Skunder Boghossian - U.n. (Wfuna) Art Graphic - “Combat Racism “ Ethiopian

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Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176299960825 SKUNDER BOGHOSSIAN - U.N. (WFUNA) ART GRAPHIC - “COMBAT RACISM “ ETHIOPIAN. SKUNDER BOGHOSSIAN - U.N. (WFUNA) ART GRAPHIC - “COMBAT RACISM “ ETHIOPIAN PRINT MEASURING 8 1/2 X 11 INCHES Alexander "Skunder" Boghossian was an Ethiopian-Armenian painter and art teacher. He spent much of his life living and working in the United States. He was one of the first, and by far the most acclaimed, contemporary Black artists from the African continent to gain international attention.

Alexander "Skunder" Boghossian (July 22, 1937 – May 4, 2003) was an Ethiopian-Armenian painter and art teacher. He spent much of his life living and working in the United States.[2] He was one of the first, and by far the most acclaimed, contemporary Black artists from the African continent to gain international attention.[3] Early life Boghossian was born on July 22, 1937, in Addis Ababa, the capital city of Ethiopia, a year and a half after the Second Italo-Abyssinian War.[4][2] His mother, Weizero Tsedale Wolde Tekle, was Ethiopian.[2] His father, Kosrof Gorgorios Boghossian, was a colonel in the Kebur Zabagna (Imperial Bodyguard) and of Armenian descent. Boghossian also has a sister, Aster Boghossian, and a half brother, Mulugeta Kassa.[5][6] Boghossian's father was active in the resistance against the Italian occupation and was imprisoned for seven years when Boghossian was one year old.[2][6] His mother had set up a new life apart her children and although both he and his sister Aster (Esther) visited their mother frequently, they were raised in the home of their uncle Kathig Boghassian.[5] Kathig, who was serving as the Assistant Minister of Agriculture, together with other uncles and aunts brought them up during their father's imprisonment.[5] He attended a traditional kindergarten where he was taught the Ge'ez script.[2] In primary and secondary school, he was taught by both Ethiopian and foreign tutors and became fluent in Amharic, Armenian, English, and French.[2] He studied art informally at the Teferi Mekonnen School.[7] He also studied under Stanislaw Chojnacki, a historian of Ethiopian art and watercolor painter.[7] French Canadian philosopher and painter, Jacques Goudbet, also influenced Boghossian, allowing him to create paintings without them feeling forced.[6] As a teenager, an African American neighbor and family friend, Larry Erskine not only gave him his first feedback on his drawings, but introduced him to jazz through Voice of America, and throughout his life jazz was often playing in the background as he worked on paintings. He claimed jazz to be "a very heavy movement of the twentieth century. It is not one person; it is not one thought, it is a combination of geniuses... the constant modulation of concepts... it is the one thing we have, black folks, as artists...".[8][6] Personal life Boghossian met Marily Pryce in Paris, 1964, while she was studying cinematography. They were married in Tuskegee, Alabama, Pryce's hometown, but the marriage later ended in divorce. He had two children, Aida Mariam and Edward Addisu, a sister, and four grandchildren.[1][7][9][6] Political and cultural views While he spent some time in Paris, Boghossian talked often about political and cultural influences, citing Frantz Fanon, Aimé Césaire, Cheikh Anta Diop and well as creative forces in modern art like Paul Klee. Less well-known painters like Gerard Sekoto introduced him to the great Cuban surrealist painter, Wifredo Lam. He also worked closely with a group of West African artists.[8] The radical politics of Black Power and the Black Arts Movement in the United States can be seen and they seem to have inspired his paintings with coded and overt political themes, such as Black Emblem (1969), The End of the Beginning (1972), and DMZ (1975).[10] His involvement with the Black Arts Movement impacted his work in more ways than just one. His earlier paintings depended on the combination of biomorphic forms and minutely detailed abstract notations, he populated the spaces of his new work with bold, polychomatic, geometric, and "African" motifs.[10] Style and technique Bird Icon (1964) Taking a look at his heritage, Ethiopia has a long tradition of wall painting in churches and of illustrated manuscripts reaching back to the eighth century. It is from this cultural fountain that once included three-fourths of Ancient Egypt, the builders of the great pyramids and the cradle of civilization, that the artist drew inspiration from.[11] He also mined his early childhood memories, Coptic markings in Biblical art, illuminated church manuscripts, and ancient scrolls to stamp iconic signatures thick and crusty, flat and smooth, on canvas, hardboard, bark cloth, aluminum or paper.[3] When considering his art as a whole, he focused on color being used to illuminate, to create superimposed dimensions of form and shape, which in turn enables the viewer to first see the painting as a unit, then as a simultaneous breaking up of images, and finally as a recognition of the identities.[10] He wanted his viewers to look at his paintings and make up their own interpretations, all the while imagining the figures on the canvas being brought to life rather than just being placed on there. Boghossian greatly valued the importance of rhythm in his paintings.[10] Spirituality and influences Boghossian, like other African American artists at this time, balanced multiple cultural, spiritual, and ancestral identities. He incorporated many different religious symbols in both his life and in his work ranging from Christian, to African, to Santerian. He would often start his day sprinkling the house with St. Michael’s holy water, meditate, burn incense, and commune with the “jujus”, asking for forgiveness and blessings. He once refused to work in a studio while creating his piece for the Ethiopian embassy because an assistant began working before he could communicate with the “jujus.” His use of these faiths was not a religious one, but a secular resepecting of his ancestors, who hailed from both Armenia and Ethiopia. Using imagery from däbtära magic scrolls, he utilizes a composition he calls “quflfu,” or the “interlocked.” This is a composition of interlacing and interweaving images and textures. This composition also mirrors Ethiopian craftsmanship like baskets and the cultural dress, the tebab. Boghossian would also directly use these däbtära scrolls, scraping the original image off to leave only a shadow of what was once on it. He would then use these remaining impressions to create more vibrant works, repurposing the scrolls.