INFORMATION - REFERENCE - BIBLIOGRAPHY
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20 million Mexicans can’t be wrong: exhibition guide. South London Gallery, London, [18 Sept. – 17 Nov. 2002]; 12p., col. illus.; biogs. pp.10–1, exhibs.
30 Contemporary Black Artists. Minneapolis Institute of Arts, Minneapolis, 17 Oct. – 24 Nov. 1968; 16p., illus.; biogs.
2008 Biennial exhibition. Whitney Museum of American Art, New York, 6 Mar. – 1 June 2008; 269p., illus. (some col.); biogs. pp.88–251.
A
Africa explores: 20th century African art. The Center for African Art, New York, 1991; 294p., illus. (some col.); bibl. pp.288–94; introd. by Susan Vogel.
Africa hoy: obras de la contemporary African art collection. Centro Atlántico de Arte Moderno, Las Palmas 17 Sept. – 17 Nov. 1991; 221p., col. illus.; biogs. pp.217–21, exhibs.; text in Spanish.
Africa remix: contemporary art of a continent. Southbank Centre, London, 10 Feb. – 17 Apr. 2005; 224p., col. illus.; map; introd. by Roger Malbert, bibl. pp.215–6; includes work by Wangechi Mutu, Tracey Rose.
Africa remix: contemporary art of a continent. Johannesburg Art Gallery, 24 June – 30 Sept. 2007; 260p., col. illus.; biogs.; includes work by Wangechi Mutu, Tracey Rose, Yinka Shonibare; adapted version of the German, French, and British catalogues, 2005.
Africa: the art of a continent. Royal Academy of Arts, London, 4 Oct. 1995 – 21 Jan. 1996; 613p., illus. (some col.); bibl. pp.597–613; introd. by Tom Phillips.
African-American Art: 20th century masterworks [I]. Michael Rosenfeld Gallery, New York, 18 Nov. 1993 - 12 Feb. 1994.; 32p., col. illus.; includes work by Romare Bearden, Aaron Douglas, Palmer Hayden, Jacob Lawrence, Norman Lewis; first of a four part exhibition series.
African-American art: 20th century masterworks, IV. Michael Rosenfeld Gallery, New York, 24 Jan. – 26 Mar. 1997; 48p., col. illus.; biogs. pp.5–12; includes works by Romare Bearden, Palmer Hayden, Jacob Lawrence, Norman Lewis.
African American art: 200 years. Michael Rosenfeld Gallery, New York, 11 Jan. – 15 Mar. 2008; 153p., col. illus. Tarsila: viajante = viajera. Pinacoteca do Estado de São Paulo, São Paulo, 19 Jan. – 16 Mar. 2008; 157p., col. illus.; biog. pp.130–37, exhibs.
African American art by modern masters. Robert Henry Adams Fine Art, Chicago, 2005; 31p., col. illus.; includes work by Aaron Douglas, Sargent Johnson, Palmer Hayden.
African-American art in Atlanta: public and corporate collections. High Museum of Art, Atlanta, 11 May – 17 June 1984; 16p., illus.; biogs.; introd. by Evelyn Mitchell.
African-American artists: (Bannister to Mitchell). Billy E. Hodges Gallery, New York, 6 Feb. – 3 Apr. 1999; 49p., illus. (chiefly col.); biogs. pp.4–49; includes work by Jacob Lawrence, Norman Lewis.
African-American artists – III. Billy E. Hodges Gallery, New York, 2002; 49p., illus. (chiefly col.); biogs. pp.4–45; includes work by Romare Bearden, Frank Bowling, Sargent Johnson, Jacob Lawrence, Norman Lewis.
African-American artists – IV. Bill Hodges Gallery, New York, 2006; 80p., col. illus.; biogs. pp.4–77; includes work by Romare Bearden, Jacob Lawrence, Norman Lewis, Glenn Ligon, Lorna Simpson, James Van Der Zee.
African-American artists 1880–1987: selections from the Evans-Tibbs Collection. [Hood Museum of Art. Hanover (N.H.) 21 Jan. – 12 Mar. 1989]; 125p., illus. (some col.); bibl. p.125, biogs. pp.115–24; exhibs.; introd. by David C. Driskell; includes work by Romare Bearden, James Van Der Zee, Aaron Douglas, Palmer Hayden, Sargent Johnson, Jacob Lawrence.
African-American artists 1929–1945: prints, drawings and paintings in the Metropolitan Museum of Art. Metropolitan Museum of Art, New York, 15 Jan. – 4 May 2003; 91p., illus. (some col.); biogs.; introd. by Lisa Mintz Messinger; includes work by Jacob Lawrence, Norman Lewis, Romare Bearden, Palmer Hayden.
African American masters: highlights from the Smithsonian American Art Museum. Smithsonian American Art Museum, Washington, published to coincide with a US touring exhib. in 2005; 108p., col. illus.; biogs.; includes work by Romare Bearden, Palmer Hayden, Sargent Johnson, Jacob Lawrence, Norman Lewis, Gordon Parks, James Van Der Zee.
African Americans in art: selections from the Art Institute of Chicago. Art Institute of Chicago, 1999; 136p., illus. (some col.); biogs. pp.53–83; includes work by Romare Bearden, Aaron Douglas, Jacob Lawrence, Norman Lewis, Adrian Piper, James
Van Der Zee, Kara Walker.
African art now: masterpieces from the Jean Pigozzi Collection. Museum of Fine Arts, Houston, 29 Jan. – 8 May 2005; 224p., col. illus.; bibl. pp.214–7, biogs. pp.192–213; exhibs.; see essay by Thomas McEvilley ‘How contemporary African Art comes to the west’ pp.34–44.
African Negro art. Museum of Modern Art, New York 1935; 58p., illus.
Afro-American artists: New York and Boston. Museum of the National Center of Afro-American Artists, Boston, 19 May – 23 June 1970; [92]p., illus.; biogs., colls., exhibs.; includes work by Romare Bearden, Jacob Lawrence.
Afro-American artists: North Carolina USA. North Carolina Museum of Art, Raleigh, 9 Nov. – 31 Dec. 1980; [89]p., illus.; biogs., colls., exhibs.
Against the odds: African-American artists and the Harmon Foundation. Newark Museum, New Jersey, 15 Jan. – 15 Apr. 1990; 298p., illus. (some col.); bibl. pp.290–1, biogs.; includes work by Sargent Johnson.
