Christa Clarke
Biographic Data
| ID | 3957789 |
|---|---|
| NAME | Christa Clarke |
| GIVEN NAMES | Christa |
| FAMILY NAME | Clarke |
| SIGNATURE | CLARKE C |
| AFFILIATIONS | Africa Center |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1995 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
A Transformative Gift
I first met Simon Ottenberg in the mid-1990s at the National Museum of African Art (NMAfA) in Washington DC. At the time, he was a senior research fellow working on the exhibition The Poetics of Line: Seven Artists of the Nsukka Group, which opened at NMAfA in 1997. I was then a graduate student from the University of Maryland on a year-long curatorial fellowship at the museum. Having some familiarity with the range of Simon's scholarship (his 19…
Visibility and the Politics of Representation at the 60th Venice Biennale
This article considers what the African presence at the 2024 Venice Biennale says about visibility and the politics of representation related to broader shifts in the global cultural landscape. It offers an overview of the main exhibition, Stranieri Ovunque—Foreigners Everywhere, curated by Adriano Pedrosa, suggesting that it may be seen as both conceptually canon-expanding and structurally center-affirming. It also discusses the curatorial frame…
Doran Ross, Our Mentor and Friend
I met Doran Ross during my first year of graduate school. I had been enrolled in a graduate class that researched and wrote chapters for the publication that accompanied the exhibition The Eloquent Dead: Ancestral Sculpture of Indonesia and Southeast Asia (1985). I do not know why I, of all the students in the class, was the one asked to work on the exhibition for what was then the Museum of Cultural History in the basement of Haines Hall. I do r…
Arts of Global Africa
Uche Okeke and Chinua Achebe
(2007). Uche Okeke and Chinua Achebe: Artist and Author in Conversation. Critical Interventions: Vol. 1, Is African Art History?, pp. 143-153
Defining African Art
L'A. soutient que le texte de Primitive Negro Sculpture (Paul Guillaume et Thomas Munroe, 1926) peut etre lu comme la codification de la philosophie esthetique de Albert C. Barnes, dont la collection de sculptures africaines a servi a l'elaboration de cet ouvrage. Si la paternite textuelle a pendant longtemps ete attribuee a Guillaume et Munroe, les archives mettent en lumiere l'influence de Barnes du point de vue de l'ideologie et de la substanc…
A Personal Journey
A Personal Journey
African Art
John Graham and the Crowninshield Collection of African Art
Fusion
Defining African Art
L'A. soutient que le texte de Primitive Negro Sculpture (Paul Guillaume et Thomas Munroe, 1926) peut etre lu comme la codification de la philosophie esthetique de Albert C. Barnes, dont la collection de sculptures africaines a servi a l'elaboration de cet ouvrage. Si la paternite textuelle a pendant longtemps ete attribuee a Guillaume et Munroe, les archives mettent en lumiere l'influence de Barnes du point de vue de l'ideologie et de la substanc…
Arts of Global Africa
Uche Okeke and Chinua Achebe
(2007). Uche Okeke and Chinua Achebe: Artist and Author in Conversation. Critical Interventions: Vol. 1, Is African Art History?, pp. 143-153
John Graham and the Crowninshield Collection of African Art
Fusion
African Art
A Personal Journey
A Personal Journey
Defining African Art
L'A. soutient que le texte de Primitive Negro Sculpture (Paul Guillaume et Thomas Munroe, 1926) peut etre lu comme la codification de la philosophie esthetique de Albert C. Barnes, dont la collection de sculptures africaines a servi a l'elaboration de cet ouvrage. Si la paternite textuelle a pendant longtemps ete attribuee a Guillaume et Munroe, les archives mettent en lumiere l'influence de Barnes du point de vue de l'ideologie et de la substanc…
Uche Okeke and Chinua Achebe
(2007). Uche Okeke and Chinua Achebe: Artist and Author in Conversation. Critical Interventions: Vol. 1, Is African Art History?, pp. 143-153
Arts of Global Africa
Doran Ross, Our Mentor and Friend
I met Doran Ross during my first year of graduate school. I had been enrolled in a graduate class that researched and wrote chapters for the publication that accompanied the exhibition The Eloquent Dead: Ancestral Sculpture of Indonesia and Southeast Asia (1985). I do not know why I, of all the students in the class, was the one asked to work on the exhibition for what was then the Museum of Cultural History in the basement of Haines Hall. I do r…
Visibility and the Politics of Representation at the 60th Venice Biennale
This article considers what the African presence at the 2024 Venice Biennale says about visibility and the politics of representation related to broader shifts in the global cultural landscape. It offers an overview of the main exhibition, Stranieri Ovunque—Foreigners Everywhere, curated by Adriano Pedrosa, suggesting that it may be seen as both conceptually canon-expanding and structurally center-affirming. It also discusses the curatorial frame…
A Transformative Gift
I first met Simon Ottenberg in the mid-1990s at the National Museum of African Art (NMAfA) in Washington DC. At the time, he was a senior research fellow working on the exhibition The Poetics of Line: Seven Artists of the Nsukka Group, which opened at NMAfA in 1997. I was then a graduate student from the University of Maryland on a year-long curatorial fellowship at the museum. Having some familiarity with the range of Simon's scholarship (his 19…
Art (10 works) · African history and culture studies (7 works) · Visual arts (7 works) · Art history (5 works) · History (4 works) · Sociology (4 works) · Cultural Industries and Urban Development (3 works) · Aesthetics (2 works) · African art (2 works) · Art History and Market Analysis (2 works)