[12] Substance abuse combined with his spirituality also was the generator for many of his works. The Metamorphoses, a visualization of Franz Kafka’s, The Metamorphosis, is a perfect example of the combination of the two. Often after a drinking binge, Boghossian would create visceral, gripping works between the battle of good and evil. This is seen in The Metamorphoses with the evil spirit pulling him towards alcohol, and his good spirit urging him to stop. This conflict is a common theme in many of his works.[12] Education and career Boghossian won second prize at the Jubilee Anniversary Celebration of Haile Selassie I in 1954.[13] The next year he was granted a government scholarship which allowed him to travel to London to study at the Saint Martin's School of Art, Central School of Art and Design, and Slade School of Fine Art, and two years later to Paris, where he studied and taught at the Académie de la Grande Chaumière and the Ecole Nationale Supérieure des Beaux Arts. After meeting artists and likeminded individuals like Leopold Sedar Sendhor and Madelaine Rousseux, Boghossian gained enough clout to be invited to participate in the Second Congress of Negro Artists and Writers in Rome. This along with his acclaim gained from his 1964 exhibition at the Galerie Lambert earned him an invitation to become a member of the avant-garde movement, Phase, which he left shortly to work with André Breton.[6] In 1966 he returned home, teaching at Addis Ababa's School of Fine Arts until 1969. In 1970 he emigrated to the United States, first to Atlanta, where he became acquainted with the Black Arts Movement and taught at Atlanta's Center for Black Art, then he moved to Washington D.C., where he taught at Howard University from 1972 until 2001.[10][6] Boghossian was the first contemporary African artist to have his work purchased by the Musee d’Art Moderne in Paris in 1963. In 1965, the Museum of Modern Art in New York acquired his painting Juju's Wedding (1964).[6] In 1977, he became the first African to design a First Day Cover for a United Nations stamp.[14] He was commissioned by the World Federation of United Nations Associations.[14] His pen and ink drawing on the theme of "Combat Racism" for the cover and the accompanying stamp were issued on September 19, 1977.[14] In 2001, Boghossian worked with Kebedech Tekleab on a commission called Nexus for the Wall of Representation at the Embassy of Ethiopia in Washington, D.C.[15] The work is an aluminum relief sculpture (365 x 1585 cm) mounted on the granite wall of the embassy.[15] Nexus includes decorative motifs, patterns and symbols from Ethiopian religious traditions including Christianity, Judaism, Islam and other indigenous spiritual practices incorporating symbolic scrolls and forms representing musical instruments, utilitarian tools, and regional flora and fauna.[15] Most recently, Boghossian is represented in New York by the Contemporary African Art Gallery.[1] The umbrella organization for Ethiopia's oldest secular schools is named after him, the Skunder Boghossian College of Performing and Visual Arts. Death Boghossian died on May 4, 2003, at Howard University Hospital in Washington, DC. He was 65.[1] Awards Haile Selassie First Prize for Fine Arts, 1967.[16] Contemporary African Painters, First Prize, Munich, Germany, 1967.[16] Twenty-Ninth Annual Show of Black Artists First Prize, Spelman College, Atlanta, Georgia, 1970.[16] District of Columbia Certificate of Appreciation.[16] United Nations Special Committee Against Apartheid Certificate of Appreciation, 1984.[16] City of Miami Beach, Florida, Certificate of Appreciation, 1985.[16] Ethiopian Embassy's Excellence Award in 2000.[9] Notable works Night Flight of Dread and Delight 1964[17] Axum 1967[18] The End of the Beginning 1973[18] African Images 1980[18] Time Cycle III 1981[18] The Metamorphoses 1982[18] Jacob’s Ladder 1984[18] Nexus 2001[18] Exhibitions Contemporary Ethiopian art at the Smithsonian Institution's National Museum of African Art.[9] Musée d'Art Moderne de la Ville de Paris.[19] National Museum of African Art in Washington D.C.[19] The Ministry of Foreign Affairs Building in Addis Ababa.[9] 1965: Fourth Biennale in Paris.[6] 1966: Salon de Comparison.[6] 1972: The Studio Museum in Harlem.[12] 2002: The Short Century: Independence and Liberation Movements in Africa, 1945-1994[12] Skunder Boghossian, an Ethiopian-born artist who played an important role in introducing European modernist styles into Africa and who, as a longtime resident of the United States, became one of the best-known African modern artists in the West, died on May 4 at Howard University Hospital in Washington. He was 65. No cause of death was released, but he had been ill for some time and was found unconscious in his apartment, said Kimberly Mayfield, a spokeswoman for the National Museum of African Art in Washington. Mr. Boghossian, whose original first name was Alexander and who used the name Skunder professionally, was born in Addis Ababa in 1937. In 1955, on a scholarship from the Ethiopian government, he enrolled at the Slade School of Fine Art in London, and two years later moved to Paris, where he taught at the Académie de la Grande Chaumière. In Paris, he became associated with the Senegalese philosopher Cheikh Anta Diop and other figures in the Pan-African and negritude movements. His art combined European media like oil paint, crayon and ink with bark and animal skins. Often hallucinatory in quality and filled with intricately detailed figures and patterning, his work was influenced by Paul Klee, Max Ernst and the Cuban artist Wifredo Lam, but more strongly by Coptic and West African art. Ethiopians are the native inhabitants of Ethiopia, as well as the global diaspora of Ethiopia. Ethiopians constitute several component ethnic groups, many of which are closely related to ethnic groups in neighboring Eritrea and other parts of the Horn of Africa. The first documented use of the name "Ethiopia" from Greek name "Αἰθίοψ" (Ethiopian) was in the 4th century during the reign of Aksumite king Ezana. There were three ethnolinguistic groups in the