An expansive look at more than a century of Pan-Africanist art and the ways it embodies the movement's principles and global ambitions

Since the term Pan-Africanism was coined around 1900, the movement's promise has been to foster liberation and solidarity for Black peoples worldwide. Focusing on its cultural expression, this book presents a rich selection of the visual, sonic, and other creative forms that have emerged throughout Pan-Africanism's evolution. Among the nearly two hundred artists represented from across the continent and the African diaspora are Beauford Delaney, Ibrahim El-Salahi, Hoyt William Fuller, Wifredo Lam, Simone Leigh, Ernest Mancoba, Zanele Muholi, Kawira Mwirichia, Cauleen Smith, Alma Thomas, and George Albert Yon.

Reflecting Pan-Africanism's ideals of diversity and dialogue as well as its aspirations to egalitarianism, essays from more than a dozen scholars, artists, and practitioners speak to a range of themes and places, while discussing works in all media made or circulated outside the infrastructure of fine art, including LP albums, illustrated magazines, and manifestos.

Distributed for The Art Institute of Chicago

Exhibition Schedule:

The Art Institute of Chicago
(December 15, 2024-March 30, 2025)

MACBA Museu d'Art Contemporani, Barcelona
(November 6, 2025-April 6, 2026)

Barbican Centre, London
(June 10-September 6, 2026)

KANAL-Centre Pompidou, Brussels
(Fall 2026-Winter 2027)

An exploration of contemporary African masquerade that reveals its cultural contexts, artistic innovations, and intersection with museum collection practices

By placing masquerade at the forefront of contemporary African art, this volume shows how masquerade is a dynamic and urban phenomenon shaped by shifting global concerns. Essays examine the lack of institutional recognition offered to present-day masquerade artists and the methods used to curate masquerade art at the museum level. An international group of scholars and artists explore the motivations and creative decisions of masquerade artists, highlighting their stories and providing a nuanced understanding of masquerade as a contemporary expression of human experience.

This lavishly illustrated study includes more than 150 images, artist's biographies, in-depth analyses of masquerade ensembles in relation to themes of collaboration, economics, and meaning, and a discussion of the methodologies for ethically commissioning and acquiring masquerade art.

Distributed for the New Orleans Museum of Art

Exhibition Schedule:

New Orleans Museum of Art
(April 4-August 10, 2025)

Frist Museum, Nashville, TN
(October 10, 2025-January 4, 2026)

San Antonio Museum of Art
(February 27-July 5, 2026

Museum of Fine Arts, St. Petersburg, FL
(September 2026-January 2027)

National Museum of African Art, Smithsonian, Washington, DC
(February 19-September 26, 2027)

Concurrently with:

Museum of Black Civilization, Dakar, Senegal
(TBD)

Sierra Leone National Museum, Freetown
(TBD)

National Museum of Calabar, Nigeria
(TBD)

A colossal, panoramic, much-needed appraisal of the visual cultures of Afro-Atlantic territories across six centuries

Named one of the best books of 2021 by Artforum

Afro-Atlantic Histories brings together a selection of more than 400 works and documents by more than 200 artists from the 16th to the 21st centuries that express and analyze the ebbs and flows between Africa, the Americas, the Caribbean and Europe. The book is motivated by the desire and need to draw parallels, frictions and dialogues around the visual cultures of Afro-Atlantic territories--their experiences, creations, worshiping and philosophy. The so-called Black Atlantic, to use the term coined by Paul Gilroy, is geography lacking precise borders, a fluid field where African experiences invade and occupy other nations, territories and cultures.
The plural and polyphonic quality of histórias is also of note; unlike the English histories, the word in Portuguese carries a double meaning that encompasses both fiction and nonfiction, personal, political, economic and cultural, as well as mythological narratives.
The book features more than 400 works from Africa, the Americas and the Caribbean, as well as Europe, from the 16th to the 21st century. These are organized in eight thematic groupings: Maps and Margins; Emancipations; Everyday Lives; Rites and Rhythms; Routes and Trances; Portraits; Afro Atlantic Modernisms; Resistances and Activism.
Artists include: Nina Chanel Abney, Emma Amos, Benny Andrews, Emanoel Araujo, Maria Auxiliadora, Romare Bearden, John Biggers, Paul Cézanne, Victoria Santa Cruz, Beauford Delaney, Aaron Douglas, Melvin Edwards, Ibrahim El-Salahi, Ben Enwonwu, Ellen Gallagher, Theodore Géricault, Barkley Hendricks, William Henry Jones, Loïs Mailou Jones, Titus Kaphar, Wifredo Lam, Norman Lewis, Ibrahim Mahama, Edna Manley, Archibald Motley, Abdias Nascimento, Gilberto de la Nuez, Toyin Ojih Odutola, Dalton Paula, Rosana Paulino, Howardena Pindell, Heitor dos Prazeres, Joshua Reynolds, Faith Ringgold, Gerard Sekoto, Alma Thomas, Hank Willis Thomas, Rubem Valentim, Kara Walker and Lynette Yiadom-Boakye.

