort of Therapy for Me’: Joana Choumali, the First African to Win Europe’s Top Photography Award, on Her Emotive Work
• Julie Mehretu’s New LACMA Survey Reveals an Artist at the Peak of Her Power—But Also One Unusually Eager to Share the Credit
• LOVE, LAGOS
• Discover 6 Artists Who Impressed Curators and Collectors at the 2019 Edition of Paris Photo
• It’s Time to Take Down the Mona Lisa
• Where Does My Heart Reside? by Natasha Becker
• ‘The Idea Here Is to Go Big’: Galleries at the Art X Lagos Fair Work to Cultivate Africa’s Largest Economy
• Legendary Curator Okwui Enwezor’s Final Show, ‘Postcolonial,’ Will Now Become a Reality in Sharjah
• Nothing to see here: Meleko Mokgosi’s ‘Objects of Desire, Addendum
• Answering the Colonizers of Modernism
• The Prismatic, Kitsch, and Glam World of Hassan Hajjaj
• Meleko Mokgosi Wants You to See the Politics of Everyday Life
• Meriem Bennani’s Party for the Internet
• Lisa Brice Reclaims the Female Figure
• The Ways She Looks and Looks Back at Us: Tracing the Gaze in Portraits of African Women
• Nick Cave
• A Recently Discovered Portrait by Nigerian Star Ben Enwonwu Sold for Nearly Eight Times Its Estimate at Sotheby’s London
• UNDERLINE: Nurturing Curators in South Africa
• #BlackDragMagic – a visual offering of reclamation and assertion of validity
• SA Artist Athi Patra Ruga Collaborates with International Fashion Label Dior
• Ernest Mancoba’s genius is at long last acknowledged
• The state of the arts at two biennials
• Curation as Creation
• How do we (not) Speak About Art and Violence?
• Artist Candice Breitz Pulls Her Work From a Show to Protest the Museum’s Display of Art by a Convicted Murderer
• ‘The Colonial Effect on Us Is Huge’: Why Congolese Collector Sindika Dokolo Sees Restitution as a Way to Remake African Identity
• At London’s 1–54 Fair, Curator Azu Nwagbogu Lays Out the Pitfalls of the New Wave of Interest in African Contemporary Art
• Mary Sibande: ‘If South Africans didn’t get angry, nothing would get done’
• The New MoMA Is Here. Get Ready for Change
• Contemporary Art From Africa Is Seizing Global Attention. Here’s Your Guide to Six Emergent Art Markets Making It Happen
• Photography From Africa that Refuses Easy Narratives
• Kara Walker Takes a Monumental Jab at Britannia
• Once More, With Feeling: William Kentridge at Zeitz MOCAA
• Kapwani Kiwanga Has More Questions
• ‘It Will Not Be a Passing, Fashionable Moment’: Goodman Gallery’s Liza Essers on Why the Art World’s Axis Is Tipping Toward Africa
• Nando’s enormous collection puts the peri-peri in African art
• Decolonizing Western Narratives of Modern Art
• Art with a conscience: Goodman Gallery opens in London
• Artist Ibrahim El-Salahi: ‘When I work, I don’t feel pain at all’
• Artist Meriem Bennani’s Latest Work Is All About Imagining a Future in Which We Are Able to Cope With Our Disjointed Reality
• The Javett Art Centre at the University of Pretoria opens it doors to Africa
• Listening to Paintings: Misheck Masamvu’s ‘Hata’
• The South African Art World Must Fight Back Against ‘Afrophobia’
• Mary Sibande: I Came Apart at the Seams
• LUBAINA HIMID: Naming the money
• Zimbabwe ‘A crazy amount of talent’: contemporary art thrives in Harare
• Love and Craftsmanship in the Relationship Between Machines and Humanity
• Art Joburg, Overhauled With a New Owner and Business Model, Makes the Case for Johannesburg as the Capital of Africa’s Art Scene
• UNDERLINE – Nurturing Curatorial Practice
• Architect David Adjaye Has Been Tapped to Design a New Museum for Benin’s Looted Treasures
• Storytime with Neïl Beloufa
• Joana Choumali Reimagines Life in African Cities
• Biennale of Sydney Releases Artist List for 2020 Edition With Focus on Indigenous Artists
• Afrofuturism for Who?