Kingdom of Aksum; Semitic, Cushitic, and Nilo-Saharan (ancestors of the modern-day Kunama and Nara). The Kingdom of Aksum remained a geopolitically influential entity until the pillage of its capital — also named Axum — in the 10th century by Queen Gudit. Nevertheless, the core Aksumite civilization was preserved and continued into the successive Zagwe dynasty. By this time, new ethnic groups emerged – the Tigrayans and Amharas. During the Solomonic period, the latter established major political and cultural influence in the Horn of Africa. In the Late Middle Ages, Muslim states were established, including the Sultanate of Ifat, and its successor the Adal Sultanate. Discontent with territory and religious dominance led to intense war between the Ethiopian Empire, the Christian state, (consisting of the Amhara, Tigrayan, Soddo Gurage, and Agaw ethnic groups) and the Muslim state Adal Sultanate (consisting of Semitic speaking Harari formally known as the Harla people, and the Argobba). During the 1600s, there were large-scale migrations of the Oromo from the south into the highlands and also alongside the Somali into Adal or what was known as "Hararghe" (land of the Hararis). A period of stability and peace continued through the Gondarine period in 16th and 17th century, but Ethiopia was divided into de facto autonomous regions in the mid-18th century. During this time, Ethiopia was nominally ruled by an Emperor who functioned as a puppet monarch of various regional lords and noblemen. This era was known as the Zemene Mesafint or "Era of the Princes". Emperor Tewodros II managed to unify the decentralized Ethiopian Empire in 1855 and inaugurated a process of modernization that continued into successive regimes, resurrecting the empire as a regional power. In the late 19th-century during the reign of Menelik II, against the backdrop of the Scramble for Africa, the notion of Ethiopian national integrity was strengthened by Italian efforts at colonization. The Italian invasion engendered a formidable national resistance, culminating in the Battle of Adwa in 1896 which resulted in a major Ethiopian victory against the Italians. The resulting Treaty of Addis Ababa ended the Italo-Ethiopian War, and along with the nation's contemporaneous territorial expansion, largely established the modern-day boundaries of Ethiopia. Present-day Ethiopia has a diverse population with many different languages and ethnic groups. Ethiopians speak Afro-Asiatic languages (Semitic, Cushitic, and Omotic) and Nilo-Saharan languages. The Oromo, Amhara, Somali and Tigrayans make up more than three-quarters (75%) of the population, but there are more than 80 different ethnic groups within Ethiopia. Some of these have as few as 10,000 members. History See also: History of Ethiopia and Demographics of Ethiopia Prehistory Archaeologist found remains of early hominins, one of the most specimen was Australopithecus afarensis, also called "Lucy", which was discovered in the country's Awash Valley, so-called Hadar in 1974. It is estimated to be 3.5 million years old. In October 2015, scientists found a 4,500 years ago lived man called Mota in a cave in southern central Ethiopia. Atypical to Euroasians, which were believed reached the region after him, Mota's genetic variants was not as "light-colored eye or skin", resembles the modern Aari tribes that live in the southern area of the country. Another research suggests that Euroasians arrived in the region resembles modern-day Sardinians, or likely LBK culture of antiquity.[15] By proofing Mota has no European genome, archeologist theorized the Near East population migrated to Africa in 3,000 years ago.[16] Other evidence concluded that Eurasian population made significant contribution as a result of back migration between 1,500 and 3,500 years ago. Nilo-Saharan peoples do not exhibit this genetic similarity; instead, their DNA shows evidence of more recent admixture (less than 1200 years ago) with other African peoples.[17] It was thought that Hamitic people from Asia Minor had migrated before Semitic Arabian people in the 7th century BC.[18] In 1933, G.W.B Huntingford proposed a theory of Azanian civilization could existed in Kenya, and northern Tanzania, between the Stone Age and Islamic period. It was supposed that these people evicted from Ethiopia and Somalia by Muslim invasion to southern region in present-day Kenya and Tanzania where perished around 14th- and 15th-century.[19] About 7000 BC, Afro-Asiatic-speaking population namely Cushitic and Omotic-speaking people grouped in the present day of Ethiopia after which diversification thrived in the area and allowed the other local groups, the Agaws, Somali, Oromo, and numerous Omotic-speaking groups to unify. Originally a hunter gatherers, those people began domesticating indigenous plants thereafter, including the grasses teff, eleusine, enset, root crop, and domestication of cattles and other animals to fill agricultural livelihoods that still contemporary followed. By the late first millennium BC, the Agaws occupied the northern Ethiopian region, as the Sidamo occupied the central and southern parts of Ethiopia, making inaugural historical development of Ethiopia.[20] Afro-Asiatic languages were present in Africa and the Middle East by the eighth to sixth millennium BCE. This language family includes various modern and extinct African and Asian languages such as Oromo, Somali, Egyptian, Berber, Hausa, Hebrew, Arabic, Aramaic, and Akkadian. Ge'ez was developed around sixth century BCE and evident by inscriptions of contemporary kingdom of D'mt.[21] The language dominance was eclipsed by 1000 AD, but the highland inhabitants used it as written scholar and liturgical language between 300s and 1800s.[22] Antiquity See also: Kingdom of Aksum In 980 BCE, Dʿmt was established in present-day Eritrea and the Tigray Region of Ethiopia, straddling South Arabia in present-day of Yemen. This polity's capital was located at Yeha, in what is now northern Ethiopia. Most modern historians consider this civilization to be a native Ethiopian one, although in earlier times many suggested it was Sabaean-influenced because of the latter's hegemony of the Red Sea.[23] Other scholars regard Dʿmt as the result of a union of Afroasiatic-speaking cultures of the Cushitic and Semitic branches; namely, local Agaw peoples and Sabaeans from Southern Arabia. However, Ge'ez, the ancient Semitic language of Ethiopia, is thought to have developed independently from the Sabaean language, one of the South Semitic languages. As early as 2000 BCE, other Semitic speakers were living in Ethiopia and Eritrea where Ge'ez developed.