As featured in the New York Times, ARTnews, Colossal, Metropolis and New York Magazine's The Strategist

A groundbreaking A-Z survey of the work of over 300 modern and contemporary artists born or based in Africa

Modern and Contemporary African art is at the forefront of the current curatorial and collector movement in today's art scene. This groundbreaking new book, created in collaboration with a prestigious global advisory board, represents the most substantial appraisal of contemporary artists born or based in Africa available. Features the work of more than 300 artists, including El Anatsui, Marlene Dumas, David Goldblatt, Lubaina Himid, William Kentridge, Julie Mehretu, Wangechi Mutu, and Robin Rhode, as well as lesser-known names from across Africa, with stunning and surprising examples of their art paired with insightful texts that demonstrate their contribution to the painting, sculpture, installation, photography, moving image, and performance art.

Advisory Panel: Alayo Akinkugbe, Kavita Chellaram, Raphael Chikukwa, Julie Crooks, Tandazani Dhlakama, Oumy Diaw, Janine Gaëlle Dieudji, Ekow Eshun, Ndubuisi C. Ezeluomba, Joseph Gergel, Danda Jaroljmek, Omar Kholeif, Rose Jepkorir Kiptum, Alicia Knock, Nkule Mabaso, Lucy MacGarry, Owen Martin, Aude Christel Mgba, Bongani Mkhonza, Riason Naidoo, Paula Nascimento, Simon Njami, Robert Njathika, Ugochukwu-Smooth C. Nzewi, Chika Okeke-Agulu, Hannah O'Leary, Sean O'Toole, John Owoo, Brenda Schmahmann, Mark Sealy, Yasmeen Siddiqui, and Joseph L. Underwood

The first exploration of the artistic and cultural intersections of the African continent and the Byzantine world

Medieval art history has long emphasized the glories of the Byzantine Empire, but less known are the profound artistic contributions of Nubia, Egypt, Ethiopia, and other powerful African kingdoms whose pivotal interactions with Byzantium had an indelible impact on the medieval Mediterranean world. Bringing together more than 170 masterworks in a range of media and techniques--from mosaic, sculpture, pottery, and metalwork to luxury objects, panel paintings, and religious manuscripts--Africa and Byzantium recounts Africa's centrality in transcontinental networks of trade and cultural exchange. With incisive scholarship and new photography of works rarely or never before seen in public, this long-overdue publication sheds new light on the staggering artistic achievements of late antique Africa. It reconsiders the continent's contributions to the development of the premodern world and offers a more complete history of Africa as a vibrant, multiethnic society of diverse languages and faiths that played a crucial role in the artistic, economic, and cultural life of Byzantium and beyond.

Published by The Metropolitan Museum of Art/Distributed by Yale University Press

Exhibition Schedule:

The Metropolitan Museum of Art, New York
(November 19, 2023-March 3, 2024)

The Cleveland Museum of Art
(April 14-July 21, 2024)

This deluxe hardcover survey, featuring profiles of 50 artists on the rise, is the definitive guide to contemporary African art.