The age of jazz. Hazlitt, Gooden & Fox, London, 13 June – 12 July 2002; [57]p., col. illus.; biogs., colls., exhibs.; includes work by Paul Colin.
Alone in a crowd: prints of the 1930s–40s by African-American artists from the Collection of Reba and Dave Williams. Newark Museum, New Jersey, 10 Dec. 1992 – 28 Feb. 1993; 2nd rev. ed.; 59p., illus. (some col.); bibl. pp.39–41, biogs. pp.42–58; includes works by Aaron Douglas, Sargent Johnson, Norman Lewis.
Art as a verb: the evolving continuum – installations, performances and videos by 13 African-American Artists. Maryland Institute, Baltimore, 21 Nov. 1988 – 8 Jan. 1989; [40]p, illus. (some col.); bibl. p.[13], biogs. pp.[14]–[39], exhibs.; introd. by Leslie King-Hammond, Lowery Stoke Sims; includes work by David Hammons, Adrian Piper.
Art from Africa. Commonwealth Institute, London, 13 Jan. – 5 April 1981; [26]p., illus.; bibl., biogs.
Art in Latin America: the modern era, 1820–1980. Hayward Gallery, London, 18 May – 6 Aug. 1989; 361p., illus. (some col.); biogs. pp.338–59, bibl. p.360; colls.; text by Dawn Ades.
Arts of Africa: Jean Pigozzi’s contemporary collection. Grimaldi Forum, Monaco, 16 July – 4 Sept. 2005; 365p., col. illus.; bibl. pp.364–5; text by Jean Pigozzi; essay by André Magnin.
Aspects of the 70’s: spiral – Afro-American art of the 70’s. Museum of the National Center of Afro-American Arts, Roxbury, Mass., 17 May – 15 June 1980; 20p., illus.; biogs. pp.18–20, colls., exhibs.
Atención México! Positionen der Gegenwart. Haus der Kulturen der Welt, Berlin, 15 Sept. – 1 Dec. 2002; 168p., col. illus.
B
Back to black: art, cinema & the racial imaginary. Whitechapel Art Gallery, London, 7 June – 4 Sept. 2005; 192p., illus. (some col.).
Bamoko 2007: VII recontres Africaines de la photographie: dans la ville et au-dela. Rencontres Africaines de la Photographie, Bamako, 24 Nov. – 23 Dec. 2007; 269p, col. illus.; biogs. pp.247–65, exhibs.
Bearing witness: contemporary works by African American women artists. Fort Wayne Museum of Art, Fort Wayne, Ind., 1 Feb. – 30 Mar. 1997; 176p., col. illus.; bibl. pp.165–71, biogs. pp.113–60; contributions by Maya Angelou; includes work by Lorna Simpson, Carrie Mae Weems.
Bienal Brasil: século XX. Fundação Bienal de São Paulo, 24 Apr. – 29 May 1994; 512p., col. illus.; bibls., biogs.
Big city: artists from Africa. Serpentine Gallery, London, 21 Sept. – 5 Nov. 1995; [18]p., illus. (some col.); biogs., exhibs.
Black art: ancestral legacy: the African impulse in African-American art. Dallas Museum of Art, 3 Dec. 1989 – 25 Feb. 1990; 305p., illus. (some col.); introd. by David C. Driskell, bibl. pp.299–301, biogs. pp.260–98, colls., exhibs.; includes work by Aaron Douglas, Sargent Johnson.
Black art an’ done: an exhibition of work by young black artists. Wolverhampton Art Gallery, Wolverhampton, 9 – 27 June 1981; [6]p.; includes artists’ statements, see Keith Piper.
Black art: plotting the course. Oldham Art Gallery, 22 Oct. – 3 Dec. 1988; 32p., illus. (some col.); introd. by Eddie Chambers.
Black artists & images. Milwaukee Art Museum, 16 Feb. – 13 Mar. 1988; [8]p., illus.; biogs.; includes work by Jacob Lawrence.
Black artists: two generations. Newark Museum, Newark, N.J., 13 May – 6 Sept. 1971; illus.1972
Black belt. Studio Museum in Harlem, New York 15 Oct. – 4 Jan. 2004; 114p., col. illus.; bibl. p.113, biogs. pp.96–109, exhibs.; includes work by Ellen Gallagher, David Hammons.
Black Brown White: fotografie aus Südafrika = photography from South Africa. Kunsthalle Wien, Vienna, 24 Feb. – 18 June 2006; 239p., illus. (some col.); biogs. pp.225–30; text in German and English.
Black history, black vision: the visionary image in Texas. Archer M. Huntington Gallery, University of Texas, Austin, 27 Jan. – 19 Mar. 1989; 93p., illus. (some col.); biogs. pp.18–85.
Black male: representations of masculinity in contemporary American art. Whitney Museum of American Art, New York, 10 Nov. 1994 – 5 Mar. 1995; 223p., illus. (some col.); bibl. pp.201–10; essay by Kobena Mercer and Isaac Julien ‘True confessions’ pp.191–200; includes work by Jean-Michel Basquiat, David Hammons, Glenn Ligon, Adrian Piper, Lorna Simpson, Carrie Mae Weems.
Black on black: [films by black film-makers]. Saint Louis Art Museum, Saint Louis, 1982; 40p., illus.; biogs.
Black perspectives: an exhibition organised by Sojourner Truth Youth Association featuring works by black artists in Southwark. South London Art Gallery, London, 22 May – 11 June 1987; 16p., illus.; biogs.
Black printmakers and the W.P.A. Lehman College Art Gallery, New York, 23 Feb. – 6 June 1989; 35p., illus.; bibl. pp.34–5, biogs. pp.12–30; includes work by Sargent Johnson, Norman Lewis.
Black romantic: the figurative impulse in contemporary African-American art. Studio Museum in Harlem, New York, 25 Apr. – 23 June 2002; 124p., col. illus.; ports.; biogs. pp.56–115, exhibs.
Black skin, Bluecoat: Sonia Boyce, Eddie Chambers, Tom Joseph, Keith Piper. Bluecoat Gallery, Liverpool, 4 April – 4 May 1985; [6]p., illus.; biogs., exhibs.
Black womanhood: images, icons, and ideologies of the African body. Hood Museum of Art, Dartmouth College, Hanover, 1 Apr. – 10 Aug. 2008; 374p., illus. (some col.); bibl. pp.361–8, biogs. pp.352–60; exhibs.
