Title | Date | Reference | Authors | Call # | ISSN | ||
---|---|---|---|---|---|---|---|
EDITOR’S DESK On your marks, get set: Ghanaian contemporary art is here with us | 2019 | Critical interventions: journal of African art history and visual culture 13 (1): 1-3 | H6/KFY [CRITICAL-] | 1930-1944 | |||
“Young artists can try out everything”: redefining contemporary Ghanaian art in the 21st century | 2019 | Critical interventions: journal of African art history and visual culture 13 (1): 4-20 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Black stars – Contextualizing the rise of blaxTARLINES: contemporary art of the late 20th to the early 21st centuries in Ghana | 2019 | Critical interventions: journal of African art history and visual culture 13 (1): 51-74 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Art historical research in Ghana: reflections on the state and direction of scholarship | 2019 | Critical interventions: journal of African art history and visual culture 13 (1): 75-96 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Rita Fatric Bewong: fashioned from the environment, framed in time and finished in color | 2019 | Critical interventions: journal of African art history and visual culture 13 (1): 97-104 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Institutional activations and interventions in art practice in Ghana: the case of Nubuke Foundation | 2019 | Critical interventions: journal of African art history and visual culture 13 (1): 105-19 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Guest editor's introduction | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 121-30 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Identity and the artistic process in Yoruba estetic concept of ÌwÀ | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 131-47 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Which art history in Africa? A question of method | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 148-57 | H6/KFY [CRITICAL-] | 1930-1944 | |||
“Traditional” paradigm as dividing wall: formal analysis in the study of African ceramic art modernism | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 158-79 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Toward a film-based “oral art history” in Benin: interviews and multi-sited knowledge production in African art contexts | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 180-96 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Reaching for freedom, touching modernity: political and consumptive desire in Francophone African magazines, 1950 to the 1960s | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 197-212 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Rossini Perez’ workshops and other artistic pedagogies at the École de Dakar (1970s): a methodological approach to an uncharted archive | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 213-27 | H6/KFY [CRITICAL-] | 1930-1944 | |||
African modernism: a comparative study of resistance in the modernist art of Nigeria and South Africa | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 228-53 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Immy Mali: virtual becomings | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 254-8 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Confronting contemporary artistic experience in Republic of Benin: the case of “Eclosion Urbaine” and Magou Amédée (1990–2017) | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 254-83 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Between the rural and the urban: contemporary theater groups in Mali | 2019 | Critical interventions: journal of African art history and visual culture 13 (2-3): 284-303 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Skipping the blockade run: Andile Dylavane and Camagu | 2018 | Critical interventions: journal of African art history and visual culture 12 (1): 97-106 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Centers and peripheries: the emergence of a market for African art in South Africa | 2018 | Critical interventions: journal of African art history and visual culture 12 (1): 84-96 | H6/KFY [CRITICAL-] | 1930-1944 | |||
The Frobenius effect: Frederick Starr in the Congo | 2018 | Critical interventions: journal of African art history and visual culture 12 (1): 71-83 | H6/KFY [CRITICAL-] | 1930-1944 | |||
The market as "artist": the French origins of the obsession with provenance in historical African art | 2018 | Critical interventions: journal of African art history and visual culture 12 (1): 52-70 | H6/KFY [CRITICAL-] | 1930-1944 | |||
The missionary as collector and dealer: Dr. George W. Harley in Liberia, 1925-1960 | 2018 | Critical interventions: journal of African art history and visual culture 12 (1): 36-51 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Of patterns and markets: the making and unmaking of Asafo flags | 2018 | Critical interventions: journal of African art history and visual culture 12 (1): 22-35 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Purloined provenance: reflections on authority and authenticity in African art | 2018 | Critical interventions: journal of African art history and visual culture 12 (1): 8-21 | H6/KFY [CRITICAL-] | 1930-1944 | |||
The African art market as ego-system | 2018 | Critical interventions: journal of African art history and visual culture 12 (1): 1-7 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Sharing African photographic archives in the digital era: exploring their material and affective dimensions | 2018 | Critical interventions: journal of African art history and visual culture 12 (2): 109-16 | H6/KFY [CRITICAL-] | 1930-1944 | |||