With African artists attracting sizable audience numbers to museums, setting sky-high auction records, and appearing in mainstream press, it has become impossible to overlook the cultural significance of contemporary African art today. Author and curator Osei Bonsu's engaging profiles of leading African artists--along with gorgeous full-color reproductions of their work--introduce readers to a generation of movers and shakers whose innovative artwork reflects on Africa as both an idea and an experience. Using diverse forms, languages, and expressions to articulate what it means to be a part of the world, these artists generate alternate histories and imaginative futures--work that is both personal and political, universal and incredibly specific. Their work helps define contemporary African art as a vast artistic and cultural movement.

STELLAR ROSTER OF ARTISTS: Amoako Boafo, Njideka Akunyili Crosby, Tunji Adeniyi-Jones, Bronwyn Katz--from household names to up-and-coming artists, African Art Now features some of the most exciting artists working today.
IMPORTANT AND TIMELY: Over the past two decades, contemporary African art has become part of the global mainstream, inspiring countless exhibitions, fairs, and auctions around the world. And yet, African art remains overlooked as an area of dedicated study due to continued academic and cultural bias. This book shines a spotlight on the artists whose wide-ranging accomplishments represent the shifting dynamics and boundless possibilities of African art today.

Perfect for:

• Artists, art collectors, art lovers, and museumgoers
• Educators and students
• Anyone interested in learning about contemporary African art

In the past few decades, Western studies of Afrofuturism have grown to encompass examples deriving from multiple sites across the diaspora, as well as from the African continent. However, an increasing number of Africans and Africanists have voiced their concerns about grouping African work under the larger umbrella of Afrofuturism without distinction and have emphasized the need to investigate the differences between African American and African production. This book offers an introduction to Africanfuturism--a body of African speculative works that is distinguishable from, albeit related to, US-based Afrofuturism. Kimberly Cleveland uses Africanfuturism as an intellectual lens to explore works that embody combinations of possibilities, challenges, and concerns related to what lies ahead for the continent and its peoples. This book highlights twenty-first-century film, video, painting, sculpture, photography, tapestry, novels, short stories, comic books, song lyrics, and architecture by African creatives of different nationalities, races, ethnicities, genders, and generations. Cleveland analyzes the ideas and opinions of African intellectuals and cultural producers, combining interviews with historical research. Each chapter features one of Africanfuturism's most common themes: space and time exploration, creation of worlds, technology and the digital divide, Sankofa and remix, and mythmaking. This investigation of Africanfuturism is geared toward students, academics, and Afrofuturism enthusiasts, and its included discussion questions facilitate classroom use. The book illuminates Africa's place in the worlds of science fiction and fantasy and how Africanfuturist work builds on the continent's own traditions of speculative expression. Because these creative works disrupt the history of Western domination in Africa, Cleveland also connects Africanfuturism with the process of decolonization and addresses specific ways in which African creatives (re)center indigenous beliefs, strategies, and approaches in their production. Africanfuturism encourages both imaginative possibilities and potential real-world outcomes, highlighting the rich contributions of Africans to the vision of future worlds.

A collection of Jamaican folktales about Annancy the Spider as told by famous Tarot artist Pamela C. Smith with a foreward by the publisher.

The art of the Fang, the BaTeke, the BaKota, and other African peoples is extraordinarily vigorous and shows a brilliant sense of form. The substantial aesthetic impact that their works have had on the development of twentieth-century Western art--on Picasso, Derain, Braque, and Modigliani, among others--continues to this day. This classic study reveals the astonishing variety and expressive power of the art of a continent that contains more distinct peoples and cultures than any other. The revised edition has been updated throughout, incorporating recent research and additional illustrations, plus a new chapter and extended bibliography. It remains an invaluable resource for students and for anyone interested in African art.

This indispensable introductory guide explores the art of the African continent from its early origins over 150,000 years ago to the contemporary, set in the context of postcolonial debates, the restitution of cultural objects and artifacts, and the challenges of the present. This enormous and complex field of study, once under-appreciated by the Western art world, is now of global importance and an essential subject of education in art history.