[24][25] Sabaean influence is now thought to have been minor, limited to a few localities, and disappearing after a few decades or a century. It may have been a trading or military colony in alliance with the Ethiopian civilization of Dʿmt or some other proto-Axumite state.[23] Politically integrated, the Kingdom of Aksum was emerged independently from at least 100 BC, and its civilization grew from 1st century AD. The kingdom dominated the Red Sea, the Northeast Africa in the present location between northern Ethiopia (Tigray Region), eastern Sudan, Eritrea, South Arabia. It was by far powerful empire and trading nation between Roman Empire and India. The Aksumite lingua franca was Greek evolved from Hellenistic period in 330–305 BC[citation needed] and officially adopted in the first century. It was soon replaced by Ge'ez in the 4th century. Politically and culturally influenced partially with Byzantine Empire, the Aksumite achieved major historical grounds, Orthodox Tewahedo Christianity introduced and has been state religion in the early 4th century, construction of stone-fitted palace and public buildings, and erection of large obelisks around the capital Axum. These all are milestones that culminate in the rise of Ethiopian identity where the Greek exonym "Ethiopians" came to use by the kingdom under king Ezana's reign in the 4th century.[26][20] The first century BCE Greek historian Diodorus Siculus claimed the Ethiopian nativity as "true natives", "most pious and righteous" in his record. This assertion resonated by locality of declaring themselves a "Habesha people".[27] His record expounded the nature of Ethiopians, including highly proselytizing to neighboring Egypt. He denoted these people locating in the place superimposed by Nubia and Meroë, connected to the Nile river, having distinct rainy season and wonderful lake.[28] Middle Ages Main article: Ethiopia in the Middle Ages The Zagwe dynasty and its neighbors circa 1200 AD. During its three centuries rule, the Zagwe facilitated an interaction with surrounding non-Christian polities.[29] The kingdom enlarged its territory by the half of 4th century after conquering neighbor city Meroë in 330, and entered "Golden Age" for the next three centuries. Aksum's power began declining at time of Islamic Golden Age, where they frequently countered intrusions by Arab Muslims in the South Arabia protectorate (modern Yemen), making them to evicted more in the southern of Agaw population. In 10th century, the kingdom ultimately collapsed followed by pillage by Queen Gudit, after execution of Christians and ordered arson in church. While Aksum's existence extinguished, the follow-up kingdom of Zagwe likely of a continuation of its civilization and revival of Christianity, and a new multi-ethnic empire-state was formed in title of "king of kings". The successful integration of Agaw and Semitic groups in the north prolonged over millennium and eventually forms Tigrayans and Amhara people. The Zagwe kingdom capital, relocated to Lalibela, and sparked a new cultural life. The most notable churches in this period was constructed with unique rock-hewn architecture. A dominant group, Amhara, continues to expand its territory in so-called Solomonic period after the downfall of Zagwe in 1270, and by the late 13th century, they reached to southern Shewa. Since then, centralized military unit was buildup while frequently engaged war with Sidama kingdom in the west and Muslim population to the east. One of the most important era for Christian and Muslim insight, and the resultant of religious war was in the mid-16th century of Ethiopian–Adal War, involving the Amhara, Tigrayan and Agaw force allied to the Ethiopian Empire (Abyssinia) and the Muslim states composed mostly of Harari and Somali people, together forms the Adal Sultanate. The Oromo people additionally took an advantage of the war and occupied much the northern highland zone of the Amhara empire in the Oromo migrations.[20] Early modern period See also: Zemene Mesafint and Battle of Adwa The Oromo remained predominantly pastoral life who dominated the Amhara empire of Abyssinia for the rest of era. A blossom life continued throughout early modern period with the founding of capital Gondar in the early 18th century, by Emperor Fasilides, commencing a "Gondarine period". Emperor Tewodros II brought a reunification of Ethiopian state after the decentralized Zemene Mesafint era Between 1769 and 1855, Ethiopia experienced a period of isolation referred to as the Zemene Mesafint or "Age of Princes". The Emperors became figureheads, controlled by regional lords and noblemen like Ras Mikael Sehul of Tigray, Ras Wolde Selassie of Tigray, and by the Yejju Oromo dynasty of the Wara Sheh, such as Ras Gugsa of Yejju. Prior to the Zemene Mesafint, Emperor Iyoas I had introduced the Oromo language (Afaan Oromo) at court, instead of Amharic.[30][31] In 1855, Emperor Tewodros II sought to establish permanent Ethiopian border by solidifying the Shewan kingdoms. Tewodros II is often credited with being the preliminary figure of modern Ethiopian history but his reign ended prematurely when he committed suicide during the British Expedition to Abyssinia. Emperor Menelik II at Battle of Adwa. The battle considered to be the basis of Ethiopian nationalism against European colonial powers Emperor Menelik II done major reformations to the country by the late 1890s: under his reign, Menelik extensively conquered the rest of kingdoms nearby region, while annexing the Tigray Province, ultimately formed the modern border of Ethiopia. His reign brought sharp solidification of the current Ethiopian national identity. The Battle of Adwa was a 1896 colonial resistance battle between the Ethiopian Empire led by Menelik and Kingdom of Italy led by General Oreste Baratieri, involving respective 100,000 and 17,700 troops,[32] where Ethiopian armies decisively defeated them and secured sovereignty.[20] The battle became signature national pride among Ethiopians, and beyond for Pan-Africanism. The Treaty of Addis Ababa (1896) settled an end of Italo-Ethiopian War, and modern border of Ethiopia was created as a background of ceased foreign external pressure against the sovereignty of Ethiopia. Ethiopia, along with Liberia, became the only independent African survivors against the European colonization.