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This guide provides information on resources in the Fine Art and History of Art subject areas.
Find out more about print and online books and journals, audio visual databases, special collections of artists' books and magazines, how-to videos, and details of further training available through LibrarySkills@UCL.
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Image: Jitterbugs (II), William H. Johnson, ca. 1941. Smithsonian American Art Museum, Gift of Mrs. Douglas E. Younger
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LAAR (Latin American Art Resources) is an initiative supported by UCL ChangeMakers that aims to promote and expand Latin American Art resources within the print and electronic collections of UCL Libraries.
If you have any questions for the LAAR team please contact us:
Júlia Couto (UCL Slade School of Fine Art) julia.ferreira.19@ucl.ac.uk
Daen Palma Huse (UCL History of Art) daen.huse.20@ucl.ac.uk
Manuela Portales Sanfuentes (UCL History of Art) manuela.portales.20@ucl.ac.uk
Elizabeth Lawes (UCL Library Services) e.lawes@ucl.ac.uk
A celebration of the visual and cultural landscape of contemporary African photography, this stunning exhibition book offers critical insight from the perspectives of Africa's leading artists and thinkers. Since the invention of photography in the 19th century, Africa has been defined largely by Western images of its cultures and traditions. From the colonial carte de visite and ethnographic archive to the rise of studio portraiture and social documents of racial surveillance, the fraught relationship between Africa and the photographic lens has become inseparable from the discourses of postcolonialism. Challenging these dominant images of exoticism and otherness, this book illustrates how photography has allowed artists to reimagine African histories through the lens of the present, to shape our understanding of the contemporary realities we face.
Contemporary Queer Chinese Art is the first English-language academic book that explores the intersections of queer culture and contemporary Chinese art from the mid-1980s to the present. This book brings together 15 internationally renowned artists, activists, curators and scholars to explore heterogeneous expressions of Chineseness and queerness in contemporary art from China and Chinese diasporas in Asia, Europe and North America.
What exactly is contemporary war art in the West today? This book considers the place of contemporary war art in the 2020s, a whole generation after 9/11 and long past the 'War on Terror'. Exploring the role contemporary art plays within conversations around war and imperialism, the book brings together chapters from international contemporary artists, theorists and curators, alongside the voices of contemporary war artists through original edited interviews. It addresses newly emerged contexts in which war is found: not only sites of contemporary conflicts such as Ukraine, Yemen and Syria, but everywhere in western culture, from social media to 'culture' wars.
Readers of Implication will come away convinced that all art—regardless of historical period, context, genre, or medium—has an ecological connection to the world in which it was created. Ecocriticism is an interdisciplinary mode of inquiry that examines the environmental significance of art, literature, and other creative endeavors. In Implication: An Ecocritical Dictionary for Art History, Alan C. Braddock, a pioneer in art historical ecocriticism, presents a fascinating group of key terms and case studies to demonstrate that all art is ecological in its interconnectedness with the world.
'Dear Earth: Art and Hope in a Time of Crisis' is published on occasion of the exhibition of the same name at Hayward Gallery, London, 2023.Inspired by artist Otobong Nkanga's suggestion that "caring is a form of resistance", this pioneering book will highlight the ways in which artists are helping to reframe and deepen our psychological and spiritual responses to the climate crisis.Essays by Rachel Thomas, Maja Fowkes and Reuben Fowkes, and Rebecca Solnit explore work by the 14 featured international artists; the history of climate-concerned art; and the role art has to play in climate activism today..
This book investigates the practices of reconstructing and representing performance art and their power to shape this art form and our understanding of it. Performance art emerged internationally between the 1960s and 1970s crossing disciplinary boundaries between performing arts and visual arts. Because of the challenge it posed to the ontologies and paradigms of these fields, performance art has since stimulated an ongoing debate on the most appropriate means to document, preserve and display it. Tancredi Gusman brings together international scholars from different disciplinary fields to examine methods, media, and approaches by which this art form has been represented and (re)activated over time and its transnational history reconstructed.
This book examines the art markets of the Global South while questioning, based on the heterogeneity of the selected contributions, the very idea of its existence in the context of the global art market. Gathering new research by recognized scholars, you will discover different markets from the so-called Global South, their structure, the external determinants affecting their behavior, their role in the art system's development, and how they articulate with other agents at the local, regional, and international level. In this publication, an important wealth of research on various African countries stands out, providing an unprecedented overview of the markets in that region.
