Kori Newkirk

This catalogue was produced on the occasion of Kori Newkirk: 1997-2007, an exhibition presenting work created after Kori Newkirk received his MFA from the University of California at Irvine through today. Newkirk is a celebrated multimedia artist whose practice is based on transforming everyday materials into loaded signifiers making viewers think not only about concepts of African-American culture and beauty, but also of new and ever-changing ways of making art. This 128 page full-color soft-cover catalogue with sixty illustrations illuminates how the varied but interrelated strands of Newkirk¿s practice have converged and developed over time. It is the first major publication devoted to Newkirk¿s work. It includes a detailed biography and exhibition history. It features essays by Huey Copeland, Dominic Molon and Deborah Willis, and a Q+A with Newkirk and Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem. Newkirk, who was born in the Bronx, raised in Cortland, New York, and currently lives and works in Los Angeles, creates work informed by his whole life and experience.

An artist book on studio practice and process. Images of sketchbooks, materials, references, drawings, etc. that have contributed to works from 1993-present are interwoven with informal excerpts of conversations with Daniel Joseph Martinez, Jason Medows, Soraya Murray, Lorraine Molina and Chris Oatey.

Incorporating powerful images from a range of artistic venues, an intellectual follow-up to the award-winning Cant Stop Won't Stop considers how violent culture disputes are still occurring in spite of the past half century's progress in race relations.

'Post-black' refers to an emerging trend within black arts to find new and multiple expressions of blackness, unburdened by the social and cultural expectations of blackness of the past and moving beyond the conventional binary of black and white. Reflecting this multiplicity of perspectives, the plays in this collection explode the traditional ways of representing black families on the American stage, and create new means to consider the interplay of race, with questions of class, gender, and sexuality. They engage and critique current definitions of black and African-American identity, as well as previous limitations placed on what constitutes blackness and black theatre. Written by the emerging stars of American theatre such as Eisa Davis and Marcus Gardley, the plays explore themes as varied as family and individuality, alienation and gentrification, and reconciliation and belonging. They demonstrate a wide-range of formal and structural innovations for the American theatre, and reflect the important ways in which contemporary playwrights are expanding the American dramatic canon with new and diverse means of representation. Edited by two leading US scholars in black drama, Harry J. Elam Jr (Stanford) and Douglas A. Jones Jr (Princeton), this cutting edge anthology gathers together some of the most exciting new American plays, selected by a rigorous academic backbone and explored in depth by supporting critical material.

Now in paperback, "one of the most acutely observed accounts of what it is like to be young, Black, and middle-class in contemporary America...told in a distinctive voice that is often humorous...but always intensely engaging" (Orlando Patterson, The New York Times). In this provocative book, writer and cultural critic Tour explores the concept of Post-Blackness: the ability for someone to be rooted in but not restricted by their race. Drawing on his own experiences and those of 105 luminaries, he argues that racial identity should be understood as fluid, complex, and self-determined.

Contemporary art sometimes pretends to have made a clean break with history. In The Perpetual Guest, poet and critic Barry Schwabsky demonstrates that any robust understanding of art's present must also account for the ongoing life and changing fortunes of its past. Surveying the art world of recent decades, Schwabsky attends not only to its most significant newer faces-among them, Kara Walker, Thomas Hirschhorn, Ai Weiwei, Chris Ofili, and Lorna Simpson-but their forebears as well, both near (Jeff Wall, Nancy Spero, Dan Graham, Cindy Sherman) and more distant (Velzquez, Manet, Matisse, and the portraitists of the Renaissance). Schwabsky's rich and subtle contributions illuminate art's present moment in all its complexity: shot through with determinations produced by centuries of interwoven traditions, but no less open-ended for it.

"Richard Schur offers a provocative view of contemporary African American cultural politics and the relationship between African American cultural production and intellectual property law." ---Mark Anthony Neal, Duke University "Whites used to own blacks. Now, they accomplish much the same thing by insisting that they 'own' ownership. Blacks shouldn't let them. A culture that makes all artists play by its rules will end up controlling new ideas and stifling change. Richard Schur's fine book explains why." ---Richard Delgado, Seattle University What is the relationship between hip-hop and African American culture in the post--Civil Rights era? Does hip-hop share a criticism of American culture or stand as an isolated and unique phenomenon? How have African American texts responded to the increasing role intellectual property law plays in regulating images, sounds, words, and logos? Parodies of Ownership examines how contemporary African American writers, artists, and musicians have developed an artistic form that Schur terms "hip-hop aesthetics." This book offers an in-depth examination of a wide range of contemporary African American painters and writers, including Anna Deavere Smith, Toni Morrison, Adrian Piper, Colson Whitehead, Michael Ray Charles, Alice Randall, and Fred Wilson. Their absence from conversations about African American culture has caused a misunderstanding about the nature of contemporary cultural issues and resulted in neglect of their innovative responses to the post--Civil Rights era. By considering their work as a cross-disciplinary and specifically African American cultural movement, Schur shows how a new paradigm for artistic creation has developed. Parodies of Ownership offers a broad analysis of post--Civil Rights era culture and provides the necessary context for understanding contemporary debates within American studies, African American studies, intellectual property law, African American literature, art history, and hip-hop studies. Weaving together law, literature, art, and music, Schur deftly clarifies the conceptual issues that unify contemporary African American culture, empowering this generation of artists, writers, and musicians to criticize how racism continues to affect our country. Richard L. Schur is Director, Interdisciplinary Studies Center, and Associate Professor of Interdisciplinary Studies at Drury University. Visit the author's website: http://www2.drury.edu/rschur/index.htm. Cover illustration: Atlas, by Fred Wilson. © Fred Wilson, courtesy Pace Wildenstein, New York.