[33] Current era See also: Ethnic discrimination in Ethiopia Flag of Federal Democratic Republic of Ethiopia, since 1995. The star insignia indicates equality between nationalities of Ethiopia.[34] An Italian occupation of Ethiopia following Second Italo-Ethiopian War brought legacy of ethnic marginalization of major ethnic groups: the Oromos, Amharas, Tigrayans, and Somalis. Ethiopia underwent series civil clashes under communist military junta Derg. Ethnic nationalism and similar policies implemented by the Ethiopian Peoples' Revolutionary Democratic Front (EPRDF), which brought Ethiopia to ethnic federalist state since 1995, which was aimed to reduce internal ethnic conflicts and grant freedom of choice within every ethnic groups although, Ethiopia then faced more prolong internal conflicts and ethnic clashes in the 21st-century.[35] Ethnicity Further information: List of ethnic groups in Ethiopia Amhara people Tigrayans This photo represents the varieties of dressing and hairstyle of the Oromo culture. the kid sitting in front of the group dressed Guji Oromo clothes. the four girls at the back from left to right, dressed Harar, Kamise, Borena and Showa styles and all are Oromo style Oromo people People in Harar Major ethnic groups Oromo 30.4% Amhara 27.0% Somali 10.2% Tigray 6.1% Sidama 4.0% Gurage 2.5% Welayta 2.3% Hadiya 1.7% Afar 1.7% Gamo 1.5% Other ethnic groups 12.6%[36][37] List Ethnic group Language family Census (1994) [38] Census (2007) [37][39] Number % Number % Aari Omotic 155,002 0.29 289,835 0.39 Afar Afro-Asiatic 979,367 1.84 1,276,374 1.73 Agaw-Awi Afro-Asiatic 397,491 0.75 631,565 0.85 Agaw-Hamyra Afro-Asiatic 158,231 0.30 267,851 0.36 Alaba Afro-Asiatic 125,900 0.24 233,299 0.32 Amhara Afro-Asiatic 16,007,933 30.13 19,878,199 26.95 Anuak Nilotic 45,665 0.09 85,909 0.12 Arbore Afro-Asiatic 6,559 0.01 6,840 0.01 Argobba Afro-Asiatic 62,831 0.12 140,134 0.19 Bacha Nilo-Saharan 2,632 < 0.01 Basketo Omotic 51,097 0.10 78,284 0.11 Bench Omotic 173,123 0.33 353,526 0.48 Berta Nilo-Saharan 183,259 0.25 Bodi Nilo-Saharan 4,686 0.01 6,994 0.01 Brayle ???? 5,002 0.01 Burji Afro-Asiatic 46,565 0.09 71,871 0.10 Bena ???? 27,022 0.04 Beta Israel Afro-Asiatic 2,321 <0.01 Chara Omotic 6,984 0.01 13,210 0.02 Daasanach Afro-Asiatic 32,099 0.06 48,067 0.07 Dawro Omotic 331,483 0.62 543,148 0.74 Debase/ Gawwada Afro-Asiatic 33,971 0.06 68,600 0.09 Dirashe Afro-Asiatic 30,081 0.04 Dime Omotic 6,197 0.01 891 <0.01 Dizi Omotic 21,894 0.04 36,380 0.05 Donga Afro-Asiatic 35,166 0.05 Fedashe ???? 7,323, 0.01 3,448 < 0.01 Gamo Omotic 719,847 1.35 1,107,163 1.50 Gebato ???? 75 <0.01 1,502 < 0.01 Gedeo Afro-Asiatic 639,905 1.20 986,977 1.34 Gedicho ???? 5,483 0.01 Gidole Afro-Asiatic 54,354 0.10 41,100 0.06 Goffa Omotic 241,530 0.45 363,009 0.49 Gumuz Nilo-Saharan 121,487 0.23 159,418 0.22 Gurage Afro-Asiatic 2,290,274 4.31 1,867,377 2.53 Silt'e Afro-Asiatic 940,766 1.27 Hadiya Afro-Asiatic 927,933 1.75 1,269,382 1.72 Hamar Omotic 42,466 0.08 46,532 0.06 Harari Afro-Asiatic 200,000 0.04 246,000 0.04 Irob Afro-Asiatic 33,372 0.05 Kafficho Omotic 599,188 1.13 870,213 1.18 Kambaata Afro-Asiatic 499,825 0.94 630,236 0.85 Konta Omotic 83,607 0.11 Komo Nilo-Saharan 1,526 <0.01 7,795 0.01 Konso Afro-Asiatic 153,419 0.29 250,430 0.34 Koore Omotic 107,595 0.20 156,983 0.21 Kontoma Afro-Asiatic 0.4 48,543 0.05 Kunama Nilo-Saharan 2,007 <0.01 4,860 0.01 Karo Omotic 1,464 < 0.01 Kusumie ???? 7,470 0.01 Kwegu Nilo-Saharan 4,407 0.01 Male Omotic 46,458 0.09 98,114 0.13 Mao Omotic 16,236 0.03 43,535 0.06 Mareqo Afro-Asiatic[40] 38,096 0.07 64,381 0.09 Mashola Afro-Asiatic 10,458 0.01 Mere people ???? 14,298 0.02 Me'en Nilo-Saharan 52,815 0.10 151,489 0.20 Messengo ???? 15,341 0.03 10,964 0.01 Majangir Nilo-Saharan 21,959 0.03 Mossiye Afro-Asiatic 9,207 0.02 19,698 0.03 Murle Nilo-Saharan 1,469 < 0.01 Mursi Nilo-Saharan 3,258 0.01 7,500 0.01 Nao Omotic 4,005 0.01 9,829 0.01 Nuer Nilotic 64,534 0.12 147,672 0.20 Nyangatom Nilotic 14,201 0.03 25,252 0.03 O[15]romo Afro-Asiatic 21,080,318 32.15 25,489,024 34.49 Oyda Omotic 14,075 0.03 45,149 0.06 Qebena Afro-Asiatic[41] 35,072 0.07 52,712 0.07 Qechem ???? 2,740 0.01 2,585 < 0.01 Qewama ???? 141 <0.01 298 < 0.01 She Omotic 13,290 0.03 320 < 0.01 Shekecho Omotic 53,897 0.10 77,678 0.11 Sheko Omotic 23,785 0.04 37,573 0.05 Shinasha Omotic 32,698 0.06 52,637 0.07 Shita/Upo Nilo-Saharan 307 <0.01 1,602 < 0.01 Sidama Afro-Asiatic 1,842,314 3.47 2,966,474 4.01 Somali Afro-Asiatic 6,785,266 6.18 4,581,794 6.21 Surma Nilo-Saharan 19,632 0.04 27,886 0.04 Tigrinya[42] Afro-Asiatic 3,284,568 6.18 4,483,892 6.07 Tembaro ???? 86,510 0.16 98,621 0.13 Tsamai Afro-Asiatic 9,702 0.02 20,046 0.03 Welayta Omotic 1,269,216 2.39 1,707,079 2.31 Werji Afro-Asiatic 20,536 0.04 13,232 0.02 Yem Omotic 165,184 0.31 160,447 0.22 Zeyese Omotic 10,842 0.02 17,884 0.02 Zelmam Nilo-Saharan 2,704 < 0.01 Other/unknown 155,972 0.29 178,799 0.24 Somalian (Somalis of Somalia) 200,227 0.9 Sudanese 2,035 <0.01 10,333 0.01 Eritrean (Ethiopian people of Eritrean descent) 61,857 0.12 9,736 0.01 Kenyan 134 <0.01 737 <0.01 Djiboutian 367 <0.01 733 <0.01 Other foreigners 15,550 0.02 Total 53,132,276 73,750,932 Ethiopian diaspora Ethiopian Americans Ethiopian Australians Ethiopian Canadians Ethiopian Jews in Israel Ethiopians in Italy Ethiopians in the United Kingdom Ethiopians in Denmark Ethiopians in Norway Ethiopians in Sweden Eritreans Habesha peoples Eritrean people of Ethiopian descent Ethiopian people of Eritrean descent Languages Main article: Languages of Ethiopia Until the fall of the Derg, Amharic served as the sole official language in government administration, courts, church and even in primary school instruction; although in the 17th century during the Zemene Mesafint under the rule of the Warasek dynasty, the Oromo language did serve as the official language of the Ethiopian Empire's royal court.[43] After 1991, Amharic has been replaced in many areas by other official government languages such as Oromo, Somali and Tigrinya.[44] English is the most widely spoken foreign language and is taught in all secondary schools. According to the 2007 Ethiopian census and the CIA World Fact Book, the largest first languages are: Oromo 24,929,567 speakers or 33.8% of the total population; Amharic 21,631,370 or 29.3% (federal working language); Somali 4,609,274 or 6.2%; Tigrinya 4,324,476 or 5.9%; Sidamo 4,981,471 or 4%; Wolaytta 1,627,784 or 2.2%; Gurage 1,481,783 or 2%; and Afar 1,281,278 or 1.7%.