• Wangechi Mutu: A New Face for the Met
• Creating a broader art scene
• Rencontres de Bamako reveals artists participating in its 2019 edition
• Elias Sime on living and working with technology
• Ernest Mancoba at Centre Pompidou
• Bronwyn Katz wins FNB Art Prize
• Lady Skollie and the forbidden fruit
• City Prince/sses at Palais de Tokyo: Imaginary Spheres Within Real Cities
• New art centre at University of Pretoria
• 10and5 Artist Acceleration and Exposure Programme Artists Announced
• 30 years on: Remembering Bill Ainslie, a great South African artist who died too soon
• Empathy and Sensitivity: David Koloane’s ‘A Resilient Visionary’
• ‘You’ve Got to Be a Bit Utopian’: British Artist Yinka Shonibare CBE Explains What it Takes to Be an Artist
• Smithsonian’s National Museum of African Art is Showcasing Women Artists, a Group Vastly Underrepresented in its Collection
• Using Collage to Illuminate How People Are Shaped by Identity Strategies
• The Wits Young Artist Award 2019
• What Should an Artist Save?
• What Does Radical Love Look Like?
• Venice Biennale 2019
• With ‘Radical Love,’ the Ford Foundation’s Art Gallery Makes the Case for Loving as a Social-Justice Strategy
• DAVID KOLOANE (1938–2019)
• Contemplating the colours of what is and what was
• Zim artists see with spiritual eyes
• Apple Teams Up With the New Museum to Produce New Augmented Reality Projects by Nick Cave, Pipilotti Rist, and More
• Strength and Opacity: ‘The stronger we become’ at the 58th Venice Biennale
• Ibrahim Mahama: Parliament of Ghosts; David Lynch: My Head Is Disconnected – review
• Museums Need to Step Into the Future
• ‘A Studio Is a Sacred Place’: Get a Behind-the-Scenes Look at How El Anatsui Builds Glittering Tapestries Out of Bottle Caps
• Should Contemporary Art last for future generations?
• The 2019 Whitney Biennial
• How Himid is rewriting history
• How Muholi is rediscovering beauty
• Ethiopia’s Art Scene Has Long Suffered From a Disinterested Government. But Shifting Politics Might Soon Make Culture a Priority
• A pan-African event keeps its sights set on local scenes
• Zanele Muholi tackles lack of black queer visibility in new exhibition
• Artist Misheck Masamvu uses a ‘coping mechanism’ to process history on canvas
• Museum of Modern Art Receives Works by Bodys Isek Kingelez, Seydou Keïta, and Other Artists from Collector Jean Pigozzi
• ARTISTS SELECTED FOR KEHINDE WILEY’S INAUGURAL RESIDENCY PROGRAM IN SENEGAL
• Curatorial Intensive in Cape Town, South Africa, November 13–20, 2019
• Ernest Macoba: I Shall Dance in a Different Society
• The lawn is singing
• Hail the Dark Lioness: Zanele Muholi’s Exhibition of Striking Self-Portraits Opens at the Seattle Art Museum Tomorrow
• Ibrahim Mahama: The artist building a parliament from recycled train seats
• The Dominance of the White Male Critic
• David Koloane, Whose Art Was a Weapon Against Apartheid, Dies at 81
• Why David Koloane could not be taught
• DAVID KOLOANE (1938–2019)
• A Mask that Refuses to Dance: ‘40 Years of Collecting’ at Standard Bank Gallery
• Conservators restore Africa’s first animated film in colour
• Transvangarde pioneer October Gallery turns 40
• 1-54 Contemporary African Art Fair Announces Exhibitor List for London
• Figural Sculptures That Weave an Enigmatic Story of Disassociation and Isolation
• Next Week, the First U.S. Solo Museum Show of Turner Prize-Winning British Artist Lubaina Himid Opens in New York City
• South African art fair gets reboot under a new owner
• Interview: William Kentridge on his life lessons