A rich exploration of American artworks that reframes them within current debates on race, gender, the environment, and more. Object Lessons in American Art explores a diverse gathering of Euro-American, Native American, and African American art from a range of contemporary perspectives, illustrating how innovative analysis of historical art can inform, enhance, and afford new relevance to artifacts of the American past.
The first book-length study to examine the materials and techniques used in the fabrication and painting of the American pop artist Roy Lichtenstein's outdoor sculpture. Vibrant color was essential to the paintings of the American pop artist Roy Lichtenstein (1923-1997), and when he began exploring the creation of outdoor sculpture in the late 1970s, vivid hues remained an important part of his artistic vocabulary. Today, preserving these remarkable works after they have endured decades in outdoor environments around the world is an issue of pressing concern.
How a generation of women artists is transforming photography with analogue techniques. Beginning in the 1990s, a series of major artists imagined the expansion of photography, intensifying its ideas and effects while abandoning many of its former medium constraints. Simultaneous with this development in contemporary art, however, photography was moving toward total digitalization. Lateness and Longing presents the first account of a generation of artists--focused on the work of Zoe Leonard, Tacita Dean, Sharon Lockhart, and Moyra Davey--who have collectively transformed the practice of photography, using analogue technologies in a dissident way and radicalizing signifiers of older models of feminist art.
An incisive examination of the intersection of global art and political resistance. NO Rhetoric(s) examines a subject intensely debated during the last three decades but rarely a topic of its own: art as an agent of resistance, whether as a rhetorical stance or critical strategy. In the face of today's discourse on revolt and insurrection, it is necessary to ask whether the gesture of "negation" still has an emancipatory potential. NO Rhetoric(s) contributes a deeper understanding of the different logics of resistance at play between art and politics.
Having become widely accessible as a consumer technology in the 1960s, video is ever-present today-on our phones and our screens, defining new spaces and experiences, shaping our ideas and politics, and spreading disinformation, documentation, evidence, fervor. Signals: The Politics of Video charts the ways in which artists have both championed and questioned the promise of video, revealing a history that has been planetary, critical, and activist from its very beginnings. The Museum of Modern Art has been at the forefront of bringing video into museums-pioneering the collection, conservation, and definition of a new artistic medium. Signals aims to renew and revise our understanding of art and video, both within and outside the museum.
An original and ambitious approach to understanding the creative achievements of one of the most important American artists of the twentieth century; Totality offers a deeply researched and thoughtful account of the art of Barnett Newman (1905-1970). While Newman's paintings are widely regarded as among the most significant statements of abstract expressionism--and emblematic of modernism at midcentury--they pose distinct challenges to formal description and historical evaluation. With this book, Michael Schreyach guides readers toward a transformed understanding of Newman's profound body of work.
A photograph lives in multiple eras at once: the time of its making, the time of its unveiling, the time of its subsequent rediscovery. In Strange Hours: Photography, Memory, and the Lives of Artists, Rebecca Bengal considers the photographers who have defined our relationship to the medium. Through generous essays and interviews, she contemplates photography's narrative power, from the radical intimacy of Nan Goldin's New York demimonde to Justine Kurland's pictures of rebel girls on the open road.
What comes after end-of-world narratives- visions of just futurity and multispecies flourishing.There is widespread consensus that we are living at the end-of democracy, of liberalism, of capitalism, of a healthy planet, of the Holocene, of civilization as we know it. Drawing on radical futurisms and visions of justice-to-come emerging from the traditions of the oppressed-Indigenous, African-American, multispecies, anti-capitalist-as materialized in experimental visual cultural, new media, aesthetic practices, and social movements, in this book. T. J. Demos poses speculative questions about what comes after end-of-world narratives, arguing that it's as vital to defeat fatalistic nihilism as the false solutions of green capitalism and algorithmic governance.
A book-length essay about photography's unique ability to ease the ache of human mortality. Drawing on the writings of Wallace Stevens, Marilynne Robinson and other poets, artists, musicians and thinkers, Brooklyn-based photographer Tim Carpenter (born 1968) argues passionately--in one main essay and a series of lively digressions--that photography is unique among the arts in its capacity for easing the fundamental ache of our mortality; for managing the breach that separates the self from all that is not the self; for enriching one's sense of freedom and personhood; and for cultivating meaning in an otherwise meaningless reality.