The blues aesthetic: black culture and modernism. Project for the Arts, Washington, 14 Sept. – 9 Dec. 1989; 104p., illus. (some col.); bibl. pp.97–8; includes work by Jean-Michel Basquiat, Romare Bearden, Paul Colin, Aaron Douglas, Jacob Lawrence, Norman Lewis.
Brasil 1920–1950: de la antropofagia a Brasilia. IVAM Centre Julio González, Valencia, 26 Oct. 2000 – 16 Jan. 2001; 630p., illus. (some col.); bibl. pp.511–4; includes works by Tarsila do Amaral, Lasar Segall; text in Spanish with English translation.
Brasil +500: mostra do redescobrimento. Fundação Bienal de São Paulo, 23 Apr. – 10 Sept. 2000; 183p., col. illus.
Brushes with the West: an exhibition of work by Jennifer M. Comrie, Shafique Uddin, Allan de Souza, Achar K. Burman. Wapping Sports Centre, London, 27 Aug. – 27 Sept. 1986; 8p., illus.
Building community: the African American scene. Michael Rosenfeld Gallery, New York, 13 Jan. – 11 Mar. 2006; 2p., col. illus.; includes works by Romare Bearden, Aaron Douglas, Palmer Hayden, Jacob Lawrence, Norman Lewis.
C
Call and response: journeys of African art. Yale University Art Gallery, New Haven, 15 Dec. 2000 – 25 Mar. 2001; 124p., col. illus.; see essay by Lyneise Williams ‘Traveling concepts’ pp.55–78.
Caribbean artists in England. Commonwealth Art Gallery, London, 22 Jan. – 14 Feb. 1971; [17]p., illus.; biogs.
Century city: art and culture in the modern metropolis. Tate Modern, London, 1 Feb. – 29 Apr. 2001; 295p., illus. (some col.).
A century of African American art: the Paul R. Jones Collection. University Museum, University of Delaware, Newark, 2004; 259p., col. illus.; biogs. pp.215–48, exhibs.; includes work by Romare Bearden, Frank Bowling, Jacob Lawrence, James Van Der Zee, Carrie Mae Weems. Bamako 03: fotografia Africana contemporània. Centre de Cultura Contemporània de Barcelona, Barcelona, 30 Jan. – 28 Mar. 2004; 143p., col. illus.; biogs.; text in Catalan and English.
Challenge of the modern: African-American artists, 1925–45, Vol. 1. Studio Museum Harlem, New York, 23 Jan. – 30 Mar. 2003; 125p., illus. (some col.); bibl.; text by Lowery Stokes Sims. Black my story. Museum De Paviljoens, Almere, 12 Apr. – 17 Aug. 2003; 186p., illus. (some col.).
Chicago modern, 1893–1945: pursuit of the new. Terra Museum of American Art; Chicago, 17 July – 31 Oct. 2004; 175p., col illus.; bibl. p.173, biogs. p.79–161; includes a chapter on African American painters in Chicago.
Collectively speaking: African American art from area collections. Milwaukee Art Museum, 1 Mar. – 28 Apr. 1996; 30p., illus.; bibl. p.30; includes work by Radcliffe Bailey, Romare Bearden, Aaron Douglas, Jacob Lawrence, Glenn Ligon, Gordon Parks, James Van Der Zee, Carrie Mae Weems.
Committed to the image: contemporary black photographers. Brooklyn Museum of Art, New York, 16 Feb. – 29 Apr. 2001; 240p., col. illus.; biogs. pp.233–40; see essay by Deba P. Patnaik ‘Diasporic double vision’ pp.29–39.
Contemporary African art. Camden Arts Centre, London, 10 Aug. – 8 Sept. 1969; illus.; biogs.
Contemporary black artists. Museum of Art, Rhode Island School of Design, Providence, 1 – 36 July 1969; [39]p., illus.; biogs., colls.
Contemporary African artists: changing tradition. Studio Museum in Harlem, New York, 21 Jan. – 6 May 1990; 148p., illus. (some col.); bibl.
Contemporary black artists in America. Whitney Museum of American Art, New York, 6 Apr. – 16 May 1971; 64p., illus. (some col.); bibl. pp.60–64.
Creation for Liberation: the first open exhibition of contemporary black art in Britain. St. Matthews Meeting Place, London, 20 – 30 July 1983; 11p.; biogs. pp.8–10; includes ‘Manifesto’.
Creation for Liberation open exhibition: art by black artists. Brixton Village, London. 17 Oct. – 7 Nov. 1987; 16p., illus.; biogs. pp.6–12, exhibs.; includes essay by Eddie Chambers ‘Black art exhibitions in Britain’ pp.13–6.
Créolité and Creolization: Documenta 11. Platform 3, Kassel, 2003; see Isaac Julien, “Creolizing Vision,” pp.149–55.
Cross currents: contemporary art practice in South Africa: an exhibition in two parts. Atkinson Gallery, Street, 5 June – 29 July; 7 Aug. – 30 Sept. 2000; 120p., col. illus.; bibl. p.60, biogs. pp.61–118.
Crosscurrents of modernism: four Latin American pioneers; Diego Rivera, Joaquín Torres-Garcia, Wifredo Lam, Matta. Hirshhorn Museum and Sculpture Garden, Washington, D.C., 11 Jun. – 2 Sept. 1992; 295p., illus. (some col.); bibl. pp.292–4, biogs.; introd. by Valerie Fletcher; text in English and Spanish.
Crossing the line: African American artists in the Jacqueline Bradley and Clarence Otis, Jr. Collection. Cornell Fine Arts Museum, Winter Park, 19 Jan. – 20 May 2007; 80p., col. illus.; includes work by Romare Bearden, Norman Lewis, Adrian Piper, Carrie Mae Weems; see essay by Franklin Sirmans ‘Visual foresight’ pp.13–8.
Crossing the waters. Cartwright Hall, Bradford, 1 Sept. – 2 Dec. 2007; 32p., col. illus; bibl. p.32, biogs. pp.8–31, exhibs., includes work by Sonia Boyce, Isaac Julien, Glenn Ligon, Chris Ofili, Keith Piper, Carrie Mae Weems.
Cuba: art and history, from 1869 to today. Montreal Museum of Fine Arts, 31 Jan. – 8 June 2008; 424p., illus. (some col.); bibl. pp.420–[3]., biogs. pp.360–[89].
D
Dak’Art 2004: 6éme biennale de l’art Africain contemporain. Dakar, 5 May – 5 June 2006; 179p., col. illus.
Dakar 1992: biennale international des arts. Dakar, 1992; 65p., col. illus.; becomes known as DAK’ART, the Dakar biennial for contemporary international art.