For ease of reference and analysis, leading African art expert Suzanne Preston Blier has structured this guide chronologically into manageable and meaningful chapters covering ancient art, the Middle Ages, travel and trade, encounters with Europe in the age of exploration, the colonial era, the rebuilding of the continent in recent times, and contemporary art. Addressed are core, continent-wide themes in African visual and cultural expression, from the life cycle (children, initiation, motherhood, religion) to the body and representations of power dynamics. Important regional artistic expressions are also explored, such as the cultures of Mali (the Western Sudan), Nigeria (the lower Niger and Benue area), the Congo Basin, and various nomadic populations across the continent.

Written from an inclusive, modern perspective, focusing not only on royal traditions but also the broader global history of the continent and its artistic practices, this is an excellent introduction for students, museum visitors, and anyone with an interest in fine art, African history, and cultural studies.

How African visual arts intersect with oral traditions and memory.

Narrative Wisdom and African Arts explores how historical and contemporary African arts make visible narratives rooted in collective and individual memory and knowledge. Historical works made by artists across sub-Saharan Africa during the thirteenth to twentieth centuries dialogue with contemporary works by African artists working around the globe.

This is the first book to offer a comparative examination of intersections between African arts and narrative across expansive genres, cultures, periods, and contexts of patronage. More than two hundred color images explore an extensive array of media including sculpture in wood, ivory, metal, textiles, works on paper, photography, painting, and time-based media works. Acknowledging intersections between certain historical arts and oral traditions, Nichole N. Bridges surveys assorted visual modes and motives of arts that facilitate, document, reinforce, or critique narratives concerning the legitimacy of leaders, memory of place, prescriptions for healing and destiny, and enduring ancestral wisdom.

Published to accompany a major exhibition at Zeitz MOCAA, CapeTown, When We See Us presents a comprehensive exploration of Black representation through portraiture and figuration, celebrating Black subjectivity and Black consciousness from Pan-African and Pan-Diasporic perspectives.

In the past decade, figurative painting by Black artists has risento a new prominence in the field of contemporary art. This timely and revelatory book highlights the many ways in which artists critically engage with notions of blackness, contributing to the critical discourse on topics such as Pan-Africanism, the Civil Rights Movement, African Liberation and Independence movements, the Anti-Apartheid and Black Consciousness mobilizations, Decoloniality, and Black Lives Matter.

With a primary focus on figurative painting, When We See Us explores how Black artists have imagined, positioned, memorialized, and asserted African and African diasporic experiences from the early 20th century to the present day. Featuring more than 200 works of art--and contributions from well-known writers such as Ken Bugul, Maaza Mengiste, Robin Coste Lewis, and Bill Kouelany--When We See Us is a major contribution to our understanding of Black art that will appeal to anyone interested in modern and contemporary figurative art and Black cultural history.

In the years after independence, new art forms and practices flourished at the Casablanca École des beaux-arts, transforming the colonial relic into a wellspring of Moroccan modernism. Casablanca School artists, including Farid Belkahia, Mohammed Chebaa, and Mohammed Melehi, defined the modernist movement in Morocco. Their visual arts activism was displayed at their iconic outdoor exhibition in the Djemaa al-Fna plaza in Marrakech, in their collaborations with the cultural and political journal Souffles, through their radical anticolonial pedagogy, and through their use of abstraction to expand the horizons of postcolonial national culture.

In Moroccan Modernism, Holiday Powers argues that the pedagogy and transnational solidarities of this generation of artists were intrinsic to their broader artistic projects. She advances a novel reading of Moroccan modernism that is rooted in its cosmopolitan national context and in Pan-Africanism and Pan-Arabism, the transnational anticolonial intellectual movements that defined the era.

A landmark survey of the artistic traditions and cross-cultural exchange of Ethiopia, from the early centuries of our era to today

This monumental volume celebrates the artistic traditions of Ethiopia from their origins to the present day, spanning over 1,700 years of history. Seated in the Horn of Africa, the country is an intersection of diverse cultures, religions, and climates. This captivating book examines Ethiopian art as representative of the nation's notable history and demonstrates the enormous cultural significance of this often-overlooked African nation through the themes of cross-cultural exchange and the human role in the creation and movement of art objects. It features hundreds of images of objects, including painted icons, illuminated manuscripts, coins, textiles, metalwork, and carved wooden crosses, in addition to works by contemporary Ethiopian and diaspora artists.

