Inji Efflatoun fut une peintresse et une militante marxiste et féministe égyptienne. De juin 1959 à juillet 1963, elle fut emprisonnée par le régime nassérien en raison de son appartenance au parti communiste. Au cours de ces années, elle continua à peindre. Célébrés dès les années 1960, et aujourd’hui recherchés sur le marché de l’art, les tableaux de cette période sont souvent considérés comme les plus importants de son œuvre.
Celebrated as early as the 1960s, and highly sought-after on the art market today, Egyptian painter Inji Efflatoun’s production during her four years of incarceration by the Nasserite regime is often considered the highlight of her oeuvre.
This essay looks at The Illusionist (1977), a print by Estonian artist Jüri Arrak in MoMA’s Drawings and Prints collection, and explores the larger context of the artist’s practice.
This text is a shortened version of a presentation made to C-MAP Africa group in October 2020 on Mozambican modernist, Malangatana Valente Ngwenya.
The complicated history of painting is taken up by British-Kenyan artist Michael Armitage, whose work respond to contemporary issues and events in Kenya through the ghosts of past picturing.
Okamoto Tarō recollects his experiences in Paris between 1929 and 1940, discusses the Abstraction-Création movement and reflects on his time at the Sorbonne and Musée de l’Homme.
In the spirit of collectivity despite geographical distance, post invited contributions to create a “collective poem” based on the 1981 project Poema Colectivo Revolución by the artists’ group Colectivo 3.
This source is an English translation by Stephanie M. Hohlios of a compelling 1971 memoir-essay by Japanese artist Okamoto Tarō—“Watashi to jinruigaku: pari daigaku minzoku gakka no koro (Anthropology and I: My Time at the University of Paris Department of Ethnology)”. Okamoto’s essay “Anthropology and I” sheds light on a widely recognized but little understood…
Responding with imagination to the brutality and violence of Sierra Leone’s civil war (1991-2002), Abu Bakarr Mansaray’s monumental drawing Sinister Project depicts a fictitious war machine with careful detail that reveals the artist’s background in science and engineering.
Chéri Samba likes to throw people off. The cartoon-like texts with direct messaging that frequently figure in Samba’s complex visual universes function to maintain authorial control. As the artist notes, they are “a way of not allowing freedom of interpretation to the person who looks at my painting.”
Liubov’ Popova’s practice involved an active engagement with multiple movements and -isms in a relatively short period of time. In this essay, very formally distinct and different works by Popova, on view in the reinstalled galleries in 2019, are put into historical relation.
Composed of multiple bodies and body parts, human and animal, Cecilia Vicuña’s Pantera Negra y Yo (Black Panther and Me) doubles a painting that was destroyed and then recreated from memory. It is intimately connected with text, hinting at close connections between past, present, and future.