A decade of democracy: South African art 1994–2004 – from the permanent collection of Iziko: South African National Gallery. South African National Gallery, Cape Town, Apr. – Aug. 2004; 149p., col. illus.; see essay by Ashraf Jamal “The bearable lightness of Tracey Rose’s ‘The kiss’” pp.110–9.
Der black atlantic. Berlin: Haus der Kulturen der Welt, 17 Sept. – 14 Nov. 2004; 429p., col. illus.; refs. pp.427–8, bibl. pp.418–23, biogs. pp.424–6.
Diaspora in context: connections in a fragmented world: Imants Tillers makes a painting by Georg Baselitz, Joseph Beuys, Bernhard Blume, Carlo Carra, Giorgio de Chirico, Mike Kelley, Vytautas Landsbergis, Colin McCahon, Arnulf Rainer, Nicholas Roerich and Isadore Tillers. Porin taidemuseo, Porin, 1995; 137p., illus. (some col.); biog. pp.130–2, colls. of Imants Tillers and his work, exhibs.
Die Brücke und die Moderne 1904–1914. Bucerius Kunst Forum, Hamburg, 17 Oct. 2004 – 23 Jan. 2005; 207p., illus. (some col.); bibl. pp.[204]–7, biogs. pp.200–3; includes work by Karl Schmidt-Rottluff.
Directions in Afro-American art. Herbert F. Johnson Museum of Art, Ithaca, N.Y., 18 Sept. – 27 Oct. 1974; [100]p., illus.; bibl., biogs., colls., exhibs.
Double consciousness: black conceptual art since 1970. Contemporary Arts Museum, Houston, 22 Jan. – 17 Apr. 2005; 111p., illus. (some col.); bibl. pp.103–7, biogs. pp.92–101, exhibs.; includes work by Ellen Gallagher, David Hammons, Glenn Ligon, Adrian Piper, Lorna Simpson.
Dream singers, story tellers: an African-American presence. New Jersey State Museum, New Jersey, 7 Aug. 1993 – 20 Mar. 1994; 238p., illus. (some col.); biogs. pp.182–223, exhibs.; includes work by Jean-Michel Basquiat, Jacob Lawrence, Norman Lewis, Glenn Ligon, Adrian Piper, Lorna Simpson; text in English and Japanese.
E
El fuego bajo las cenizas: (de Picasso a Basquiat) = Fire under the ashes: (from Picasso to Basquiat). IVAM Institut Valencià d’Art Modern, Valencia, 5 May – 28 Aug. 2005; 324p., col. illus.; see essay by Jaime Siles ‘Paths of primitivism: its tradition and its variety’ pp.78–99.
Energy experimentation: black artists and abstraction 1964–1980. Studio Museum in Harlem, New York, 5 Apr. – 2 July 2006; 147p., col. illus.; biogs. pp.127–43, colls., exhibs.
Entre tropicos: artistas contemporaneous de los países miembros del Grupo de Río. Museo de Arte Contemporáneo Soféa Imber, April 1992; 119p., col. illus.; biogs. pp.20–111, colls., exhibs.
Equal rights & justice. High Museum of Art, Atlanta, 24 May – 28 Aug. 1994; 40p., illus.; biogs. pp.12–35; introd. by Cynthia Tucker; includes work by Radcliffe Bailey, Glenn Ligon, Carrie Mae Weems.
The essential Black Art. Chisenhale Gallery, London, 5 Feb. – 5 Mar. 1988; 48p., illus.; bibl. p.48, biogs. pp.29–35; exhibs.; text by Rasheed Araeen, Gavin Jantjes; includes work by Sonia Boyce, Keith Piper.
Ethiopian passages: contemporary art from the diaspora. National Museum of African Art, Washington, 2 May – 5 Oct. 2003; 128p., col. illus.; bibl. p.127, biogs. pp.56–97.
Exhibition of contemporary South African paintings, drawings and sculpture: with a prelude of historical paintings. Tate Gallery, London, 1948–9; 32p., illus. (some col.); introd. by Geoffrey Long; colls.40,000 years of modern art: a comparison of primitive and modern. Institute of Contemporary Arts, London, 20 Dec. 1948 – 29 Jan. 1949; 54p., illus. (1 col.); essay by W.G. Archer and Robert Melville, preface by Herbert Read.
Explorations in the city of light: African-American artists in Paris, 1945–1965. The Studio Museum in Harlem, New York, 18 Jan. – 2 June 1996; 100p., illus. (some col.); bibl. p.98, biogs. pp.46–91; introd. by Kinshasha Holman Conwill; see essay by Catherine Bernard ‘Confluence: Harlem Renaissance, modernism and negritude. Paris in the 1920s – 1930s’ pp.21–8.
Exposition coloniale internationale: à Paris en 1931: guide officiel. Paris, 1931; illus. (some col.); text in French.
Exultations: African-American Art – 20th century masterworks, II. Michael Rosenfeld Gallery, New York, 1 Feb. – 8 Apr. 1995; 48p., col. illus.; includes work by Romare Bearden, Aaron Douglas, Sargent Johnson, Jacob Lawrence, Norman Lewis, James Van Der Zee.
F
Fault lines: contemporary African art and shifting landscapes. La Biennale di Venezia, Venice, 15 June – 2 Nov. 2003; 272p., col. illus.; biogs. p.265, exhibs.; includes essay by Kobena Mercer ‘Frank Bowling’s map paintings’ pp.139–49.
Festac ’77 [the second world black and African festival of arts and culture]. Lagos, 15 Jan. – 12 Feb. 1977; 48p., illus.
A fiction of authenticity: contemporary Africa abroad. New Contemporary Art Museum, St. Louis, 20 Sept. 2003 – 3 Jan. 2004; 200p., col. illus.; biogs. pp.130–43, exhibs.
Flava: Wedge curatorial projects (1997–2007). Wedge Gallery, Toronto, May – June 2007; 141p., col. illus.; introd. by Deborah Willis; includes work by James Van Der Zee.
Flow. Studio Museum in Harlem, New York 2 Apr. – 29 June 2008; 127p., col. illus.; biogs. pp.106–13; colls.; exhibs.; see essay by Salah Hassan ‘Flow: diaspora and Afro-cosmopolitanism’ pp.26–31.
Forever free: art by Afro-American women 1862–1980. Center for the Visual Arts Gallery, Normal, Ill.; 30 Jan. – 22 Feb. 1981; 214p., illus. (some col.); bibl. pp.170–213., biogs. pp.53–151, colls., exhibs.