A groundbreaking method for writing art history, using the language of geometry. How do we embark on a history of art from the assumption of a global majority, outside of essentializing categories like race or hollow proclamations of solidarity? With this book, Joan Kee presents a framework for understanding the rich and surprisingly understudied relationship between Black and Asian artists and the worlds they initiate through their work.
Ian Lynam's The Impossibility of Silence is a book for artists, photographers and designers interested in approaching writing about their vocation and culture. Drawing upon decades of experience as a writer, designer, artist and teacher, Lynam offers up a plethora of inspirational and concrete approaches to writing about creative fields. Called "the Hunter S. Thompson of design writing," Lynam uses his industry knowledge to convey his philosophy on writing specifically in a professional creative setting.
In 1997, during a symposium at Centre Pompidou, Leo Bersani presented a prescient critique of the assimilative tendencies that made 'gays melt into the very culture they like to think of themselves as undermining.' Mired in micropolitics, for Bersani, queer activism had relinquished the radical task of reconfiguring the horizon of the possible. Later published as 'Gay Betrayals', Bersani's intervention champions a truly disruptive vision of homosexuality, one that betrays the relational, identitarian and communitarian foundations of bourgeois heterosexual respectability through 'antimonogamous promiscuity'.
In a series of written exchanges, David Campany and Stanley Wolukau-Wanambwa consider the options for photography in resisting the oppressive orthodoxies of racial capital, conservative history, and neoliberal visual culture. How does the essential indeterminacy of photography square with the need to work out alternative practices? How is visibility achieved beyond the consensual categories of the mass media and the commodification of art? What models are there for the making and reception of photographic books and exhibitions that might cultivate an active spectatorship beyond boutique consumerism?
From Victorian breakthroughs in synthesising pigments to the BBC's conversion to chromatic broadcasting, the story of colour's technological development is inseparable from wider processes of modernisation that transformed Britain. This revolutionary history brings to light how new colour technologies informed ideas about national identity during a period of profound social change, when the challenges of industrialisation, decolonisation of the Empire and evolving attitudes to race and gender reshaped the nation.
It's not so long ago that a woman's expressed interest in other realms would have ruined her reputation, or even killed her. And yet spiritualism, in various incarnations, has influenced numerous men - including lauded modernist artists such as Wassily Kandinsky, Piet Mondrian, Kazimir Malevich and Paul Klee - without repercussion. The fact that so many radical women artists of their generation - and earlier - also drank deeply from the same spiritual well has for too long been sorely neglected.
A revisionist reading of modern art that examines how artworks are captured as property to legitimize power. In this provocative new account, David Joselit shows how art from the nineteenth to the twenty-first centuries began to function as a commodity, while the qualities of the artist, nation, or period themselves became valuable properties. Joselit explores repatriation, explaining that this is not just a contemporary conflict between the Global South and Euro-American museums, noting that the Louvre, the first modern museum, was built on looted works and faced demands for restitution and repatriation early in its history.
How California's counterculture of the 1960s to 1980s profoundly shaped--and was shaped by--West Coast artists. The 1960s exert a special fascination in modern art. But most accounts miss the defining impact of the period's youth culture, largely incubated in California, on artists who came of age in that decade. As their prime exemplar, Bruce Conner, reminisced, "I did everything that everybody did in 1967 in the Haight-Ashbury. . . . I would take peyote and walk out in the streets." And he vividly channeled those experiences into his art, while making his mark on every facet of the psychedelic movement--from the mountains of Mexico with Timothy Leary to the rock ballrooms of San Francisco to the gilded excesses of the New Hollywood.
Over 100 global artists working with collage, as chosen by a team of art experts - an indispensable who's who of the most exciting and innovative names working in the medium. Collage is an artistic language comprising found images, fragmentary forms, and unexpected juxtapositions. While it first gained status as high art in the early twentieth century, the past decade has seen a fresh explosion of artists using this dynamic and experimental approach to image making.