• The Most Important Young Galleries in the World
• Gabrielle Goliath’s ‘Elegy’ is a Powerful Lamentation for Victims of Sexual Violence
• Portia Zvavahera: In the world — but not of it
• Africa Beyond National Perspectives
• Artist Meleko Mokgosi Appointed Associate Professor of Painting/Printmaking at Yale School of Art
• Albert Adams at Wits Art Museum
• ‘We Were Seeing and Feeling Anxiety’: The Whitney Biennial Curators on How Artists’ Struggle With Debt and Real Estate Shaped the 2019 Show
• Curatorially speaking: The South African Pavilion at the 2019 Venice Biennale
• Lynette Yiadom-Boakye gets a Tate survey and will show works in Accra
• Michael Armitage: Painting From Afar
• Mawkish monuments and the beach from hell: our verdict on the Venice Biennale
• Bonaventure Soh Bejeng Ndikung in Conversation
• Ghana shakes up art’s ‘sea of whiteness’ with first Venice pavilion
• Julie Mehretu’s Seismic Cartographies
• Ghana arrives at the Venice Biennale, bringing new narratives with it
• The South African Pavilion Builds a Bridge Between Past and Present
• Venice Biennale 2019: In conversation with curators Nkule Mabaso and Nomusa Makhubu
• “Art is a bodily activity of movement in space”: An interview with artist William Kentridge
• May Contain Trace Elements: Herman Mbamba and Cameron Platter’s ‘FR1000ID’
• Togo Unveils Plans for a New Museum Inside a Former Colonial-Era Government Headquarters
• Ralph Rugoff is creating a Venice Biennale for right now
• Flags Can Be ‘a Symbol of Oppression’: Artist Ibrahim Mahama on Why He Replaced 50 National Flags at Rockefeller Center
• Young Black Artists Are More in Demand Than Ever—But the Art World Is Burning Them Out
• The Venice Questionnaire: Joël Andrianomearisoa
• 1-54’s Touria El Glaoui: ‘Africa is becoming more visible in the art world’
• ‘The Difference Is in the Detail’: A Complex El Anatsui Retrospective Shines at the Haus der Kunst in Munich
• Wim Botha Searches for the Secret Marks that Instill Classical Images with Agony and Power
• African Perspectives at Venice 2019
• James Webb’s ‘3 Dreams of a Sinking World’ – reflections on the Carlton Hotel
• Zanele Muholi Forever Changed the Image of Black Queer South Africans
• ‘It’s All About Life’: Ethiopia’s Newest Art Museum Doubles as an Experiment in Environmental Sustainability
• What Would It Mean to See Beyond Colonialism? In Berlin, an Exhibition and a Mobile School Look for Answers
• BIENNALE DE LYON REVEALS ARTIST LIST FOR 2019 EDITION
• Mary Sibande at Leroy Neiman Gallery, Columbia University, New York
• Following Controversy Over Pro-Refugee Message, Olu Oguibe’s Documenta 14 Obelisk Returns to Kassel, Germany
• Kader Attia’s Work Holds a Mirror to the World’s Injustice
• Venice Biennale 2019: South Africa Pavilion Curatorial Statement
• A New Photo Series by Kiluanji Kia Henda Tackles Angola’s Urbanization
• In Conversation with Zina Saro Wiwa: Re-imagining her World
• Scheryn Art Collection takes part in Art Basel Cities Talks Program in Buenos Aires, April 2019
• Shifting Cartography: ‘A Black Aesthetic’
• ‘In Pursuit of something ‘Beautiful’, perhaps…’ at SCCA
• The Age of Equivocation? Venice Biennale Curator Ralph Rugoff on Why Ambiguity Is the Aesthetic of Our Time
• TATE ACQUIRES YINKA SHONIBARE’S THE BRITISH LIBRARY
• Curatorial Team of Bamako Encounters Photography Biennial Announced
• Penny Siopis’ solo ‘Warm Water Imaginaries’ addresses climactic change
• A small-time art fair with big time ambitions