The fortune teller: Karen Knorr, Lorna Simpson, Olivier Richon. Rochdale Art Gallery, 1992; 47p., col. illus.; introd. by Maud Sulter, bibl., biogs. pp.35–46, colls., exhibs.
Free within ourselves: African-American artists in the collection of the National Museum of American Art. Wadsworth Atheneum, Hartford, 18 Oct. 1992 – 10 Jan. 1993; 205p., illus. (some col.); bibl. pp.192–200, biogs. pp.23–191; introd. by Kinshasha Holman Conwill; includes work by Romare Bearden, Palmer Hayden, Sargent Johnson, Jacob Lawrence.
Freestyle. Studio Museum in Harlem, New York, 28 Apr. – 24 June 2001; 88p., col. illus.; biogs. pp.76–9, colls., exhibs.
Frequency. Studio Museum in Harlem, New York, 9 Nov. 2005 – 12 Mar. 2006; 118p., illus. (some col.); biogs. pp.100–4, colls., exhibs.
Fresh. South African National Gallery, Cape Town, 2000–2002; 7 vol., illus. (some col.); bibl., biogs., exhibs.; includes volume on Tracy Rose.
From two worlds. Whitechapel Art Gallery, London, 30 July – 7 Sept. 1986; 48p., illus. (16 col.); bibls., biogs., exhibs.; introd. by Gavin Jantjes and Nicholas Serota; see ‘Keith Piper’ p.44.
G
Global feminisms: new directions in contemporary art. Brooklyn Museum of art, New York, 23 Mar. – 1 July 2007; 304p., col. illus.; biogs. pp.267–87, bibl. pp.288–97; includes work by Wangechi Mutu, Tracey Rose, Kara Walker.
The ghosts of songs: the film art of the Black Audio Film Collective, 1982–1998. Foundation for Art & Creative Technology, Liverpool, 2 Feb. – 1 Apr. 2007; 239p., illus. (some col.); bibl. pp.228–31; edited by Kodwo Eshun and Anjalika Sagar.
H
Harlem Renaissance: art of Black America. Studio Museum in Harlem, New York, 1987; 200p., illus. (some col.); bibl. pp.188–91, biogs., exhibs.; includes bibl. of books and magazines illustrated by Aaron Douglas pp.192–3; introd. by Mary Schmidt Campbell.
Harlem Renaissance: art of black America. Studio Museum in Harlem, New York, 1994; 200p., illus. (some col.); bibl. pp.188–191, includes bibl. of books and magazines illustrated by Aaron Douglas pp.192–3; introd. by Mary Schmidt Campbell.
The Harmon and Harriet Kelley collection of African American art. San Antonio Museum of Art, San Antonio, 3 Feb. – 3 Apr. 1994; 69p., illus. (some col.); bibl. pp.66–7; includes work by Jean-Michel Basquiat, Romare Bearden, Aaron Douglas, Palmer Hayden, Jacob Lawrence, Norman Lewis, James Van Der Zee.
Havana – Sao Paulo: Junge Kunst aus Lateinamerika. Haus der Kulturen der Welt (ed.) 1995; 160p., illus. (some col.).
Heart of darkness: Kai Althoff, Ellen Gallagher and Edgar Cleijne, Thomas Hirschorn. Walker Art Centre, Minneapolis, 26 Oct. 2006 – 14 Jan. 2007; 128p., col. illus.; bibl., biogs., exhibs.
Home lands – land marks: contemporary art from South Africa. Haunch of Venison, London, 31 May – 5 July 2008; 167p., col. illus.; introd. by Tamar Garb and Ben Tufnell, bibl. p.167, biogs. pp.162–5, colls., exhibs.
I
Identity and consciousness: (re)presenting the self. Dunlop Art Gallery, Regina, 15 Jan. – 12 Feb. 1991; 24p., illus.; bibl. p.19, biogs. pp.21–3; includes interview with Homi Bhabha pp.12–7.
The Ife festival of the arts, Ile-Ife. Institute of African Studies, University of Ife, Ife, 10 – 20 Dec. 1968; [20]p.
The image employed: the use of narrative in Black art. Cornerhouse, Manchester, 13 June – 19 July 1987; [23]p., illus.; biogs., exhibs.; introd. by Keith Piper, Marlene Smith.; includes artists’ statements, see Keith Piper, Sonia Boyce.
Imagined communities. Oldham Art Gallery, 27 Jan. – 24 Mar. 1996; col. illus.; biogs.; introd. by Richard Hylton.
Important African & modern masterworks. Kent Gallery, New York, 24 Oct. – 4 Dec. 1992; 75p., illus. (some col.); bibls., biogs. pp.32–75, exhibs.; includes works by Fernand Léger, Pablo Picasso, Karl Schmidt-Rottluff.
In the spirit of resistance: African-American modernists and the Mexican Muralist School = En el espíritu de la resistencia: los modernistas africanoamericanos y la la Escuela Muralista Mexicana. Studio Museum in Harlem, New York, 2 Oct. – 8 Dec. 1996; 191p., illus. (some col.); bibl. pp.188–9.
Infinite island: contemporary Caribbean art. Brooklyn Museum, New York, 31 Aug. 2007 – 27 Jan. 2008; 223p., col. illus.; bibl. pp.222–3, biogs. pp.216–21, exhibs.
Influences: the art of Sokari Douglas Camp, Keith Piper, Lubaina Himid, Simone Alexander, Joseph Olubo, Brenda Agard. South London Art Gallery, London, 9 – 29 Sept. 1988; 8p. folded card, illus.; see text selected by Keith Piper.
In/sight: African photographers, 1940 to the present. Solomon R. Guggenheim Museum, New York, 24 May – 29 Sept. 1996; 275p., illus. (some col.); biogs. pp.254–75; introd. by Claire Bell.
Interrogating identity. Grey Art Gallery and Study Centre, New York, 12 Mar. – 18 May 1991; 143p., col. illus.; biogs. pp.105–33; includes work by Rasheed Araeen, Glenn Ligon, Keith Piper; see ‘Interrogating identity: a roundtable discussion – Paul Gilroy, Kass Banning, Adrian Piper, Hilton Als, Kellie Jones’ pp.43–66.
Intersecting circles: metaphors of Caribbean and Latin American transnationalism. Dominik Rostworowski Gallery, Krakow, 12 – 22 Sept. 2003; 35p., col. illus.; biogs. pp.32–5, exhibs.
