We cannot verify your location
Browse Book and Journal Content on Project MUSE
OR

  Volume 37, Number 4, Art 2014

Table of Contents

Art & Culture in the African Diaspora

Visual Artists

Artist Statement

pp. 889-893
|

Artist Statement

pp. 939-942
|

Artist Statement

pp. 929-932
|

Artist Statement

pp. 881-887
|

Artist Statement

pp. 943-946
|

Statements by and About the Deceased Artist

pp. 769-775
|

Artist Statement

pp. 809-813
|

Artist Statement

pp. 875-879
|

Artist Statement

pp. 799-801
|

Artist Statement

pp. 907-912
|

Artist Statement

pp. 857-860
|

Artist Statement

pp. 837-843
|

Artist Statement

pp. 849-851
|

Artist Statement

pp. 965-968
|

Artist Statement

pp. 951-956
|

Artist Statement

pp. 899-902
|

Artist Statement

pp. 933-938
|

Artist Statement

pp. 969-972
|

Artist Statement

pp. 947-950
|

Artist Statement

pp. 777-781
|

Artist Statement

pp. 921-928
|

Artist Statement

pp. 827-834
|

Artist Statement

pp. 913-916
|

Artist Statement

pp. 895-897
|

Artist Statement

pp. 867-869
|

Artist Statement

pp. 845-847
|

Artist Statement

pp. 961-964
|

Artist Statement

pp. 957-960
|

Artist Statement

pp. 861-865
|

Artist Statement

pp. 871-873
|

Artist Statement

pp. 917-920
|

Artist Statement

pp. 903-906
|

from the Editor’s Notebook

The Personal Without Mask

pp. v-xvi
|

Acknowledgment

pp. 1033-1034
|

Ekphrastic Poetry

On Daniel Minter’s High John the Conqueror

p. 848
|

Tabac: After Jean-Michel Basquiat

p. 844
|

Untitled (Aopkhes): After Jean-Michel Basquiat

p. 898
|

A Kind of Emancipation: After Kara Walker

p. 776
|

Spring Moths: After Youssef El Khorrib

p. 880
|

Losing the Way, 1930: Oil on burnt-wood by Horace Pippin

p. 894
|

Newly Discovered Portrait of America’s First Black President: After Horace H. Pippin (1888–1946)

p. 874
|

Ode to Black Botanical Illustrators

p. 866
|

The Satisfactions of a Limited View: On the paintings of Horace Pippin

p. 835
|

Dear Mr. Bill

pp. 852-854
|

Tyree Guyton’s Caged Brain: Detroit Institute of the Arts

p. 888
|

Tyree Guyton’s Rosa Parks Street Sign: Fragment from the Heidelberg Project Art Installation

p. 870
|

For Which It Stands

pp. 855-856
|

Fear: After Fear by Trenton Doyle Hancock, 2008

p. 836
|

Interviews

Painting After All: A Conversation with Mark Bradford

pp. 814-826
|

A Conversation with Kevin Jerome Everson

pp. 802-808
|

An Interview with Julie Mehretu

pp. 782-798
|

Articles

“The Slave Ship Imprint”: Representing the Body, Memory, and History in Contemporary African American and Black British Painting, Photography, and Installation Art

pp. 990-1022
|

Visual Legacies of Slavery and Emancipation

pp. 1023-1032
|

Performing Empathies: The Art of Saya Woolfalk

pp. 973-989
|