[36][45] Widely-spoken foreign languages include Arabic, English (major foreign language taught in schools), and Italian (spoken by an Italian minority).[36] Religion According to the CIA Factbook the religious demography of Ethiopia is as follows; Ethiopian Orthodox 43.8%, Muslim 31.3%, Protestant 22.8%, Catholic 0.7%, traditional 0.6%, and other 0.8%.[36] Diaspora Main article: Ethiopian diaspora The largest diaspora community is found in the United States. According to the U.S. Census Bureau,[46] 250,000 Ethiopian immigrants lived in the United States as of 2008. An additional 30,000 U.S.-born citizens reported Ethiopian ancestry.[47] According to Aaron Matteo Terrazas, "if the descendants of Ethiopian-born migrants (the second generation and up) are included, the estimates range upwards of 460,000 in the United States (of which approximately 350,000 are in the Washington, DC Metropolitan Area; 96,000 in Los Angeles; and 10,000 in New York)."[2] A large Ethiopian community is also found in Israel, where Ethiopians make up almost 1.9% of the population.[citation needed] Almost the entire community are members of the Beta Israel community. There are also large number of Ethiopian emigrants in Saudi Arabia, Italy, Lebanon, United Kingdom, Canada, Sweden and Australia.[citation needed]. Genetic studies See also: Genetic history of Africa Autosomal DNA See also: Eurasian backflow Studies conducted on Ethiopians belonging to Semitic and Cushitic ethnic groups mostly from the north of the country (Oromo, Amhara, Tigray, and Gurage), estimate approximately 40% of their autosomal ancestry to be derived from an ancient non-African back-migration from the Near East, and about 60% to be of native African origin (from a population indigenous or "autochthonous" to the Horn of Africa).[48][49] Hodgson et al. (2014) found a distinct African ancestral component in Afro-Asiatic populations in the Horn (dubbed "Ethiopic"), as well as a distinct non-African component (dubbed "Ethio-Somali"). The data also revealed Nilo-Saharan ancestry in Afro-Asiatic populations and "Ethiopic" ancestry in Nilo-Saharan populations, suggesting an intricate history of contact in the region. Ethiopian Nilo-Saharan groups and the endogamous Aari blacksmith caste were found to have little to no Eurasian admixture.[50] Aari blacksmiths may descend from "Ethiopic" hunter-gatherers who were assimilated as farmers expanded in the region or a subset of a single population recently marginalized for their occupation.[51][49][52] According to Hollfelder et al. (2017), "Northeast African Nilotes showed some distinction from an ancient Ethiopian individual (Mota, found in the Mota Cave in the southern Ethiopian highlands), which suggests population structure between northeast and eastern Africa already 4,500 years ago. The modern-day Nilotic groups are likely direct descendants of past populations living in northeast Africa many thousands of years ago."[53] Pickrell et al. (2014) found that West Eurasian ancestry peaks in the Amhara and Tigrayans at 49% and 50%, respectively.[54] In Pagani, Luca et al. (2012), this non-African component, is estimated to have entered the Horn of Africa roughly ~3,000 years ago and was found to be similar to the populations in the Levant. The paper goes on to say that this coincides with the introduction of Ethio-Semitic languages into the region.[51] Gallego Llorente, M et al. (2015) discovered extensive admixture in Eastern Africa from a population closely related to early Neolithic farmers from the Near-East/Anatolia.[55] López, Saioa et al. (2021) found that when comparing Ethiopians to external populations only, Nilo-Saharan speakers (as well as the Chabu, Dassanech, and Karo) in the southwest shared more recent ancestry with Bantu and Nilotic speakers, while Afro-Asiatic speakers in the northeast shared more recent ancestry with Egyptians and other West Eurasians. Overall, the study revealed that groups belonging to the Cushitic, Omotic, and Semitic branches of Afro-Asiatic show high genetic similarity to each other on average.[52] Tishkoff et al. (2009) identified fourteen ancestral population clusters which correlate with self-described ethnicity and shared cultural and/or linguistic properties in Africa in what was the largest autosomal study of the continent to date.[failed verification][56] The Burji, Konso and Beta Israel were sampled from Ethiopia. The Afroasiatic speaking Ethiopians sampled were cumulatively (Fig.5B) found to belong to: 71% in the "Cushitic" cluster, 6% in the "Saharan/Dogon" cluster, 5% in the "Niger Kordofanian" cluster, 3% each in the "Nilo-Saharan" and "Chadic Saharan" cluster, while the balance (12%) of their assignment was distributed among the remnant (9) Associated Ancestral Clusters (AAC's) found in Sub-Saharan Africa.[57] The "Cushitic" cluster was also deemed "closest to the non-African AACs, consistent with an East African migration of modern humans out of Africa or a back-migration of non-Africans into Saharan and Eastern Africa."[58] Wilson et al. (2001), an autosomal DNA study based on cluster analysis that looked at a combined sample of Amhara and Oromo examining a single enzyme variant: drug metabolizing enzyme (DME) loci, found that 62% of Ethiopians fall into the same cluster of Ashkenazi Jews, Norwegians and Armenians based on that gene. Only 24% of Ethiopians cluster with Bantus and Afro-Caribbeans, 8% with Papua New Guineans, and 6% with Chinese.[59] Paternal lineages Y DNA Haplogroups of Ethiopia alt text Y DNA Haplogroups of Ethiopia[60][61][62][63][64] A composite look at most YDNA studies done so far[61][62][60][63][64] reveals that, out of a total of 459 males sampled from Ethiopia, approximately 58% of Y-chromosome haplotypes were found to belong to Haplogroup E, of which 71% (41% of total) were characterized by one of its further downstream sub lineage known as E1b1b, while the remainder were mostly characterized by Haplogroup E1b1(x E1b1b,E1b1a), and to a lesser extent Haplogroup E2. With respect to E1b1b, some studies have found that it exists at its highest level among the Oromo, where it represented 62.8% of the haplotypes, while it was found at 35.4% among the Amhara,[62] other studies however have found an almost equal representation of Haplogroup E1b1b at approximately 57% in both the Oromo and the Amhara.