African Arts is devoted to the study and discussion of traditional, contemporary, and popular African arts and expressive cultures. Since 1967, African Arts readers have enjoyed high-quality visual depictions, cutting-edge explorations of theory and practice, and critical dialogue. Each issue features a core of peer-reviewed scholarly articles concerning the world"s second largest continent and its diasporas, and provides a host of resources - book and museum exhibition reviews, exhibition previews, features on collections, artist portfolios, dialogue and editorial columns. The journal promotes investigation of the connections between the arts and anthropology, history, language, literature, politics, religion, and sociology.

African Arts is dedicated to the study and discussion of traditional, contemporary, and popular African arts and expressive cultures. Since 1967, readers of African Arts have enjoyed high-quality visual representations, cutting-edge explorations of theory and practice, and critical dialogues. Each issue features a core of peer-reviewed scholarly articles concerning the world’s second-largest continent and its diasporas, and provides a wealth of resources including book and museum exhibition reviews, exhibition previews, features on collections, artist portfolios, dialogues, and editorial columns. The journal promotes the investigation of connections between the arts and anthropology, history, language, literature, politics, religion, and sociology.

《African Arts》期刊致力于研究和讨论传统、当代及流行的非洲艺术和表现文化。自1967年以来，《African Arts》的读者享受到了高质量的视觉呈现、前沿的理论与实践探索以及批判性的对话。每期都包含一系列经过同行评审的学术文章，涉及世界第二大洲及其侨民，并提供丰富的资源，包括书籍和博物馆展览评论、展览预告、收藏特写、艺术家档案、对话和社论专栏。该期刊促进了艺术与人类学、历史、语言、文学、政治、宗教和社会学之间联系的研究。

African Arts

May 03 2021 Exposing Something to Someone While Exposing Someone to Something: blaxTARLINES Exhibition Cultures There-Then-And-Hereafter kąrî’kạchä seid'ou, kąrî’kạchä seid'ou Search for other works by this author on: This Site Google Scholar George Ampratwum (Buma), George Ampratwum (Buma) Search for other works by this author on: This Site Google Scholar Kwaku Boafo Kissiedu (Castro), Kwaku Boafo Kissiedu (Castro) Search for other works by this author on: This Site Google Scholar Edwin Bodjawah, Edwin Bodjawah Search for other works by this author on: This Site Google Scholar Bernard Akoi-Jackson, Bernard Akoi-Jackson Search for other works by this author on: This Site Google Scholar Kwasi Ohene-Ayeh, Kwasi Ohene-Ayeh Search for other works by this author on: This Site Google Scholar Robin Riskin, Robin Riskin Search for other works by this author on: This Site Google Scholar Patrick Nii Okantah Ankrah, Patrick Nii Okantah Ankrah Search for other works by this author on: This Site Google Scholar Mavis Tetteh-Ocloo, Mavis Tetteh-Ocloo Search for other works by this author on: This Site Google Scholar Selorm Kudjie, Selorm Kudjie Search for other works by this author on: This Site Google Scholar Adjo Kisser, Adjo Kisser Search for other works by this author on: This Site Google Scholar Kezia Owusu-Ankomah, Kezia Owusu-Ankomah Search for other works by this author on: This Site Google Scholar Frank Gyabeng, Frank Gyabeng Search for other works by this author on: This Site Google Scholar Michael Adashie, Michael Adashie Search for other works by this author on: This Site Google Scholar Kelvin Haizel Kelvin Haizel Search for other works by this author on: This Site Google Scholar Author and Article Information kąrî’kạchä seid'ou George Ampratwum (Buma) Kwaku Boafo Kissiedu (Castro) Edwin Bodjawah Bernard Akoi-Jackson Kwasi Ohene-Ayeh Robin Riskin Patrick Nii Okantah Ankrah Mavis Tetteh-Ocloo Selorm Kudjie Adjo Kisser Kezia Owusu-Ankomah Frank Gyabeng Michael Adashie Kelvin Haizel Online Issn: 1937-2108 Print Issn: 0001-9933 © 2021 by the Regents of the University of California2021Regents of the University of California African Arts (2021) 54 (2): 36–51. https://doi.org/10.1162/afar_a_00582 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation kąrî’kạchä seid'ou, George Ampratwum (Buma), Kwaku Boafo Kissiedu (Castro), Edwin Bodjawah, Bernard Akoi-Jackson, Kwasi Ohene-Ayeh, Robin Riskin, Patrick Nii Okantah Ankrah, Mavis Tetteh-Ocloo, Selorm Kudjie, Adjo Kisser, Kezia Owusu-Ankomah, Frank Gyabeng, Michael Adashie, Kelvin Haizel; Exposing Something to Someone While Exposing Someone to Something: blaxTARLINES Exhibition Cultures There-Then-And-Hereafter. African Arts 2021; 54 (2): 36–51. doi: https://doi.org/10.1162/afar_a_00582 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsAfrican Arts Search Advanced Search all photos courtesy blaxTARLINES except where otherwise noted Amyriad of curatorial strategies, such as collective curating, interspecies and intergenerational conversations, accessibility programming, exhibition-as-experimental site, class-sensitive audiencing, and the symbolic participation of the Unknown Artist—the “surplus population” of exhibition makers—have marked the blaxTARLINES KUMASI network of expanded-exhibition practice for the past decade and more. As a cross-generational and transcultural community, blaxTARLINES KUMASI operates through affirmative politics but also thrives on a propagative model of social organization responsive to its integral crisis points, gaps, and other manifestations of negativity (seid'ou and Bouwhuis 2014: 113). Thus, the network mobilizes different struggles, sometimes antagonistic ones, for common political action through collaborative projects.1 Many of the transformations that the blaxTARLINES coalition has brought to Ghana's contemporary exhibition cultures have grown out of the Emancipatory Art... © 2021 by the Regents of the University of California2021Regents of the University of California You do not currently have access to this content.

