African American, African African Diaspora Costumed performer in sound suit by Nick Cave

Open link below to follow the geographical history of European colonialism,

African diaspora: “Black Atlantic”

Mossi mask, Ouagadougou style, Burkina Faso, photo 1976 by Christopher D. Roy

Dogon (Mali) traditional mask performance, enactment of cultural narratives

Africa & African Diaspora Composite photograph – Museum of the African Diaspora, San Francisco Original photo by Chester Higgins, interactive collage by Robert Silvers and Runaway Technology, 2005http://

ns/388 ns/388 Kerry James Marshall, Visible Means of Support: Mount Vernon, 2009; acrylic latex on canvas

Kerry James Marshall, Souvenir II, 1997, acrylic, paper, collage, and glitter on unstretched canvas, 108 x 120 inches

Kerry James Marshall, Souvenir IV, 1998, acrylic, collage, and glitter on unstretched canvas, 108 x 156 inches, Whitney Museum of American Art, New York.

Jacob Lawrence (US, ) Migration of the Negro # 3 (left), #17 (right), #58 (below) Heritage of the Harlem Renaissance, 1920s, and the WPA (Works Progress Administration), 1930s

Romare Bearden (US, 1912 – 1988) in his New York library 1970s Romare Bearden in his Long Island City studio c with a photograph of his paternal great-grandparents.

Bearden (second from right in hat) in Paris, 1950 Duke Ellington, 1943

(left) Harlem row houses 1943; (right) Romare Bearden, Black Manhattan, 1969, collage of paper and synthetic polymer paint on composition board, 25 x 21”

(right) Romare Bearden, Rocket to the Moon, 1971 Hannah Hoch, Dada Ernst, collage, 1920 George Grosz Gray Day, o/c, Dada/ Neue Sachlichkeit

Stuart Davis, Swing Landscape, 1938, oil on canvas, 86 3/4 x 172 7/8 in. “Colonial Cubism”

(left) Georges Braque, Still Life, Cubist collage (papier collé) and graphite, 1913 (right) Picasso, Three Musicians, o/c, Synthetic Cubism, 1921

"The more I played around with visual notions as if I were improvising like a jazz musician, the more I realized what I wanted to do as a painter, and how I wanted to do it." Bearden Three Folk Musicians, 1967 Jazz, 1974

"I think the artist has to be something like a whale, swimming with his mouth wide open, absorbing everything until he has what he really needs. When he finds that, he can start to make limitations. And then he really begins to grow.” Romare Bearden

(left) Romare Bearden, Patchwork Quilt, c Primitivism or Identity art? (right) Paul Gauguin (French Post-Impressionist Painter, “Father” of Primitivism, ) Spirit of the Dead Watching, 1892

(left) Robert Colescott (b. Oakland, California, 1925) Demoiselles D’Alabama, 1985 compare with source, Picasso’s Demoiselles D’Avignon, 1907

Betye Saar (US, b. 1926), The Liberation of Aunt Jemima, 1972

Faith Ringgold, American People Series, The Flag is Bleeding 1967, 72 x 96 in., oil on canvas

Faith Ringgold (US b. 1930) Whose Bad? 1988 (left) African-American story quilt, c. 1860

David Hammons (US, b. 1943) photo of artist in Zurich, 2002

David Hammons, Higher Goals, 1986, basketball hoops, telephone poles and decorative detritus such as bottle caps, Cadman Plaza, Brooklyn, NY. "Those who know, don't show" - David Hammons

David Hammons, Champ, 1989, rubber (inner tube) and mixed media

Hammons, How Do Ya Like Me Now? Washington DC, 1989

David Hammons, How Do Ya Like Me Now? with sledgehammers and flag, Washington Projects for the Arts, Washington, DC, 1989

WGokjTU WGokjTU Tyree Guyton (US b. 1955) Heidelberg Project, Detroit. photo: August, 2007

Fred Wilson (US, 1954) 2003, artist ><curator “I get everything that satisfies my soul from bringing together objects that are in the world, manipulating them, working with spatial arrangements, and having things presented in the way I want to see them.” Fred Wilson In the archive, Museum of World Culture in Sweden