[65] The haplogroup (as its predecessor E1b1) is thought to have originated somewhere in the Horn of Africa. About one half of E1b1b found in Ethiopia is further characterized by E1b1b1a (M78), which arose later in north-eastern Africa and then back-migrated to eastern Africa.[66] Haplogroup J has been found at a frequency of approximately 18% in Ethiopians, with a higher prevalence among the Amhara, where it has been found to exist at levels as high as 35%, of which about 94% (17% of total) is of the type J1, while 6% (1% of total) is of J2 type.[67] On the other hand, 26% of the individuals sampled in the Arsi control portion of Moran et al. (2004) were found to belong to Haplogroup J.[63] Another fairly prevalent lineage in Ethiopia belongs to Haplogroup A, occurring at a frequency of about 17% within Ethiopia, it is almost all characterized by its downstream sub lineage of A3b2 (M13). Restricted to Africa, and mostly found along the Rift Valley from Ethiopia to Cape Town, Haplogroup A represents the deepest branch in the Human Y- Chromosome phylogeny.[68] Finally, Haplogroup T at approximately 4% and Haplogroup B at approximately 3%, make up the remainder of the Y-DNA Haplogroups found within Ethiopia. Maternal lineages mtDNA Haplogroups of Ethiopia alt text mtDNA Haplogroups of Ethiopia[69] The maternal ancestry of Ethiopians is similarly diverse. About half (52.2%) of Ethiopians belongs to mtdna Haplogroups L0, L1, L2, L3, L4, L5, or L6. These haplogroups are generally confined to the African continent. They also originated either in Ethiopia or very near. The other portion of the population belong to Haplogroup N (31%) and Haplogroup M1 (17%).[69] There is controversy surrounding their origins as either native or a possible ancient back migration into Ethiopia from Asia. Passarino et al. (1998) suggested that: Caucasoid gene flow into the Ethiopian gene pool occurred predominantly through males. Conversely, the Niger–Congo contribution to the Ethiopian population occurred mainly through females.[48] While there is debate among the scientific community of what exactly constitutes "Caucasoid gene flow",[70][71] the same study further stated: Indeed, Ethiopians do not seem to result only from a simple combination of proto-Niger–Congo and Middle Eastern genes. Their African component cannot be completely explained by that of present-day Niger–Congo speakers, and it is quite different from that of the Khoisan. Thus, a portion of the current Ethiopian gene pool may be the product of in situ differentiation from an ancestral gene pool."[48] Scott et al. (2005) similarly observed that the Ethiopian population is almost equally divided between individuals that carry Eurasian maternal lineages, and those that belong to African clades. They describe the presence of Eurasian clades in the country as sequences that "are thought to be found in high numbers in Ethiopia either as a result of substantial gene flow into Ethiopia from Eurasia (Chen et al., 2000; Richards et al., 2003), or as a result of having undergone several branching events in demic diffusion, acting as founder lineages for non-African populations". The researchers further found no association between regional origin of subjects or language family (Semitic/Cushitic) and their mitochondrial type: The haplogroup distribution amongst all subjects (athletes and controls) from different geographical regions of Ethiopia is displayed in Table 3. As can be seen graphically in Fig. 3, the mtDNA haplogroup distribution of each region is similar, with all regions displaying similar proportions of African 'L' haplogroups (Addis Ababa: 59%, Arsi: 50%, Shewa: 44%, Other: 57%). No association was found between regional origin of subjects and their mitochondrial type (v2=8.5, 15 df, P=0.9). Similarly, the mtDNA haplogroup distribution of subjects (athletes and controls) speaking languages from each family is shown in Table 3. Again there was no association between language family and mitochondrial type (v2=5.4, 5 df, P=0.37). As can be seen in Fig. 4, the haplogroup distributions of each language family are again very similar.[72] In addition, Musilová et al. (2011) observed significant maternal ties between its Ethiopian and other Horn African samples with its Western Asian samples; particularly in terms of the HV1b mtDNA haplogroup. The authors noted: "Detailed phylogeography of HV1 sequences shows that more recent demographic upheavals likely contributed to their spread from West Arabia to East Africa, a finding concordant with archaeological records suggesting intensive maritime trade in the Red Sea from the sixth millennium BC onwards."[73] According to Černý et al. (2008), many Ethiopians also share specific maternal lineages with areas in Yemen and other parts of Northeast Africa. The authors indicate that: "The most frequent haplotype in west coastal Yemen is 16126–16362, which is found not only in the Ethiopian highlands but also in Somalia, lower Egypt and at especially high frequency in the Nubians. The Tihama share some West Eurasian haplotypes with Africans, e.g. J and K with Ethiopians, Somali and Egyptians."[74] Boghossian, Alexander Skunder. (Addis Ababa, Ethiopia, 1937-Washington, DC, 2003)   Bibliography and Exhibitions MONOGRAPHS AND SOLO EXHIBITIONS: Addis Ababa (Ethiopia). Creative Arts Center, Addis Ababa University. SKUNDER BOGHOSSIAN. 1966. Solo exhibition. Athens (OH). Trisolini Gallery, Ohio University. SKUNDER. March 31-May 3, 1980. Unpag. exhib. cat., illus., biog. Text by Thomas J. Porte. 8vo, wraps. Deressa, Solomon. SKUNDER in Context. 2000. In: NKA: Journal of contemporary African art 11/12 (2000):81-85, illus. 4to, wraps. New York (NY). Harmon Foundation. SKUNDER BOGHOSSIAN. 1962. Unpag. exhib. cat., illus. of Boghossian's paintings (watercolors and oils on canvas.) Wraps. New York (NY). Merton D. Simpson Gallery. SKUNDER BOGHOSSIAN. 1961. Solo exhibition. New York (NY). Peg Alston Fine Arts. SKUNDER BOGHOSSIAN. May, 1977. Solo exhibition. Paris (France). Galerie Yvon Lambert. SKUNDER BOGHOSSIAN. 1963. Solo exhibition. Washington (DC). Howard University Gallery of Art. SKUNDER BOGHOSSIAN. 1972. Solo exhibition. Washington (DC). Howard University Gallery of Art. Soundings: An Exhibition of Sculpture by ED LOVE. September 14-November 26, 1986. 