kąrî’kạchä seid'ou

George Ampratwum (Buma)

Kwaku Boafo Kissiedu (Castro)

Edwin Bodjawah

Bernard Akoi-Jackson

Kwasi Ohene-Ayeh

Robin Riskin

Patrick Nii Okantah Ankrah

Mavis Tetteh-Ocloo

Selorm Kudjie

Adjo Kisser

Kezia Owusu-Ankomah

Frank Gyabeng

Michael Adashie

Kelvin Haizel

Exposing Something to Someone While Exposing Someone to Something: blaxTARLINES Exhibition Cultures There-Then-And-Hereafter

Isaiah Túndé Ògúnjìmí

Public Art Forms as Image and Cultural Identity of Indigenous Towns in the Òkè-Ògùn Region of Ọ̀yọ́ State, Nigeria

尼日利亚奥约州奥凯-奥贡地区原住民城镇的公共艺术形式作为形象与文化认同

ISSN	0001-9933, 1937-2108
h-index	14

Publication Information	Publisher: MIT Press Journals，Publishing cycle: ，Journal Type: journal，Open Access Journals: No
Basic data	Year of publication: 2002，Proportion of original research papers: 100.00%，Self Citation Rate:66.70%， Gold OA Rate: 0.00%

African Arts

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Exposing Something to Someone While Exposing Someone to Something: blaxTARLINES Exhibition Cultures There-Then-And-Hereafter

Public Art Forms as Image and Cultural Identity of Indigenous Towns in the Òkè-Ògùn Region of Ọ̀yọ́ State, Nigeria

Homecoming: Domesticity and Kinship in Global African Art

A Conversation with Herbert M. Cole

documenta fifteen, kassel

Public Art Forms as Image and Cultural Identity of Indigenous Towns in the Òkè-Ògùn Region of Ọ̀yọ́ State, Nigeria

Homecoming: Domesticity and Kinship in Global African Art

A Conversation with Herbert M. Cole

documenta fifteen, kassel

Erratum: Risks, Challenges, and Possibilities Building a Future in African Arts

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Journal Impact	0.35