Fred Wilson, Mining the Museum, 1992

Fred Wilson, Atlas, 1995

Fred Wilson, Museum Guards, 1997

Fred Wilson, Road to Victory, online project for MoMA NYC, 1999

Fred Wilson, Me and It, video installation, 1995

Fred Wilson, Pangaea, 1999, Townsend Harris High School 149th Street and Melbourne Avenue, Queens, (fence & gate)

Fred Wilson, American Pavilion, Venice Biennale, 2003, black glass chandelier

Fred Wilson, from Speak of Me as I Am, Venice Biennale 2003 installation

Fred Wilson, Aftermath, 2003, installation for Berkeley Art Museum

Kara Walker (US, b. 1969)

Kara Walker No Mere Words can Adequately reflect the Remorse this Negress feels at having been Cast into such a lowly state by her former Masters and so it is with a Humble Heart that She Brings about Their Physical Ruin and Earthly Demise, Installation view at the California College of Arts and Crafts, Oakland, California. Cut paper and adhesive on painted wall, 10 x 65 feet. SFMoMA collection

Kara Walker, Darkytown Rebellion, 2001, Installation view at Brent Sikkema, New York, Projection, cut paper and adhesive on wall, 14 x 37 1/2 feet

“Kara Walker at the Met: After the Deluge” NYC Metropolitan MA installation, Artist as curator combined her own work with pieces of African American art from the museum’s collection.

Carrie Mae Weems (US b. 1953) publicity photo for film, Conjure Women (available in CSUS library)

Weems, Untitled from Kitchen Table Series, 1990, edition of 5

Weems, Untitled, from The Kitchen Table Series, 1990

Weems, Untitled, from Kitchen Table Series, 1990

Weems, Ritual and Revolution, digital photographs on fabric, installation, Berlin, 1999

Weems, Ritual and Revolution, Berlin, 1999

Weems, Ritual and Revolution, 1999

Weems, The Capitol Building, from The Jefferson Suite, 1999

Weems, Enactment of the Jefferson-Hemmings Affair, The Jefferson Suite, 1999 digitally printed photograph on muslin

Weems, Gibbon and Child at Play, The Jefferson Suite, 1999

Sonia Boyce, From Tarzan to Rambo: English Born`Native' Considers her Relationship to the Constructed/Self Image and her Roots in Reconstruction 1987, photograph and mixed media on paper x 3590 mm (c. 4 X 12 ft)

Yinka Shonibare (England, b to Nigerian parents, raised in Lagos) Dressing Down, wax printed cotton textile, crinoline display stand, 1997 “Afro-Victorian” headless mannequins dressed in Dutch wax prints: hybrid colonial fabric. Example of trans-textuality of contemporary global artists

Yinka Shonibare, Diary of a Victorian Gentleman, 21 Hours, photographic series, 1998 compare (right) William Hogarth (English, ) ) Marriage-A-La-Mode: The Toilette, 1735

Yinka Shonibare, Diary of a Victorian Gentleman, 14 Hours, photographic series, 1998 (right) Poster in London Underground, 1998

Steve McQueen (England, b. 1969, lives in Amsterdam), 2 stills from video, Western Deep, 2002, Documenta 11. Taken in the deepest gold mine in the world, the Tautona mines near Johannesburg in South Africa.

Chris Ofili (UK, 1968) The Virgin Mary, paper collage, oil, glitter, polyester resin, elephant dung, on linen, 1999 Sensation show at the Brooklyn Museum of Art : controversy over exhibition of the Charles Saatchi collection of Young British Artists (YBAs). Museum complicity with private gallerist / collector and “sensational” artworks. NYC Mayor Giuliani: “[There is] nothing in the First Amendment that supports horrible and disgusting projects."

El Anatsui (Ghana, b. 1944), Sasa, 2003, Aluminum (bottle caps and commercial metal detritus), copper wire, 640 x 840 cm Africa ReMix exhibition Beaubourg, Paris 2005 Detail of Sasa

Hover, 2002 Flag for a New World, 2004 Ghanaian Kente cloth – a source

El Anatsui, Sasa e=22nigeria& e=22nigeria&

El Anatsui, Versatility, 2006 Venice Biennale