The afterlife of a colonial photographic archive: the subjective legacy of InforCongo | 2018 | Critical interventions: journal of African art history and visual culture 12 (2): 117-39 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Collectivize (re)sources: the photographic estate of Ulli Beier | 2018 | Critical interventions: journal of African art history and visual culture 12 (2): 140-57 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Repairing (with) the archive? Re-collecting dispersed Somali in photographs | 2018 | Critical interventions: journal of African art history and visual culture 12 (2): 158-83 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Archive, injury, and image: imaging freedom through the photographic archive of the racially oppressed | 2018 | Critical interventions: journal of African art history and visual culture 12 (2): 184-96 | H6/KFY [CRITICAL-] | 1930-1944 | |||
"Outside the framed image": an empirical perspective on/from the story of Félix Diallo and his archive | 2018 | Critical interventions: journal of African art history and visual culture 12 (2): 197-217 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Photography as apparatus: Akram Zakari in conversation with Anthony Downey | 2018 | Critical interventions: journal of African art history and visual culture 12 (2): 218-30 | H6/KFY [CRITICAL-] | 1930-1944 | |||
The FotoFactory.Lagos Project | 2018 | Critical interventions: journal of African art history and visual culture 12 (2): 231-9 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Rethinking the dialectics of rural and urban in African art and scholarship | 2018 | Critical interventions: journal of African art history and visual culture 12 (3): 241-50 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Cosmolocal orientations: trickster spatialization and the politics of cultural bargaining in Zambia | 2018 | Critical interventions: journal of African art history and visual culture 12 (3): 251-74 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Urban roots and rural routes: migrating masquerades of Freetown and beyond | 2018 | Critical interventions: journal of African art history and visual culture 12 (3): 275-93 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Village matters, city works: ideas, technologies, and dialogues in the work of Hervé Youmbi | 2018 | Critical interventions: journal of African art history and visual culture 12 (3): 294-305 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Imag[in]ing the in-between: toward the politics and aesthetics of space in Munir Abbar's Paris sur Mer | 2018 | Critical interventions: journal of African art history and visual culture 12 (3): 306-18 | H6/KFY [CRITICAL-] | 1930-1944 | |||
"Rural" and "urban" locales as complements: reflections on the contexts of ceramic art practice in West Africa | 2018 | Critical interventions: journal of African art history and visual culture 12 (3): 319-39 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Conveying the mallet: barkcloth renewal and connectedness in Fred Mutebi's art practice | 2018 | Critical interventions: journal of African art history and visual culture 12 (3): 340-55 | H6/KFY [CRITICAL-] | 1930-1944 | |||
What does "African" art mean for the Swiss public? A review of the ECAS7 Arts and cultural program | 2018 | Critical interventions: journal of African art history and visual culture 12 (3): 356-63 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Institutionalism, public sphere, and artistic agency: a conversation on 32° East Ugandan Art Trust | 2017 | Critical interventions: journal of African art history and visual culture 11 (2): 116-31 | H6/KFY [CRITICAL-] | 1930-1944 | |||
"Oil is our doom": photographs of the Niger delta and beyond | 2017 | Critical interventions: journal of African art history and visual culture 11 (2): 155-70 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Kenyan art worlds | 2017 | Critical interventions: journal of African art history and visual culture 11 (1): 1-3 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Political independence, personal independence: an art historical perspective on contemporary Kenya and the avant-gardes | 2017 | Critical interventions: journal of African art history and visual culture 11 (1): 4-23 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Representations of nationhood in the displays of the National Museum of Kenya (NMK): the Nairobi National Museum | 2017 | Critical interventions: journal of African art history and visual culture 11 (1): 24-39 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Local voices in the scholarly discourse on art studies in Kenya: a postcolonial enigma | 2017 | Critical interventions: journal of African art history and visual culture 11 (1): 40-57 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Nai Ni who?: Exploring urban identity, place, and social (re)construction in Nairobi | 2017 | Critical interventions: journal of African art history and visual culture 11 (1): 58-72 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Magdalene A.N. Odundo: pathways to path maker | 2017 | Critical interventions: journal of African art history and visual culture 11 (1): 77-104 | H6/KFY [CRITICAL-] | 1930-1944 | |||
Introduction | 2017 | Critical interventions: journal of African art history and visual culture 11 (3): 195-9 | H6/KFY [CRITICAL-] | 1930-1944 |