Annabel L. Kim, “The Politics of Citation,” Diacritics 48, no. 3 (2020).
Legacy Russell, “On Footnotes,” lecture delivered at Vera List Center, New York, November 29, 2021.
Lucy Steeds, “What is the Future of Exhibition Histories? Or, Toward Art in Terms of Its Becoming-Public,” in The Curatorial Conundrum: What to Study? What to Research? What to Practice?, ed. Paul O’Neill, Lucy Steeds, and Mick Wilson (MIT Press, 2016).
“SOUNDGARDEN—A Live Reading for Bessie Head’s 85th,” organized by architect and writer Ilze Wolff, was broadcast on Chimurenga’s Pan African Space Station on July 13, 2022 →.
See the curatorial statement for “When Rain Clouds Gather” →.
Bessie Head, “Gladys Mgudlandlu: The Exuberant Innocent,” New African 2, no. 10 (November 1963). For more on Gladys Mgudlandlu, see Zamansele Nsele, “Gladys Mgudlandlu Painted Land(e)scapes that Bent the Genre to Her Will,” post: notes on art in a global context, May 26, 2021. The book Surfacing: On Being Black and Feminist in South Africa (2021), edited by Desiree Lewis and Gabeba Baderoon, has contributed to a history of texts on African feminism. We would be remiss not to mention the career retrospective of artist Tracey Rose, “Shooting Down Babylon,” organized by the Zeitz Museum of Contemporary Art Africa in 2022, which recently toured to the Queens Museum (2023), and the recent solo presentations of Dineo Seshee Bopape at the Museum of Modern Art (2023) and ICA Virginia Commonwealth University (2021).
Abstract for “US-SA Feminist Solidarities: Citational Practices in the Visual Arts,” in Feminist Readings in Motion?, conference booklet, University of South Africa College of Human Sciences, 2021 →. A second, related panel, “The Page as Site: Fostering Solidarities through Citational Practices,” was held virtually at the Space for Black Creative Imagination at the Maryland Institute College of Art, Baltimore, Maryland, in 2021. This discussion, which built on foundations established by “US-SA Feminist Solidarities,” again included Ntombela, Serubiri, and Mabaso, with additional panelists Fitsum Shebeshe and Raël Jerro (as moderator and discussant).
Portia Malatjie, “Queering Ancestry: Transgenerational Communion with Oneself,” paper presented at “Feminist Readings in Motion?,” online, April 12–16, 2021.
Ngugi wa Thiong’o, “Land, Language, and Life,” lecture delivered at the Conference on Land Policy in Africa, Kigali, Rwanda, November 1–4, 2021.
Greer Valley, Unsettled (Dakar Biennale, 2022), 2–3. Exhibition catalog.
Valley, Unsettled, 2–3.
Malatjie, “Queering Ancestry.”
Imani Jacqueline Brown, “A Minor Constellation of Black Ecologies: Introduction,” MARCH, no. 2, “Black Ecologies” (Fall 2021): 11.
Kim, “The Politics of Citation.”
Kim, “The Politics of Citation.”
Nontobeko Ntombela, “Untranslatable Histories in Tracey Rose’s Hard Black on Cotton,” in The Stronger We Become, ed. Nkule Mabaso and Nomusa Makhubu (South African Pavilion, Venice Biennale, 2018). Exhibition catalog.
“I stood at the border, stood at the edge and claimed it as central.” Toni Morrison quoted in Jana Wendt, “Interview with Toni Morrison,” Uncensored, Australian Broadcasting Service, 1998 →.
Kellie Jones, “Tracey Rose: Postapartheid Playground,” Nka: Journal of Contemporary African Art 19, no. 1 (2004).
Jones, “Tracey Rose.”
Jones, “Tracey Rose.”
Gabi Ngcobo, “Endnotes: Was it a Question of Power?,” in Condition Report: Symposium on Building Art Institutions in Africa, ed. Koyo Kouoh (Hatje Cantz, 2012).
Ngcobo, “Endnotes.”
Nkule Mabaso, “Aesthetics and Other Priorities,” in Tell Freedom: 15 South African Artists (Kunsthal KADE, 2018). Exhibition catalog.
Mabaso, “Aesthetics and Other Priorities,” 76.
Mabaso, “Aesthetics and Other Priorities,” 76.
Homi K. Bhabha, “The World and the Home,” Social Text, no. 31–32 (1992).
See →.
Quoted in Mabaso, “Aesthetics and Other Priorities,” 80.