• In a Sign of Things to Come, African Collectors Dominated Sales at Sotheby’s Impressive $3 Million Contemporary African Art Auction in London
• Flâneurial Creations: Samson Kambalu’s ‘Nyasaland Analysand’
• Curator Ralph Rugoff Unveils Plans for 2019 Venice Biennale’s Performance Programme
• More than one layer to the art and life of Tracey Rose
• Pascale Marthine Tayou: Tornado at Mu.ZEE, Oostende, Belgium
• Catching the Wind: Yinka Shonibare’s ‘Trade Winds’
• Voodoo Economics and Populism
• Wangechi Mutu will make works for the Metropolitan Museum’s façade for one in a trio of contemporary commissions
• Through the language of performance, Tracey Rose creates art that refuses to settle
• A Daughter’s Ghostly Re-Creations of Her Late Mother’s Old Photographs
• How Curator Okwui Enwezor (1963-2019) Changed the Course of Art
• ‘He Saw the Spaces Between the Margins’: Adrian Piper, Hans Ulrich Obrist, and Others Remember the Legendary Curator Okwui Enwezor
• Okwui Enwezor: A Literary Appreciation
• OKWUI ENWEZOR (1963–2019)
• Kehinde Wiley Launches Artist Residency Program in Senegal
• Tate to Stop Accepting Donations from Sackler Trust
• On View: ‘El Anatsui: Triumphant Scale’ at Haus der Kunst Museum, Munich
• In a Landmark Resolution, German Culture Ministers Pledge to Lay the Groundwork to Return Colonial-Era Art
• Samson Kambalu | ‘Nyasaland Analysand’ |
• BISI SILVA (1962–2019)
• Artists telling African stories through paintings
• Review: The Sharjah Biennial Leaves the Echo Chamber of Western Art to Focus on the ‘Global South’
• Otobong Nkanga, Emeka Ogboh Named Winners of 2019 Sharjah Biennial Prize
• Southern discomfort: Kara Walker to take over Tate Modern’s Turbine Hall this autumn
• Back to The Future: ‘Still Here Tomorrow to High Five You Yesterday’ at Zeitz MOCAA
• Curator Ralph Rugoff Reveals Plans for 2019 Venice Biennale; Artist List Announced
• France no longer has an excuse to hold on to African cultural heritage
• Archaeology of an Absence: Bronwyn Katz’s ‘/ // ! ǂ’
• Masked Men and Mythical Beasts: Five Cape Town Shows Employ Fiction to Radical Ends
• Worming into the guts of the unseen
• KOYO KOUOH APPOINTED EXECUTIVE DIRECTOR AND CHIEF CURATOR OF ZEITZ MUSEUM OF CONTEMPORARY ART AFRICA
• ARTISTS REPRESENTING SOUTH AFRICA AT 2019 VENICE BIENNALE ANNOUNCED
• Envisioning Inclusive, Soulful Spaces for Artists
• Tate Britain Plans Major Lynette Yiadom-Boakye Survey in 2020
• South Africa Announces Artists and Curators For Venice Biennale 2019
• An invitation to re-view at the Joburg Art Gallery
• We Need to Talk About Colonialism, This Artist Says
• In Memory of Bisi Silva
• GHANA TO MAKE VENICE BIENNALE DEBUT WITH DAVID ADJAYE–DESIGNED PAVILION
• Economic growth spurs Africa’s art market—but slowly
• For Bisi Silva: A Personal Tribute
• Okwui Enwezor organises huge El Anatsui show at Munich’s Haus der Kunst—despite resigning last year
• Zimbabwe Taps Four for 2019 Venice Biennale Pavilion
• Anna Boghiguian, Tate St Ives, Cornwall, review: turning messiness into an invigorating art form
• Billy Monk and the Catacombs – Underground Dockside Culture in the Late 1960s
• Future Greats: Bili Bidjocka
• Africa Remix
• Zimbabwe makes Venice Biennale selections amid political turmoil
• Galerie Lelong & Co. Now Represents Barthélémy Toguo
• In New Multiyear Partnership, Studio Museum in Harlem Will Present Exhibitions at MoMA and MoMA PS1
• Nigerian Officials Want the British Museum to Return the First Object Taken From the Country During the Colonial Period
• Resisting Categories: ‘Mating Birds Vol.2’ at KZNSA
