Rizvana Bradley
Biographic Data
| ID | 3672062 |
|---|---|
| NAME | Rizvana Bradley |
| GIVEN NAMES | Rizvana |
| FAMILY NAME | Bradley |
| SIGNATURE | BRADLEY R |
| AFFILIATIONS | Emory University |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 9 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Profane Illumination
This article discusses Göran Olsson’s 2014 documentary film, Concerning Violence: Nine Chapters of the Anti-Imperialistic Defense. The film’s handling of a continental archive has gone relatively unexamined and has indeed been neglected, given how ambitious Olsson’s documentary is in terms of the breadth of its coverage of African resistance struggles across the continent. This article examines whether and how Olsson’s documentary, in its piecing…
La división corporal del mundo, o la ruina estética
«La división corporal del mundo, o la ruina estética» es el segundo capítulo del libro Anteaesthetics. Black Aesthesis and the Critique of Form, publicado por Stanford University Press en 2023. Agradecemos infinitamente a Rizvana Bradley y a la editorial por permitirnostraducir y compartir este trabajo en español
Black Cinematic Gesture and the Aesthetics of Contagion
Anna Rose Holmer’s 2015 feature film debut, The Fits, advances the stakes of black performance, particularly in relation to the critical interrogation of the loss of gesture in the history of cinema. Thinking about migration in close association with the gestural, the continued migration of gesture is endemic to black social dance forms, and this fundamentally migratory quality is central to the film’s political and aesthetic imagination
Dancing the Return
Dancing the Return Rizvana Bradley (bio) To go away ... I would arrive sleek and young in this land of mine and I would say to this land whose loam is part of my flesh: "I have wandered for a long time and I am coming back to the deserted hideousness of your sores." —Aime Cesaire, Notebook of a Return to the Native Land I "I am a storyteller ... but I am not here to tell stories, I am here to dance." This strikingly elegant though somewhat crypti…
Performances, Acknowledgments, and Dinner
Living in the Absence of a Body
with a black candidate already stained by the figurations of blackness as sexual aggressiveness, or rapaciousness or impotence, the stain need only be proved reasonably doubted, which is to say, if he is black how can you tell if that really is a stain? Which is also to say, blackness is itself a stain, and therefore unstainable. Which is also to say, if he is black and about to ascend to the Supreme Court bench, if the bench is to become stain f…
James A. Porter & Alain Locke on Race, Culture, and the Making of Art
James A. Porter & Alain Locke on Race, Culture, and the Making of ArtA Roundtable Rizvana Bradley (bio), Margo Natalie Crawford (bio), John McCluskey (bio), and Charles Henry Rowell As I was preparing this special issue of Callaloo • Art, I by chance discovered James A. Porter's essay "The Negro Artist and Racial Bias" in Art Front (1937), a limited-run magazine published by the Artist Union of New York from 1925–1937. As I read Porter's article,…
Transferred Flesh
The performance of Senga Nengudi’s sculptural work R.S.V.P., as part of the exhibition Radical Presence: Black Performance in Contemporary Art, explores the limits of sculptural form, while also submitting idealized representations of the black body in contemporary performance to abstract interrogation
An interview with artist, Pope. L
The idea for this issue of Women & Performance was inspired by a quote from an interview with the artist Pope. L, who once described his crawl works as having “this marvelous creamy nougat center o
Awakening to the World
Turning and turning in wideninggyreThe falcon cannot hear falconer;Things fall apart; centre cannot hold.The blood-dimmed tide is loosed, andeverywhereThe ceremony of innocence is drowned;Surely some revelation is at hand.-William Butler Yeats, The Second ComingThis study commemorates work of scholar, poet, theorist, novelist and traveler Edouard Glissant, taking up invitation in his writing to think world anew. In pages that follow, we will focu…
Introduction
This article, which serves as an introduction to the special issue explains our collective interest in the haptic as an object of inquiry. These collected essays generate critical insight into emergent tactile economies and approach the haptic as a specific set of material negotiations between bodies, spaces, and objects. Together the essays consider how touching, folding, fingering, or tracing the texture of an object, offer themselves as techni…
Introduction
This article, which serves as an introduction to the special issue explains our collective interest in the haptic as an object of inquiry. These collected essays generate critical insight into emergent tactile economies and approach the haptic as a specific set of material negotiations between bodies, spaces, and objects. Together the essays consider how touching, folding, fingering, or tracing the texture of an object, offer themselves as techni…