Into the open: new paintings and sculpture by contemporary black artists. Mappin Art Gallery, Sheffield, 4 Aug. – 9 Sept. 1984; illus.; biogs.; includes work by Sonya Boyce, Keith Piper.
Introspectives: contemporary art by Americans and Brazilians of African descent. Californian Afro-American Museum, Los Angeles, 11 Feb. – 30 Sept. 1989; 100p., illus. (some col.); biogs. pp.35–83; introd. by Henry J. Drewal and David C. Driskell; includes works by Rubem Valentim.
Inverted utopias: avant-garde art in Latin America. Museum of Fine Arts, Houston, 20 June – 12 Sept. 2004; 586p., illus. (some col.); biogs. pp.559–76, exhibs.; introd. by Mari Carmen Ramírez; includes work by Hèlio Oiticica.
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Jubilee: Afro-American artists on Afro-America. Museum of Fine Arts, Boston, 14 Nov. 1975 – 4 Jan. 1976; 47p., illus. (some col); biogs. pp.36–47, colls., exhibs.
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L’art négre sources, évolution, expansion: exposition organisée au Musée dynamique á Dakar par le Commissariat du [premier] Festival mondial des arts négres et au Grand palais á Paris, par la Réunion des musées nationaux. Musée dynamique, Dakar; Grand Palais, Paris, 1966; 176p., illus.; bibl.; text in French and English.
La rencontre des deux mondes vue par les peintres d’Haïti. Fondation Afrique en Creations, Paris, 1992; 291p., col. illus.; biogs. pp.274–82.
Latin American & Caribbean art: MOMA at El Museo. El Museo del Barrio, New York, 4 Mar. – 25 July, 2004; 184p., col. illus.; bibl. pp.178–81; includes work by Wilfredo Lam, Hélio Oiticica.
Latin American artists in New York since 1970. Archer M. Huntington Art Gallery, Austin, 1987; 114p., illus. (some col.); biogs. pp.38–113; includes work by Helio Oiticica.
Latin American artists of the twentieth century. Museum of Modern Art, New York, 6 Jun. – 7 Sept. 1993; 424p., illus. (some col.); bibl. pp.399–412, biogs. pp.371–98, exhibs.; introd. by Waldo Rasmussen; includes work by Tarsila do Amaral, Wifredo Lam, Hélio Oiticica, Lasar Segall.
The Latin American spirit: art and artists in the United States, 1920–1970. Bronx Museum of the Arts, New York, 29 Sept. 1988 – 29 Jan. 1989; 343p., illus. (some col.); introd. by Luis R. Cancel, bibl. pp.333–8., biogs.; colls.; exhibs.
Latin American women artists: 1915 – 1999. Milwaukee Art Museum, 3 Mar. – 28 May 1995; 198p., col. illus.; bibl. pp.177–98, biogs. pp.97–167, exhibs.; includes work by Tarsila do Amaral, María Magdalena Campos-Pons.
Le feu sous les cendres: de Picasso à Basquiat. Fondation Dina Vierny-Musée Maillol, Paris, 8 Oct. 2005 – 13 Feb. 2006; 161p., col. illus.; bibl.; includes work by Jean-Michel Basquiat, Pablo Picasso.
Looking both ways: art of the contemporary African diaspora. Museum for African Art, New York, 14 Nov. 2003 – 1 Mar. 2004; 184p., col. illus.; bibl. pp.182–3, biogs. pp.179–80, exhibs.; includes work by Wangechi Mutu.
Los Angeles 1972: a panorama of black artists. Los Angeles County Museum of Art, Los Angeles. 8 Feb. – 19 Mar. 1972; 1 folded sheet, illus.; with essay by Carroll Greene, Jr.
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Made in USA: l’art américain, 1908–1947. Musée des Beaux-Arts de Bordeaux, 10 Oct. – 31 Dec. 2001; 254p., illus. (some col.); biogs. pp.243–53; text in French; includes works by Romare Bearden, Walker Evans, Jacob Lawrence, Man Ray, Gordon Parks.
Magiciens de la terre. Centre Georges Pompidou, Paris, 18 May – 14 Aug. 1989; 272p., illus. (some col.); biogs. pp.71–269; introd. by Jean-Hubert Martin; essay by André Magnin ‘6°48’ sud 38°39’ est’ pp.16–7.
Masquerade: representation and the self in contemporary art. Museum of Contemporary Art, Sydney, 23 Mar. – 21 May 2006; 128p., illus. (some col.); biogs. pp.115–27, exhibs.; includes work by Tracey Rose; see essay by Isolde Brielmaier ‘I am not myself: a quick take on the photographs of Samuel Fosso and Tracey Rose’ pp.29–33.
Massachusetts masters: Afro-American artists. Museum of Fine Arts, Boston, 16 Jan. – 6 Mar. 1988; 48p., illus. (some col.); biogs. pp.43–8, exhibs.
Mirage: enigmas of race, difference and desire. Institute of Contemporary Arts/Institute of International Visual Arts, London, 12 May – 16 July 1995; 112p., illus. (some col.); biogs. pp.110–2; includes writing by Frantz Fanon and work by Sonia Boyce, Isaac Julien, Glenn Ligon, Kobena Mercer.
Montparnasse noir, 1906–1966: amours en contre-jour. Musée du Montparnasse, Paris, 15 June – 15 Oct. 2006; 173p., illus. (some col.); includes work on Josephine Baker.
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Nancy Sayles Day collection of modern Latin American art. Museum of Art, Rhode Island School of Design, Providence, Rhode Island, 23 Oct. – 24 Dec. 1966; [16]p., illus.; biogs.
Narratives of African American art and identity: the David C. Driskell collection. The Art Gallery, College Park, Maryland, 22 Oct. – 17 Dec.; 192p., illus. (some col.); bibl. pp.179–82, biogs. pp.169–79, exhibs.; includes work by Romare Bearden, Aaaron Douglas, Jacob Lawrence, Norman Lewis, James Van Der Zee.
The neglected tradition: towards a new history of South African art (1930–1988). Johannesburg Art Gallery, 23 Nov. 1988 – 8 Jan. 1989; 155p., illus. (some col.); bibl. pp.135–53, biogs. pp.97–134, colls., exhibs.; introd. by Steven Sack.
New black artists. Brooklyn Museum, New York, 7 Oct. – 9 Nov. 1969; [56]p., illus.