This book analyses the intersections between contemporary art and environmental activism in Indonesia. Exploring how the arts have promoted ecological awareness from the late 1960s to the early 2020s, the book shows how the arts have contributed to societal change and public and political responses to environmental crises. This period covers Indonesia's rapid urban development under the totalitarian New Order regime (1967-1998) as well as the enhanced freedom of expression, alternative development models, and environmental problems under the democratic governments since 1998.
A comprehensive survey of the work of the influential Kenyan-American artist Wangechi Mutu. Wangechi Mutu's multidisciplinary practice grapples with contemporary realities while proffering new models for a radically changed future informed by feminism, Afrofuturism, and interspecies symbiosis. Her work addresses some of today's most critical questions concerning historical violence and its impact on women, together with our inextricable ties toward one another, our ecosystems, and other life forms.
In recent years, the theory of art's autonomy appears to have been confined to the annals of Modernism. If contemporary history, political interventions and critiques of Eurocentrism have shown us anything, it is that art and its institutions are thoroughly socially determined, that art no longer operates in a separate or protects sphere of its own. Researched and authored by Sven Lütticken, this ambitious study seeks to test such assumptions, arguing that autonomy, far from a romantic naiveté, retains its conceptual and political purchase.
Art is Magic is artist Jeremy Deller's attempt to tie up the key works of his career alongside the art, pop music, film, politics and history that have inspired his work. Much has been written about Deller over the decades but this is the first time he has pulled together all of his cultural touchstones. It is divided into three sections: a visual guide through his favourite work, in-depth reflections on his life and art and, finally, a scrapbook of images to explain what drives him (from Rod Stewart to bats, the perfect jukebox to neolithic axe heads).
Join Peter Brathwaite on an extraordinary journey through representations of Black subjects in Western art, from medieval Europe through the present day. "These mirror images with their uncanny resemblances traverse space and time, spotlighting the black lives that have been silenced by the canon of western art, while also inviting us to interrogate the present." --Times (UK)
A groundbreaking approach to the problem of realism in Tudor art. In Tudor and Jacobean England, visual art was often termed "lively." This word was used to describe the full range of visual and material culture--from portraits to funeral monuments, book illustrations to tapestry. To a modern viewer, this claim seems perplexing: what could "liveliness" have meant in a culture with seemingly little appreciation for illusionistic naturalism? And in a period supposedly characterised by fear of idolatry, how could "liveliness" have been a good thing?
A profound examination of the complex constructs that have kept "outsider" and self-taught artists on the margins of the mainstream. The artists in Boundary Trouble in American Vanguard Art defy binary constructs of insider and outsider. Some are credentialed professionals, others are self-identified amateurs, and yet others are indifferent to categorical classification systems. These shifting identifications and concepts are examined in 16 essays, challenging established narratives of American and modernist art histories.
How Soviet Bloc secret police surveilled performance art and happenings--and how artists responded. Subversion need not belong to a particular culture: it can come from artists who outwit the state or from intelligence agencies that infiltrate the art scene on behalf of the state. But what happens when the two sides meet? After Eastern Europe's state security archives were opened, it became possible for this interaction to be studied in detail.
The 1950s and early 1960s in Brazil gave birth to a period of incredible optimism and economic development. In The Affinity of Neoconcretism, Mariola V. Alvarez argues that the neoconcretists--a group of artists and poets working together in Rio de Janeiro from 1959 to 1961--formed an important part of this national transformation. She maps the interactions of the neoconcretists and discusses how this network collaborated to challenge existing divides between high and low art and between fields such as fine art and dance.
Reshaping the Field: Arts of the African Diasporas on Display explores key moments that have created ruptures in how Blackness has been framed through exhibitions, emphasising how Black artists have been viewed and African diasporic art histories have been shaped. The publication expands the field of exhibition histories through a selection of pioneering exhibitions that have shaped the domain of Black art today. Addressing the seemingly never-ending tension between art as universal versus identity specific, this publication demonstrates that the question of Black identity in art and exhibition-making is inherently historically and systemically produced.
Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.
A history of 1960s activist art group Black Mask. With Up Against the Real, Nadja Millner-Larsen offers the first comprehensive study of the group Black Mask and its acrimonious relationship to the New York art world of the 1960s. Cited as pioneers of now-common protest aesthetics, the group's members employed incendiary modes of direct action against racism, colonialism, and the museum system. They shut down the Museum of Modern Art, fired blanks during a poetry reading, stormed the Pentagon in an antiwar protest, sprayed cow's blood at the secretary of state, and dumped garbage into the fountain at Lincoln Center.