Awakening to the World
Turning and turning in wideninggyreThe falcon cannot hear falconer;Things fall apart; centre cannot hold.The blood-dimmed tide is loosed, andeverywhereThe ceremony of innocence is drowned;Surely some revelation is at hand.-William Butler Yeats, The Second ComingThis study commemorates work of scholar, poet, theorist, novelist and traveler Edouard Glissant, taking up invitation in his writing to think world anew. In pages that follow, we will focu…
An interview with artist, Pope. L
The idea for this issue of Women & Performance was inspired by a quote from an interview with the artist Pope. L, who once described his crawl works as having “this marvelous creamy nougat center o
Awakening to the World
Turning and turning in wideninggyreThe falcon cannot hear falconer;Things fall apart; centre cannot hold.The blood-dimmed tide is loosed, andeverywhereThe ceremony of innocence is drowned;Surely some revelation is at hand.-William Butler Yeats, The Second ComingThis study commemorates work of scholar, poet, theorist, novelist and traveler Edouard Glissant, taking up invitation in his writing to think world anew. In pages that follow, we will focu…
Introduction
This article, which serves as an introduction to the special issue explains our collective interest in the haptic as an object of inquiry. These collected essays generate critical insight into emergent tactile economies and approach the haptic as a specific set of material negotiations between bodies, spaces, and objects. Together the essays consider how touching, folding, fingering, or tracing the texture of an object, offer themselves as techni…
Transferred Flesh
The performance of Senga Nengudi’s sculptural work R.S.V.P., as part of the exhibition Radical Presence: Black Performance in Contemporary Art, explores the limits of sculptural form, while also submitting idealized representations of the black body in contemporary performance to abstract interrogation
Living in the Absence of a Body
with a black candidate already stained by the figurations of blackness as sexual aggressiveness, or rapaciousness or impotence, the stain need only be proved reasonably doubted, which is to say, if he is black how can you tell if that really is a stain? Which is also to say, blackness is itself a stain, and therefore unstainable. Which is also to say, if he is black and about to ascend to the Supreme Court bench, if the bench is to become stain f…
James A. Porter & Alain Locke on Race, Culture, and the Making of Art
James A. Porter & Alain Locke on Race, Culture, and the Making of ArtA Roundtable Rizvana Bradley (bio), Margo Natalie Crawford (bio), John McCluskey (bio), and Charles Henry Rowell As I was preparing this special issue of Callaloo • Art, I by chance discovered James A. Porter's essay "The Negro Artist and Racial Bias" in Art Front (1937), a limited-run magazine published by the Artist Union of New York from 1925–1937. As I read Porter's article,…
Dancing the Return
Dancing the Return Rizvana Bradley (bio) To go away ... I would arrive sleek and young in this land of mine and I would say to this land whose loam is part of my flesh: "I have wandered for a long time and I am coming back to the deserted hideousness of your sores." —Aime Cesaire, Notebook of a Return to the Native Land I "I am a storyteller ... but I am not here to tell stories, I am here to dance." This strikingly elegant though somewhat crypti…
Performances, Acknowledgments, and Dinner
Black Cinematic Gesture and the Aesthetics of Contagion
Anna Rose Holmer’s 2015 feature film debut, The Fits, advances the stakes of black performance, particularly in relation to the critical interrogation of the loss of gesture in the history of cinema. Thinking about migration in close association with the gestural, the continued migration of gesture is endemic to black social dance forms, and this fundamentally migratory quality is central to the film’s political and aesthetic imagination
Profane Illumination
This article discusses Göran Olsson’s 2014 documentary film, Concerning Violence: Nine Chapters of the Anti-Imperialistic Defense. The film’s handling of a continental archive has gone relatively unexamined and has indeed been neglected, given how ambitious Olsson’s documentary is in terms of the breadth of its coverage of African resistance struggles across the continent. This article examines whether and how Olsson’s documentary, in its piecing…
La división corporal del mundo, o la ruina estética
«La división corporal del mundo, o la ruina estética» es el segundo capítulo del libro Anteaesthetics. Black Aesthesis and the Critique of Form, publicado por Stanford University Press en 2023. Agradecemos infinitamente a Rizvana Bradley y a la editorial por permitirnostraducir y compartir este trabajo en español
Art (7 works) · Aesthetics (4 works) · History (4 works) · Sociology (4 works) · Visual arts (4 works) · Art history (3 works) · Art, Politics, and Modernism (3 works) · Cinema and Media Studies (3 works) · Computer Science (3 works) · Theatre and Performance Studies (3 works)