New world imagery: contemporary Jamaican art. Arnofini, Bristol, 23 Sept. – 12 Nov. 1995; 72p., illus. (some col.); bibl. pp.41–2, biogs. pp.65–9, colls., exhibs.; see essay by Petrine Archer-Straw ‘Many rivers crossed’ pp.15–40.
Next flag: the African sniper reader. Migros Museum für Gegenwartskunst, Zurich, 7 June 2003 – 11 Jan. 2004; 183p., illus. (chiefly col.); biogs. pp.171–9, exhibs.; includes work by Tracey Rose.
No doubt: African American art of the 90s. Aldrich Museum of Contemporary Art, Ridgefield, Conn., 19 May – 1 Sept. 1996; 28p., illus.; biogs. pp.22–5, exhibs.; includes work by Radcliffe Bailey, Kara Walker; Renée Cox is guest curator.
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Olvida quién soy = Erase me from who I am. Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, 23 Feb. – 30 Apr. 2006; 229p., col. illus.; biogs. pp.216–29, exhibs.; includes work by Tracey Rose.
Only skin deep: changing visions of the American self. International Center of Photography, New York, 12 Dec. 2003 – 29 Feb. 2004; 416p., illus. (some col.); ports; bibl. pp.404–8; includes work by Romare Bearden, Maria Magdelena Compos-Pons, Walker Evans, Pirkle Jones, Isaac Julien, Glenn Ligon, Charles Moore, Wangechi Mutu, Adrian Piper, Man Ray, Lorna Simpson, James Van Der Zee, Andy Warhol, Carrie Mae Weems, Ernest Withers; with essays by Coco Fusco and Kobena Mercer.
Other narratives. Contemporary Arts Museum, Houston, 15 May – 4 July 1999; 96p., illus. (some col.); bibl. p.95, biogs., exhibs.; includes work by Jean-Michel Basquiat, Glenn Ligon, Lorna Simpson, Kara Walker, Carrie Mae Weems.
The other story: Afro-Asian artists in post-war Britain. South Bank Centre, London, 29 Nov. 1989 – 4 Feb. 1990; 160p., illus. (some col.); biogs. pp.142–9, colls., exhibs.; includes work by Frank Bowling, Sonia Boyce, Ronald Moody, Keith Piper; text by Rasheed Araeen.
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“The Pan-Afrikan connection”: an exhibition of work by young black artists. Africa Centre, London; 3 May – 4 June [1982]; [8]p.; includes statement by Keith Piper.
“The Pan-Afrikan connection”: an exhibition of work by young black artists. Ikon Gallery, Birmingham; 26 June – 17 July [1982]; [8]p.; includes statement by Keith Piper (different to that in the Africa Centre catalogue).
The Pan-Afrikan connection: an exhibition of work by young black artists. Herbert Art Gallery and Museum, Coventry, 20 Feb. – 20 Mar. 1983; 8p., illus.; includes a statement by Keith Piper.
Paris and South African artists 1850–1965. South African National Gallery, Cape Town, 14 Apr. – 29 May 1988; 111p., illus., (some col.); biogs.; introd. by Lucy Alexander.
Paris connections: African American artists in Paris. Bomani Gallery and Jernigan Wicker Fine Arts, San Francisco, 14 Jan. – 29 Feb. 1992; 95p., col. illus.; bibl. p.89, biogs. pp.60–72; exhibs.; includes work by Jean-Michel Basquiat, Romare Bearden.
Perfect documents: Walker Evans and African art, 1935. Metropolitan Museum of Art, New York, 1 Feb. – 3 Sept. 2000; 122p., illus.
Picturing blackness in British art, 1700s–1990s. Tate Gallery, London, 28 Nov. 1995 – 10 Mar. 1996; 1 folded sheet ([4]p.), illus.; essay by Paul Gilroy; includes work by Sonia Boyce, Edward Burra, Benjamin Haydon, Ronald Moody.
“Primitivism” in 20th century art: affinity of the tribal and the modern. Museum of Modern Art, New York, [24 Sept. 1984 – 15 Jan. 1985]; 2 v. (xiv, 689p. [343, 346]p.), illus. (some col.); ports.; introd. by William Rubin, biogs; includes work by Fernand Leger, Pablo Picasso.
“Primitivism” in 20th century art: affinity of the tribal and the modern. Museum of Modern Art, New York, [24 Sept. 1984 – 15 Jan. 1985]; 2 vol. 689p., illus. (some col.); bibl. vol. 1, pp.334–340; includes works by Pablo Picasso, Fernand Leger, Constantin Brancusi, Alberto Giacometti and Henry Moore amongst others.
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Race and representation: art/film/video. Hunter College Art Gallery, New York, 26 Jan. – 6 Mar. 1987; 39p., illus.; ports; bibl.
Racing the cultural interface: African diasporic identities in the digital age. Soil Digital Media Suite, Neutral Ground Artist-Run Centre, Regina, Oct. – Nov. 2004; 39p., col. illus.; biogs., exhibs.
Rastafari: Kunst aus Jamaika. Haus der Kulturen der Welt, Berlin, Feb–Mar. 1992; 144p., illus. (some col.); bibl. pp.142–3.
Rhapsodies in black: art of the Harlem Renaissance. London. South Bank Centre, London, 19 June – 17 Aug. 1997; 182p., illus. (some col.); introd. by David A. Bailey; includes essay by Paul Gilroy ‘Modern tones’ pp.102–9.
Ritual and myth: a survey of African American art. Studio Museum in Harlem, New York, 20 June – 1 Nov. 1982; 52p., illus. (some col.); bibl. pp.39–42; introd. by David Driskell.
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Schwarze Kunst: Konzepte zu Politik und Identität: Hilton Als & Darryl Turner, Stan Douglas, Lyle Ashton Harris, Gary Simmons, Lorna Simpson, Carrie Mae Weems. RealismusStudio NGBK, Berlin, 14 Dec. 1991 – 26 Jan. 1992; 47p., illus.; biogs. pp.46–7, exhibs.; includes works by Lorna Simpson, Carrie Mae Weems.
Self evident. Ikon Gallery, Birmingham, 12 Aug. – 6 Sept. 1995; [56]p., illus. (some col.); biogs., colls., exhibs.; introd. by Kobena Mercer.
Seven stories about modern art in Africa. Whitechapel Art Gallery, London, 27 Sept. – 26 Nov. 1995; 319p., illus. (some col.); bibl. pp.308–11.
A shared heritage: art by four African Americans. Indianapolis Museum of Art, 25 Feb. – 21 Apr. 1996; 195p., illus. (some col.); biogs. pp.167–81, exhibs.