In this latest volume of the MoMA One on One series, curator Esther Adler explores Bearden's complicated centrality in mid-twentieth century art, and the continuing reach of his legacy. Patchwork Quilt (1970), a monumental composition dominated by a prone figure and bands of fabric unfolding across the composition, was acquired by The Museum of Modern Art the year it was made, and quickly became a landmark in Bearden's career.
An important examination of how artists have grappled with anti-Black violence and its representations from the late nineteenth century to the present. From the horrors of slavery and lynching to the violent suppression of civil rights struggles and recent acts of police brutality, targeted violence of Black lives has been an ever-present fact in American history. Images of African American suffering and death have constituted an enduring part of the nation's cultural landscape, and the development of creative counterpoints to these images has been an ongoing concern for American artists. A Site of Struggle highlights diverse works of art and ephemera from the post-Reconstruction period of the late nineteenth century to the founding of the Black Lives Matter movement.
An investigation into Saar's lifelong interest in Black dolls, with new watercolors, historic assemblages, sketchbooks and a selection of Black dolls from the artist's collection. This volume features new watercolor works on paper and assemblages by Betye Saar (born 1926) that incorporate the artist's personal collection of Black dolls. These watercolors showcase the artist's experimentation with vivid color and layered techniques, and her new interest in flat shapes.
How a constellation of Latin American artists explored the body, power, and emancipation--and expanded the meanings of feminist art. In The Political Body, art historian Andrea Giunta explores gender and power in the work of Latin American artists from the 1960s to the present. Questioning the social place of women and proposing alternative understandings of biological bodies, these artists eroded repressive systems and created symbolic strategies of resistance to dictatorships, racism, and marginalization.
An inquiry into the current ways of knowing, their ramifications, and institutional and noninstitutional artistic practices that provide channels for education from below. Artistic Ecologies- New Compasses and Tools aims to both analyze and speculate about potentials of artistic ecologies, collective learning, and engaged pedagogies to engender new institutionalities.
A leading figure in the world of networked culture explores the artists and events that defined the mass medium of our time Since 1989, the year the World Wide Web was born, the art world has grappled with the rise of networked culture. This unprecedented survey of the artists and innovators in this area from 1989 to today is interwoven with the personal narrative of one of the leading voices on the digital world.
An exploration of diverse art practices that attempt to offer new ways of understanding and being in the world. This collection of written and visual essays includes artistic responses to various crises--including the climate emergency, global and local inequalities, and the COVID-19 pandemic--and suggests new forms of collectivity and collaboration within artistic practice. It surveys a wide variety of practices, oriented from the perspective of Australia, New Zealand, and Asia.
This volume celebrates the 51st anniversary of the historic 1971 exhibition Twenty Six Contemporary Women Artists, curated by Lucy R. Lippard and presented at the Aldrich Contemporary Art Museum. It showcases work by the artists included in the original 1971 exhibition, alongside a new roster of 26 female-identifying or nonbinary emerging artists, tracking the evolution of feminist art practices over the past five decades.
Censored Art Today is an accessible, informed analysis of the debates raging around censorship of art and so-called 'cancel culture,' focusing on who the censors are and why they are clamping down on forms of artistic expression worldwide.
A magnificently illustrated showcase of the work of 300 women photographers from all over the world, from the invention of the medium to the dawn of the 21st century. Women were closely involved in all major photography movements of the 19th and 20th centuries, and have used the camera as an extraordinary tool for emancipation and experimentation.
A cut & paste celebration of Black punk and outsider identity, this is the only complete collection of the fanzine Shotgun Seamstress, a legendary DIY project that centered the scope of Blackness outside of mainstream corporate consumerist identity.
A major new study of Black figurative art from Africa and the African diaspora, covering 100 years from the early 20th century to now. Published to accompany a major exhibition at Zeitz MOCAA, Cape Town, this book presents a comprehensive exploration of Black self representation through portraiture and figuration, celebrating Black subjectivity and Black consciousness from Pan-African and Pan-Diasporic perspectives.