The book's essays, by an international roster of distinguished scholars, expand upon the themes and historical moments of encounter between Ethiopia and surrounding cultures, as well as illuminating technical findings of the Walters Art Museum conservation team. Ethiopia at the Crossroads provides an accessible and wide-ranging overview of the history and culture of a storied region that remains relatively unknown to Western audiences.

Published in association with the Walters Art Museum

Exhibition Schedule:

Walters Art Museum, Baltimore
(December 3, 2023-March 3, 2024)

Peabody Essex Museum, Salem, MA
(April 13-July 7, 2024)

Toledo Museum of Art
(August 18-November 10, 2024)

This new history of over 5,000 years of African art reveals its true diversity for the first time. Challenging centuries of misconceptions that have obscured the sophisticated nature of African art, Garlake focuses on seven key regions--southern Africa, Nubia, Aksum, the Niger River, West Africa, Great Zimbabwe, and the East African coast--treating each in detail and setting them in their social and historical context. Garlake is long familiar with and has extensive practical experience of both the archaeology and the art history of Africa. Using the latest research and archaeological findings, he offers exciting new insights into the works native to these areas, and he also puts forth new interpretations of several key cultures and monuments.
Acknowledging the universal allure of the African art object, this stunning book helps us to understand more about the ways in which this art was produced, used, and received.

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Drawing on curator Okwui Enwezor and art historian Chika Okeke-Agulu's observation of an insistent presence of the human figure in the work of contemporary African artists, Insistent Presence features writing by guest curator Margaret Nagawa that extends existing scholarship on African art. Nagawa's work explores how artists of today continue to leverage the image of the African body to negotiate issues of political and social power, identity, and belonging.

With notions of the presence and absence of the human body as its organizing principle, this publication features forty-five works of sculpture, painting, ceramics, printmaking, and photography by twenty-four artistsin three sections: The Body in Society explores identity in relation to others; The Artist Is Present portrays the body of the artist as a performer sharing their personal histories through theatrical performances, photography, and sculpture; and The Absent Body invokes only a mental image of the body through the depiction of accessories and accoutrements. Each section in Insistent Presence highlights twenty-first-century ways of being in the world and invites us to reflect on ourselves, our relationships, and the worlds we inhabit.

The primary objective of The African in the Making of Cuban Art is to seamlessly blend African cultural concepts into an understanding of the evolution of Cuban art.

This ambitious goal is achieved by delving the core artistic principles that have permeated various African civilizations, notably the Kongo and Yoruba traditions, and are now integral to Cuban art. The book aims to strike a balance in the ongoing discourse about the trajectory of Cuban art, which has primarily been shaped by Western art history. It does so by adopting a measured approach to the legacy of African belief systems, critical issues, and aesthetic choices, thereby acknowledging their profound significance in the development of a unique Cuban art.

The traditional, handcrafted textiles of Africa are sumptuous, intricate, and steeped in cultural significance. Region by region, African Textiles covers, as no other volume has, the handmade textiles of West, North, East, Central, and Southern Africa, outlining the range of weaving techniques, and the different types of looms, materials, and dyes that create these sumptuous works. Nor does it neglect the cultural context of African textiles, assessing the various influences of religion, culture, trade, tradition, fashion, and the changing role of women that inform their creation.

The breathtaking skill and creativity of the African peoples are presented here in radiant color--the gorgeous stripweaves of the Ashanti and the Ewe; the lace weaves of the Yoruba and the bogolanfini mud cloths from Mali and West Africa; the Berber weaves from Algeria, Morocco, and Tunisia in North Africa; the unique, crocheted, embroidered, and feathered hats from Cameroon; the ancient weaving tradition of Ethiopia; the beadwork of the Zulu, Xhosa, and Ndebele peoples of Southern Africa; and the Asian-derived tradition of weaving silk and raphia in Madagascar.

A guide to African textile collections open to the public, a glossary, and suggestions for further reading make this volume a practical as well as beautiful guide to the rich art of African textiles.