• BONAVENTURE SOH BEJENG NDIKUNG TO CURATE 2020 EDITION OF SONSBEEK
• It’s all about sharing knowledge
• Angola declines participation in the Venice Biennale 2019
• Amref ArtBall to honour visual artist Zanele Muholi
• Here Are the 4 Major Conundrums That Will Define the Art Market of the Future, According to the Talking Galleries Symposium
• Kader Attia on why we need art to overcome ‘the dark times we live in’
• ‘I’m Just Sewing Ideas Into Your Mind’: Watch South African Artist Nicholas Hlobo Reveal the Secrets of His Boundary-Blurring Sculptures
• Lubaina Himid CBE Elected Royal Academician
• When the dust settles a conflict of identities remains
• ZIMBABWE BIENNIAL DELAYED AMID VIOLENT GOVERNMENT CRACKDOWN ON PROTESTERS
• John Akomfrah Commemorates the Colonial Soldiers Who Fought for a Cause that Was Not Theirs
• Mehretu’s furious scrawls bite deeper than Bourgeois’s spiders – review
• Unpacking Medieval African Art’s Profound Global Legacy
• HAYWARD GALLERY APPOINTS ZOÉ WHITLEY AS SENIOR CURATOR
• Africa’s pre-colonial ‘crown jewels’ to find a home in new South African museum
• Wangechi Mutu-Keep Moving, Keep Making Art
• Dealers Say Counterfeit Artworks by African American Artists are on the Rise
• Scheryn Art Collection Newsletter 2018
• Lagos’s Lively Arts Scene
• Should looted colonial art be returned?
• Senegal Unveils a Vast Museum That Raises the Stakes in Africa’s Campaign to Reclaim Its Art
• ‘Mark-Making As a Land Your Eyes Traverse’: Toyin Ojih Odutola Talks with Zadie Smith
• In Liverpool, Lubaina Himid’s show questions the Guardian’s portrayal of black people
• Apollo Awards – Artist of the Year – John Akomfrah
• French President Emmanuel Macron calls for international conference on the return of African artefacts
• The Benin Bronzes are not just virtuoso works of art – they record the kingdom’s history
• Emeka Ogboh’s Kaleidoscopic Fragments of Lagos
• Wim Botha’s Heliostat shines a playful and subversive light on Western art traditions
• ‘Give Africa its art back’, Macron’s report says
• Tiwani Contemporary – London, Great Britain: The London Gallery Promoting African Self-definition
• Gerald Machona’s Afrophilia
• Kapwani Kiwanga Wins 2018 Sobey Art Award in Canada
• The best of times, the worst of times: art in the age of rising white supremacy
• Mexico with its take on the dead
• The Value of Art Criticism
• How Artist Emekah Ogboh Became One of Europe’s Fastest-Rising Stars—Without a Gallery, a Dealer, or Even Self-Promotion
• In Conversation with Wura-Natasha Ogunji: The Body as an Audience Member
• Igshaan Adams: When Dust Settles Collective Limitations
• An Artist Defends His Appropriation of a Fellow Artist’s Work Without Permission
• Can Connoisseurship Survive in the Digital Age?
• How Do You Avoid Turning a Political Art Prize into a Beauty Contest for the Best-Intentioned?
• Bringing Africa to the World
• Helliostat: Probing Philosophy & Impeccable Technical Skill
• Tracey Rose: Performance and Exorcism
• Europe’s Largest Museums Will Loan Looted Benin Bronzes to Nigeria’s Planned Royal Museum
• Women in the Arts: Touria El Glaoui
• Meet the gallerist spearheading the Cape Town art scene
• CHIMURENGA AWARDED VERA LIST CENTER’S JANE LOMBARD PRIZE FOR ART AND SOCIAL JUSTICE
• Otobong Nkanga Brings Earth’s Vulnerability to Light
• FRIEZE LONDON AWARDS FOCUS STAND PRIZE TO CAPE TOWN’S BLANK PROJECTS
• In Ethereal Images, an Artist Superimposes Herself on Old Photos of Her Mother
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