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Shifting Landscapes

Shifting Landscapes Elisabeth Lalouschek t’s a dic ffi ult task to summarize October Gallery’s long interim. I already knew Jegede’s work well and Sokari Douglas timeline of interactions with artists from Africa and Camp’s, which was also featured, but the real revelation was the the African diaspora. Furthermore, given the rapidly sight of El Anatsui, tearing powerfully through wood with pre- shifting landscapes of the art world (both local and cisely controlled movements of a chainsaw (Fig. 1). That fateful global) over the last thirty-plus years, and with so many film marked the first time I ever saw El Anatsui’s work, and I Iinterconnecting streams at play, to retrace the arc of our became seriously excited and set about trying to contact this involvement accurately would require a much longer text than artist. In the early 1990s I did not yet have access to the internet to this. What follows, then, is a series of memories arranged along do a global search on someone’s name. At the time, one just “put a simple chronological timeline. It represents a subjective version out the word,” which spread slowly but inevitably from contact to of some of the extraordinary changes that have occurred during http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png African Arts MIT Press

Shifting Landscapes

Lalouschek, Elisabeth
African Arts , Volume 54 (1): 12 – Mar 1, 2021
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Publisher
MIT Press
Copyright
© 2021 by the Regents of the University of California.
ISSN
0001-9933
eISSN
1937-2108
DOI
10.1162/afar_a_00566
Publisher site
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Abstract

Elisabeth Lalouschek t’s a dic ffi ult task to summarize October Gallery’s long interim. I already knew Jegede’s work well and Sokari Douglas timeline of interactions with artists from Africa and Camp’s, which was also featured, but the real revelation was the the African diaspora. Furthermore, given the rapidly sight of El Anatsui, tearing powerfully through wood with pre- shifting landscapes of the art world (both local and cisely controlled movements of a chainsaw (Fig. 1). That fateful global) over the last thirty-plus years, and with so many film marked the first time I ever saw El Anatsui’s work, and I Iinterconnecting streams at play, to retrace the arc of our became seriously excited and set about trying to contact this involvement accurately would require a much longer text than artist. In the early 1990s I did not yet have access to the internet to this. What follows, then, is a series of memories arranged along do a global search on someone’s name. At the time, one just “put a simple chronological timeline. It represents a subjective version out the word,” which spread slowly but inevitably from contact to of some of the extraordinary changes that have occurred during

Journal

African Arts – MIT Press

Published: Mar 1, 2021

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