Notes
- Daniel Libeskind, Line of Fire (Geneve: Center d'art Contemporain, 1988).
- Alfredo Jaar, The Silence of Nduwayezu, multimedia installation at various venues, 1986 to 1990.
- Daniel Libeskind, Line of Fire.
- According to V.Y. Mudimbe, the enterprise began earlier. “A meeting on international geography took place in 1876 in Brussels, Belgium. Among its objects, it stipulated three main projects: the exploration of Central Africa, the introduction of European civilization in the area, and an explicit commitment to oppose the slavery practices still going on.” This was the conventional European vocabulary for the colonization and exploitation of Africa in the nineteenth century. See V.Y. Mudimbe, The Idea of Africa (Bloomington and Indianapolis: Indiana University Press, 1994), 105.
- Dennis Brutus, Sirens, Knuckles and Boots (Ibadan: Mbari Productions, 1963).
- Lieutenant-colonel de Montagnac, Lettres d'un soldat (Plon, Paris, 1885), republished by Christian Destremeau, 1998, 153; In French: “Toutes les populations qui n 'acceptent pas nos conditions doivent être rasées. Tout doit être pris, saccagé, sans distinction d'âge ni de sexe: l'herbe ne doit plus pousser où l'armée française a mis le pied. Qui veut la fin veut les moyens, quoiqu'en disent nos philanthropes. Tous les bons militaires que j'ai l'honneur de commander sont prévenus par moimême que s'il leur arrive de m'amener un Arabe vivant, ils recevront une volée de coups de plat de sabre. […] Voilà, mon brave ami, comment il faut faire la guerre aux Arabes: tuer tous les hommes jusqu'à l'âge de quinze ans, prendre toutes les femmes et les enfants, en charger les bâtiments, les envoyer aux îles Marquises ou ailleurs. En un mot, anéantir tout ce qui ne rampera pas à nos pieds comme des chiens.” See http://en.wikipedia.org/wiki/French_rule_in_Algeria
- Michael Asbury, “Neoconcretism and Minimalism: On Ferreira Gullar's Theory of the Non-Object,” in Cosmopolitan Modernisms, edited by Kobena Mercer (London, England: Institute of International Visual Arts, and Cambridge, Mass: MIT Press, 2005), 171.
- Studies are now revealing that Israel clandestinely assisted Algerian resistance forces, AFL, in their struggles against French imperialism.
- Ibid.
- Letter to J.—B. Pierret, Tangier, 25 January 1832.
- Letter to Armand Bertin, Meknes, April 1832. Eugene Delacroix: Selected Letters, selected and translated by Jean Stewart, with an introduction by John Russell, (New York: St. Martin's Press, 1970), 181, 192.
- See Nikki Cooper, “Dien Bien Phu—Fifty Years On,” Modern and Contemporary France, 12, 4 (2004): 445–457.
- See Jacques Derrida, Of Grammatology, trans. Gayatri Spivak (Baltimore: John Hopkins University Press, 1974).
- www.walkerart.org/archive/2/AF7361E991C363206165.htm
- Mbanefo Foundation Conference 2007— Interrogating African Modernity: Art, Cultural Politics and Global Identities. University of California Santa Barbara, 4–5 May 2007.
- Quoted in Jacques Derrida, Of Grammatology, 27.
- See William Butler Yeats, “Michael Robartes and the dancer,” (Churchtown, Dundrum, Ireland: The Cuala Press, 1920s).
- Daniel Libeskind, Line of Fire.
- Celinha, “Negritude,” trans. Niyi Afolabi, in Cadernos Negros, Black Notebooks: Contemporary Afro- Brazilian Literary Movement, edited by Niyi Afolabi, Marcio Barbosa and Esmeralda Ribeiro, (Trenton, N.J.: Africa World Press, 2008), 55.
- The installation in the video Mamiwata Oloja is a collaboration between Nigerian artist Wole Lagunju and me. Lagunju stayed and worked at my house in Denver, Colorado, during his Phillip Ravenhill fellowship award, from February to May 2006. He made the objects for the market in the video by recycling the trash that we produced in my house during his fellowship. I produced the seven masque-raids. To depict Mamiwata, I painted the bodies of three models, using the theme of adire fabrics. At the end of his residency, we made an installation in my backyard and threw a party to create the ambience of a marketplace. I wrote the Mamiwata script, edited the pictures that I took during the project, added music, and composed everything into the Mamiwata video.
- Henry Drewal, Mami Wata: Water Spirit Arts In Africa and The Afro-Atlantic World, (Los Angeles: Fowler Museun of UCLA, 2008).
- Email message, 15 October 2008.
- Ato Delaquis, “Dilemma of the Contemporary African Artist,” Transition (Accra) 9, 50 (October 1975-March 1976): 16–30.
- It is now said that Giorgio Vasari erroneously attributed the invention of oil paints to Jan van Eyck.
- Esmeralda Ribeiro, “Black Gaze,” trans. Niyi Afolabi, in Cadernos Negros, 97.
- Lewis Hine (1874–1940) was an American photographer who used his photographs to focus attention on the problem of child labor in America.
- Personal conversation with Aina Olomo Ajidakin, Austin, Texas, 6 November 2008.
- Pablo Picasso, conversation with Andre Malraux, 1937, cited in Henry Louis Gates, “Europe, African Art and the Uncanny,” in Africa: The Art of a Continent, ed. Tom Phillips, (New York: Prestel; London: Royal Academy of Arts, 1995), 28–29.
- Jean-Francoise Lyotard, “Notes on the Meaning of ‘Post-’,” in Postmodernism: A Reader, ed. Thomas Docherty (New York: Columbia University Press, 1993), 49–50.
- Personal conversation with Aina Olomo Ajidakin, Austin, Texas, 6 November 2008.
- Ibid.
- Lowery Sims, “The Post-Modern Modernism of Wilfredo Lam,” in Cosmopolitan Modernisms, 87.
- Roland Barthes, Elements of Semiology, trans. Annette Lavers and Colin Smith (New York: Hill and Wang, 1968).
- Ibid.
- Simon Ottenberg, review of The Shattered Gourd: Yoruba Forms in 20th Century American Art, by Moyo Okediji. African Arts 38, 2 (Summer 2005): 10, 88–90, 95.
- Wole Soyinka, You Must Set Forth At Dawn (New York: Random House, 2006).
- Esmerada Ribeiro, “Black Gaze”.