This collection of short, critical writings on contemporary art, performance, and photography analyzes a wide range of global practitioners, from emerging to established artists. The result is a well-informed, jargon-free survey of significant developments in contemporary art and culture over the past two decades. Among the artists discussed are Francis Alÿs, Laurie Anderson, Chris Burden, William Eggleston, Cindy Sherman, and Andy Warhol.
In his first published monograph, Tyler Mitchell, one of America's distinguished photographers, imagines what a Black utopia could look like. The book unifies and expands upon Mitchell's body of photography and film from his first US solo exhibition at the International Center of Photography (ICP) in New York.
Gender is a polyphonic portrait of the representation of gender in art. In this book, celebrated playwright and artist Travis Alabanza offers a revelatory new perspective on the ways that art and gender have interacted through the ages, taking us into the drama that always follows gender, and the drama that always follows art. Through a number of recognizable works from the national collection of art, we discover who is really putting on a show, and what they are trying to tell us.
Photography has been one of the key languages of modernity and with the advent of the digital revolution, it has also established itself as the most used medium in everyday private and public communication. Photography is also one of the arts that have marked the 19th and 20th centuries, and during the early years of the 21st century it has taken on an increasingly central role in the field of global contemporary creativity within all socio-political and cultural systems.
In Assembling a Black Counter Culture, writer and musician DeForrest Brown, Jr, provides a history and critical analysis of techno and adjacent electronic music such as house and electro, showing how the genre has been shaped over time by a Black American musical sensibility.
A celebration of art traditionally devalued as too domestic or feminine to be taken seriously and the innovative, brilliant artists reclaiming the idea of women's work'.
The Cute tracks the astonishing impact of a single aesthetic category on post-war and contemporary art, and on the vast range of cultural practices and discourses on which artists draw. From robots and cat videos to ice cream socials, The Cute explores the ramifications of an aesthetic "of" or "about" minorness--or what is perceived to be diminutive, subordinate, and above all, unthreatening--on the shifting forms and contents of art today.
What is Black art? This vital anthology gives voice to a generation of artists of African, Asian and Caribbean heritage who worked within and against British art institutions in the 1980s, including Sonia Boyce, Lubaina Himid, Eddie Chambers and Rasheed Araeen. It brings together artists' statements, interviews, exhibition catalogue essays and reviews, most of which have been unavailable for many years and resonate profoundly today.
Revolution Is Love: A Year of Black Trans Liberation is the powerful and celebratory visual record of a contemporary activist movement in New York City, and a moving testament to the enduring power of photography in activism, advocacy, and community. Through photographs, interviews, and text, Revolution Is Love celebrates the power of shared joy and struggle in trans community and liberation.
A paean to many artists as well as various art forms often overlooked or dismissed, this exciting revisionist history of art turns the limelight on women artists' creativity and the way it has shaped and enriched our world. How many women artists do you know? Who makes art history? Did women even work as artists before the twentieth century? And what is the Baroque anyway?
Exploring the work of established and emerging artists in Indonesia's vibrant art world, this book examines why so many artists in the world's largest archipelagic nation choose to work directly with people in their art practices. While the social dimension of Indonesian art makes it distinctive in the globalized world of contemporary art, Elly Kent is the first to explore this engagement in Indonesian terms.
In the Black Fantastic assembles art and imagery from across the African diaspora that embraces ideas of the mythic and the speculative. It brings to life the forces that shape Afrofuturism - the cultural movement that conjures otherworldly visions out of the everyday of Black experience - and beyond, looking at how speculative fictions in Black art and culture are boldly reimagining perspectives on race, gender, identity and the body in the 21st century.
Black Matrilineage, Photography, and Representation questions how the Black female body, specifically the Black maternal body, navigates interlocking structures that place a false narrative on her body and that of her maternal ancestors. Drawing on a wide range of scholarly inquiry and contemporary art, this book addresses these misconceptions and fills in the gaps that exist in the photographic representation of Black motherhood, mothering, and mutual care within Black communities.
Nicole Erin Morse examines how trans feminine artists use selfies and self-representational art to explore transition, selfhood, and relationality.
Black Artists Shaping the World celebrates the diversity of work being produced today by Black artists from around the globe, introducing twenty-six contemporary artists from Africa and of the African diaspora.
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