Snap judgments: new positions in contemporary African photography. International Center of Photography, New York, 10 Mar. – 28 May 2006; 383p., col. illus.; bibl. pp.379–83, biogs., colls., exhibs.
Some American history. Institute for the Arts,
Rice University, Houston, Feb. 1971. [78]p., illus. (some col.).
Something to look forward to: an exhibition featuring abstract art by 22 distinguished Americans of African descent. Franklin & Marshall College, Lancaster, 26 Mar. – 27 June 2004; 60p., col. illus.; biog. pp.53–6, colls., exhibs.; introd. by Bill Hutson, includes work by Frank Bowling, David Hammons.
South African Breweries biennale art prize. Art Museum, Pretoria, 7 – 28 Aug. 1968; [20]p., illus.; biogs.
South meets west. Kunsthalle Bern, 9 Nov. 1999 – 26 June 2000; 122p., col. illus.; biogs. pp.111–9, colls.; includes work by Tracey Rose.
Stranger than fiction. City Art Gallery, Leeds, 24 Apr. – 6 June 2004; 63 [1]p., col. illus.; biogs. pp.20–63, bibl. p.[64], exhibs.; includes work by Sonia Boyce, Isaac Julien, Keith Piper.
Street art street life: from the 1950s to now. Bronx Museum of the Arts, New York, 14 Sept. 2008 – 25 Jan. 2009; essays by Katherine A Bussard, Frazer Ward and Lydia Yee; includes work by David Hammons, Adrian Piper, Peter Moore, Xaviera Simmons.
A stronger soul within a finer frame: portraying African-Americans in the Black Renaissance. University Art Museum, University of Minnesota, Minneapolis, 1990; 64p., illus.; introd. by Colleen Sheehy.
A suitable distance: impressions of Trinidad by five artists: Rex Dixon, Peter Doig, Kofi Kayiga, Chris Ofili, Roberta Stoddart. Soft Box Studios, Port of Spain, Trinidad, 26 Sept. – 7 Oct. 2006; 32p., col. illus.; biogs. pp.29–30.
Syncopated rhythms: 20th-century African American art from the George and Joyce Wein collection. Boston University Art Gallery, Boston, 18 Nov. 2005 – 22 Jan. 2006; 103p., col. illus.; bibl. pp.100–1, biogs.
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The theater of refusal: black art and mainstream criticism: artists Jean-Michel Basquiat… Fine Arts Gallery, University of California, Irvine, 8 Apr. – 12 May 1993; 91p., illus.; biogs. pp.83–92, exhibs.; includes work by Jean-Michel Basquiat, David Hammons, Adrian Piper, Carrie Mae Weems.
Trading places: an art exchange exhibition. Artists Foundation, Boston, 19 Apr. – 21 May, 1988; 12p., illus.; biogs. p.12, exhibs.; includes work by David Hammons, Lorna Simpson.
TRANSactions: contemporary Latin American and Latino art. Museum of Contemporary Art San Diego, La Jolla, 17 Sept. 2006 – 13 May 2007; 167p., col. illus.; biogs.
Transatlantic dialogue: contemporary art in and out of Africa. Ackland Art Museum, Chapel Hill, 19 Dec. 1999 – 26 Mar. 2000; 80p., illus. (some col.).
Transcontinental: nine Latin American artists. Ikon Gallery, Birmingham, 24 Mar. – 28 Apr. 1990; 112p., illus.; biogs. p.109.
Transformations in Cleveland art 1796–1946: community and diversity in early modern America. Cleveland Museum of Art, [19 May – 21 July] 1996; 254p., illus. (some col.); bibl. pp.242–3, biogs. pp.221–41; see essay by Mark Cole ‘“I, too, am America”: Karamu House and African-American artists in Cleveland’ pp.147–61.
Transforming the crown, African, Asian and Caribbean artists in Britain 1966–1996. Studio Museum in Harlem, New York, 14 Oct. – 15 Mar. 1997; 177p., illus. (some col.); bibl. pp.174–6, biogs. pp.119–48, exhibs.; see essay by Kobena Mercer ‘Bodies of diaspora, vessels of desire: the erotic and the aesthetic’ pp.53–7.
Travesía. Centro Atlántico De Arte Moderno CAAM, Las Palmas De Gran Canaria, 17 Oct. 2008 – 4 Jan. 2009; 165p., illus. (some col.); biogs.; text in Spanish and English.
Trophies of empire. Merseyside Maritime Museum, Liverpool, 28 Aug. – 20 Sept. 1992; 72p., illus. (some col.); biogs. p.70.
Tropicalia: a revolution in Brazilian culture. Museum of Contemporary Art, Chicago, 22 Oct. 2005 – 8 Jan. 2006, col. illus.; biogs. pp.321–42; includes work and essays by Hélio Oiticica.
True stories. Wolverhampton Art Gallery, Wolverhampton, 20 Sept. – 15 Nov. 2003; [44]p., illus. (some col.); biogs.
Two centuries of black American art. Los Angeles County Museum of Art, Los Angeles, 30 Sept. – 21 Nov. 1976; 222p., illus. (some col.); bibl. pp.206–219, biogs.
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The unmapped body: 3 black British artists. Yale University Art Gallery, New Haven, 13 Oct. 1998 – 3 Jan. 1999; 19p., illus. (some col.); includes work by Keith Piper, Sonia Boyce.
Uncomfortable truths: the shadow of slave trading on contemporary art and design. Victoria and Albert Museum, London, 20 Feb. – 17 June 2007; [14]p., illus. (some col.); biogs.
US/UK photography exchange. Camerawork, London, 17 Nov. – 23 Dec. 1989; [10]p., illus.; biogs., exhibs.; includes essay by David Bailey.
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Virgin territory: women, gender and history in contemporary Brazilian art. National Museum of Women in the Arts, Washington, 2001; 176p., col. illus.; biogs. pp.163–71, exhibs.
Vital: three contemporary African artists. Tate Gallery Liverpool, Liverpool, 13 Sept. – 10 Dec. 1995; 47p., illus. (some col.); bibl., biogs., colls., exhibs.
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West Coast 74: black image. Crocker Art Gallery Association and E.B. Crocker Art Gallery, Sacramento, 13 Sept. – 13 Oct. 1974; [?]p., illus.; bibl., biogs., exhibs.
Western artists/African art. Museum of African Art, New York, 1994; 101p., illus. (some col.); bibl. p.98; introd. by Susan Vogel; includes work by Lorna Simpson.
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