Theorie: From Freestyle to Fore- Post-Black Art and beyond (gLV) 

Angebot für

Nummer und TypBKM-BKM-Th.18F.019 / Moduldurchführung
VeranstalterDepartement Fine Arts
LeitungNana Adusei-Poku
Anzahl Teilnehmendemaximal 18
ECTS3 Credits
VoraussetzungenSeminar language: English
Prior extensive reading and independent engagement with the materials is mandatory for this seminar.
ZielgruppenStudents BA Art & Media
Open for students from all departments

Participants from other departements please send an email to and will be contacted in week 6.
Lernziele / KompetenzenIntroduction to concepts such as Black Art, Afropolitanism, Post-Black, Afropessimism and African-American Art since the early 2000s
InhalteHow to make sense of the term "post-black" that has stirred so much controversy in the early 2000s in the U.S. context sixteen years past its invention? The term was used for a generation of black artists that seemed to distance themselves from previous generations who utilized the term "black" to define their practices as a definition of self and as a form of political resistance. Through recent activist work (i.e. Black Lives Matter) and media attention to persistent systemic racism as well as the rise of rightwing populism, “post-black” appears more than obsolete and is seldom used in the arts or in wider social discourse. This course will introduce key terms and debates such as Black Art, Afropolitanism, Post-Black, Afropessimism and African-American Art since the early 2000s. Moreover, it will discuss if "post-black" can be determined as a style through examples such as Hank Willis Thomas, Leslie Hewitt, Mark Bradford, Mickalene Thomas and others.

Nana Adusei-Poku (PhD) is an independent scholar, writer and educator as well as guest lecturer at the Zurich University of the Arts. She received her PhD from Humboldt University Berlin for her thesis on post-black art within the graduate program “Gender as a category of Knowledge”.
Bibliographie / LiteraturCore Reading:
Adusei-Poku, Nana. “Post-Post-Black?” Nka Journal of Contemporary African Art 2016, no. 38–39 (November 1, 2016): 80–89.
Cahan, Susan. Mounting Frustration: The Art Museum in the Age of Black Power. Art History Publication Initiative. Durham: Duke University Press, 2016.
Golden, Thelma, and Christine Y Kim, eds. Frequency. New York: Studio Museum in Harlem, 2005.
Haynes, Lauren, curator, Naima J. curator Keith, and Thomas J. curator Lax, eds. Fore. New York, NY: The Studio Museum in Harlem, 2012.
Kim, Christine Y., and Samir S. Patel. Flow : The Studio Museum in Harlem. New York, N.Y.: Studio Museum in Harlem, 2008.
Kim, Christine Y, and Franklin Sirmans, eds. Freestyle: The Studio Museum in Harlem. New York, NY: The Museum, 2001.
Martin, Courtney J. Four Generations: The Joyner/Giuffrida Collection of Abstract Art. New York: Gregory RMiller & Co, 2016.
Patton, Sharon F. African-American Art. Oxford History of Art. Oxford ;New York: Oxford University Press, 1998.
Leistungsnachweis / TestatanforderungRegelmässige, aktive Teilnahme. 80% Anwesenheitspflicht
TermineBlockwoche 3 (14.- 18.5.2018)
Bewertungsformbestanden / nicht bestanden
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