Notes on Contributors
- Notes on Contributors
Nina Chanel Abney is a New York-based artist known for fusing the seriousness of portraiture with complexities of narrative painting. Abney places figures based on real people into imaginative worlds to create large genre paintings that deal with controversial issues regarding race and gender. She is interested in revealing racism that is hidden in the everyday, and blurs the lines of race and sexuality that are in everyone. Nina is represented by Kravets|Wehby Gallery in New York (www.kravetswehbygallery.com). Nina was featured in W Magazine’s Art Issue and currently has a painting on view at the Brooklyn Museum as part of an exhibition of recent acquisitions. She is featured in the upcoming publication Vitamin P2: New Perspectives in Painting, as well as the Rubell Family Collection’s 30 American’s exhibition opening at the Corcoran Gallery of Art in Washington D.C., and then traveling to the Chrysler Museum of Art in Norfolk, Virginia. www.ninachanel.com
Michael Adams is now practicing what he was preaching for five years at Makerere University in the 1960s—Painting! In the year 2001, he was awarded the distinction Member of the Order of the British Empire (MBE) for services to the Arts and the community. Everyone says it should have gone to his wife, Heather! Email: adams@seychelles.net. http://www.michaeladamsart.com
Onwubiko (Biko) Agozino is Professor of Sociology and Director of Africana Studies Program, Virginia Tech. Prior to this he was Professor of Sociology and Deputy Dean for Graduate Studies and Research, University of the West Indies, St. Augustine, Trinidad and Tobago. His books include Counter-Colonial Criminology: A Critique of Imperialist Reason (2003) and Black Women and the Criminal Justice System (1997). His video credits include Writer-Producer-Director on Shouters and the Control Freak Empire (2010) and Writer-Producer-Director on CLR James: The Black Jacobins Sociology Series (2008), both televised in Trinidad and Tobago. He is the Editor-in-Chief of the African Journal of Criminology and Justice Studies, and Series Editor, Ashgate Publishers Interdisciplinary Research Series in Ethnic, Gender and Class Relations.
Olu Amoda was born 1959 in Okere, Warri, Delta State of Nigeria. He obtained an HND in Sculpture from Auchi Polytechnic, Nigeria and an MFA (Sculpture) from Georgia Southern University. He is a faculty member in the sculpture department at Yaba College of Technology, Lagos since 1987, and has also maintained an active studio practice for over twenty-five years.
René Bélance (1915–2004) was a Haitian journalist, educator, and surrealist poet, deeply involved in the Négritude literary movement.
Jeffrey D. Brown is an Oscar and two-time Emmy award winning director/writer/producer. He has directed many television shows including LA Law and The Wonder Years, numerous commercials and shorts, and has co-written and co-produced two feature films [End Page 167] with Finn Taylor: Dream with the Fishes and Pontiac Moon. His step-father Rajat Neogy, founder of Transition, taught him that “nothing is impossible.” Email: jdjb@pacbell.net
Ibrahim El-Salahi was born 1930 in Omdurman, Sudan. He served as head of the Painting Department at the College of Fine and Applied Art in Khartoum. In the 1950s he was one of the first Arab artists to include Arabic calligraphy and signs in his paintings. Working in all media, he defined his Arab-African heritage by synthesizing Arabic calligraphy with African forms. His work is in numerous private and public collections including the Metropolitan Museum of Art and Museum of Modern Art in New York. A major retrospective of his work, with art historian Salah Hassan as guest curator, is planned for 2012 at the Museum for African Art, New York. He lives in Oxford, England.
Henry Finder, formerly the Executive Editor of Transition, has been the editorial director of The New Yorker since 1997. He lives in New York and in Princeton.
Jack Hamilton is a PhD candidate in the History of American Civilization program at Harvard University, where he is finishing a dissertation on popular music and racial imagination in the 1960s. He has also worked extensively as a musician and music journalist and his writing has appeared, in print...