41 pp. exhib. cat., illus., portrait of artist, substantial biog., bibliog. Texts by Robert Farris Thompson and Monifa Atungaye. Also mention of James A. Porter, Elizabeth Catlett, Melvin Edwards, Richard Hunt, P'lla Mills, William Pajaud, Skunder Boghossian, Winston Kennedy, Winnie Owens-Hart, Malkia Roberts. 4to (31 cm.), stapled wraps. Washington (DC). Nyangoma's Gallery. SKUNDER BOGHOSSIAN: Weathered Scrolls. March, 1983. Solo exhibition. [Review: Paul Richard, "Summoning Spirits from the Land," Washington Post (March 5, 1983):C2c; Eve M. Ferguson, "Highlight: African Abstract," Washington Post (March 11, 1983):D7.] GENERAL BOOKS AND GROUP EXHIBITIONS: BEIER, ULLI. Contemporary Art in Africa. London: Frederick A. Praeger, 1968. 173 pp, color and b&w illus. Collection of African artists working in Africa in the 1960s. Includes: Yemi Bisiri, Ovia Idah, Lamidi Fakeye, Ibrahim El Salahi, Skunder Boghossian, Demas Nwoko, Uche Okeke, Ben Enwonwu, Vincent Kofi, Valente Malangatana, Thomas Mukarobgwa, Twins Seven-Seven. [Review by E. Okechukwu Odita, Africa Report New York (January 1970):39-40; review by Frank Bowling, Arts Magazine, December 1968-1969.] 8vo (25 cm.) BERLIN (Germany). Staatliche Kunsthalle. Moderne Kunst aus Afrika. June 24- August 12, 1979. 197 pp. exhib. cat., b&w and color illus. bibliog., biogs. Important early European exhibition of contemporary African art. Included: Ajaba Abdallah, Jacob Afolabi, Aloois Omari Amonde, Yemi Bisiri, Skunder Boghossian, Jimoh Buraimoh, Zuberi Chimwanda, Ibrahim el Salahi, Adebisi Fabunmi, Leonard Matsoso, Azaria Mbatha, Louis Mwaniki, Jinadu Oladepo, Ancent Soi, Albert Lubaki, Salih Mashamoun, Middle Art, John Muafangejo, Louis Mwaniki, Demas Nwoko, Rufus Ogundele, Uche Okeke, Bruce Onobrakpeya, Muraima Oyelami, Twins Seven Seven, Jak Katarikawe, Alphonse Kiabelua, Moké, Pilipili Mulongoya, Floribert Mwembia, Adeusi Mmatambwe, Simon Mpata, (Kiure) Francis Msangi, Hashim Mruta, Damian Msagula, Sam Ntiro, Ahmed Mohammed Shibrain, "Quadratmaker von Dar es Salaam," Kasper Henrik Tedo, Eduard Saidi Tingatinga, Tshyela Ntendu, Samba Wa Nbimba Nizinga, Samwel Wanjau, Tito Zungu, et al. 4to (31 cm.), wraps. Black Shades. Black Shades 2 (March 1972). 1972. Includes: Skunder Boghossian, Camille Billops, Leroy Clarke, Jeff Donaldson, Allen A. Fannin, Justin Georges, Richard Hunt, Ben Jones, Lois Mailou Jones, Valerie Maynard. BROWN, EVELYN S., ed. Africa's Contemporary Art and Artists. New York: Harmon Foundation, 1966. 136 pp., illus., entries on countries, brief biogs. of artists. A descriptive compilation of over 300 artists in sub-Saharan Africa working in painting, sculpture, ceramics and crafts. Includes (among others): Martin Abossolo, Jacob Afolabi, Justus D. Akeredolu, Jimo Bola Akolo, Kofi Antubam, Yemi Besiri, Yussif Mustafa Billal, Edward Yaw Boakye, James Boateng, Skunder Boghossian, Rene Bokoko, D. Bomolo, Osei Bonsu, Arthur J. E. Bucknor, John Barbor Bulu, Mordecai O. Buluma, Miranda Burney-Nicol, John Olusegun Byron, Vasco Domingos Campira, Lawrence Mawolo Cassell, Christopher Chabuka, R. Chakombera, E. Chigwanda, Zebedee Chikowore, Chepas Chimbetete, R. Chinouya, Hassan El Hadi, Ibrahim El Salahi, Chukwu Enwonwu, Stephen A. Erhabor, Jacob Estevao, Augustine Okpu Eze, Lamidi Olonade Fakeye, T. Adebanjo Fasuyi, Seth Galeva Hasif Ishaq George, Edouard J. Gouveia, Naphtal Gumede, Pitias Gwinisa, Yusuf Grillo, Hassan El Hadi, Francis Halala, R. J. Ozege Hamilton, G. Hatugary, Phoebe Ageh Jones, Peterson Kareithi, Paul M. Karemo, Rosemary Karuga, Henry Charles Kazadi, Keita, Bouba Keita, Job Kekana, Mohammed Omer Khalil, Lazarus Khumalo, Kipindo, John Kisaka, Andrew Kiwanuka, Vincent Akwete Kofi, Tiamiyu Adebisi Kolawole, Amon Kotei, Henry Lumu, Valente Malangatana (as Malangatana Valente), Alphonse Moto, Pilipili Mulongoy, Sam Ntiro, Clara Ugbodaga Ngu, Esther Nhilziiyo, Aurelia Nibe, M. Nigoba, Siddig Abdel Rahman El N'goni, M. Noverume, Demas Nwoko, E. Okechukwu Odita, Rufus Ogundele, Simon Okeke, Bruce Onobrakpeya, Agboola Polarin, Gerard Sekoto, F. K. Sempangi, William Serumaga, Hussein Mahmoud Sharriffe, Abdeen A. F. El Shawafaa, Shafik Shawgi, El Omer Amin Shabir, Ahmed Mohammed Shibrain, D. Silugu, Panenga Simanga, Cornello Sinyoro, Ahamadu V. Sirleaf, Sam Songo, John Sowola, Ignatius Sserulyo, Sayed Suliman, Papa Ibra Tall, J. O. Ugoji (as Ugogi), E. Vanji, M. K. Vodzogbe, Solomon Irein Wangboje, Lucky Wadiri, Osman Abdullah Wagiall 4to (28 cm.), wraps. CHAPEL HILL (NC). Ackland Art Museum, University of North Carolina, Chapel Hill. Transatlantic Dialogue: Contemporary Art In and Out of Africa. December 19, 1999-March 26, 2000. 80 pp. exhib. cat., 24 full-page color plates, 24 b&w illus., notes, exhib. checklist of 40 works. Text by Michael D. Harris, with additional essay by Moyo Okediji. A mix of contemporary African American artists and African artists currently working in the U.S. or Great Britain. 14 artists including: Jean-Michel Basquiat, John Biggers, Skunder Boghossian (Ethiopia), Sokari Douglas Camp (Nigeria), Rashid Diab (Sudan), Jeff Donaldson, Yvonne Edwards Tucker, Amir Nour (Sudan), Moyo Ogundipe (Nigeria), Moyo Okediji (Nigeria), Ouattara Ivory Coast), Winnie Owens-Hart, Charles Searles, Al Smith. [Traveled to: National Museum of African Art, Washington, DC, May 21-September 3, 2000; DuSable Museum of African American History, Chicago, IL, October 7-December 31, 2000] Sq. 4to (26 cm.), self-wraps. First ed. COLEMAN, FLOYD WILLIS. Persistence and Discontinuity of Traditional Perception in Afro-American Art. Athens: University of Georgia, 1975. Focus on African heritage and on artists whose work is influenced by African art and culture. Artists include: William Artis, Edward Bannister, Richmond Barthé, Romare Bearden, John Biggers, Skunder Boghossian, Ed Clark, James Cooper, Eldzier Cortor, Aaron Douglas, Robert Douglass, Robert Duncanson, William Edmondson, Meta Warrick Fuller, Henry Gudgell, Edwin Harleston, William Harper, Palmer Hayden, Rosalind Jeffries, Malvin Gray Johnson, Sargent Johnson, Joshua Johnston, Ben Jones, Lois Jones, Jacob Lawrence, Jim Lee, Hughie Lee-Smith, Edmonia Lewis, Samella Lewis, McLean's Slave, Evangeline Montgomery, Scipio Moorhead [as Morehead], Archibald Motley, J. W. C. Pennington, James Phillips, Gary Rickson, Augusta Savage, William E. Scott, Charles Sebree, William Simpson, Henry O. Tanner, Lovett Thompson, Jack Thurman, Neptune Thurston, William Walker, Eugene Warburg, Charles White, Hale Woodruff. Ph.D. Dissertation. COLLEGE PARK (MD). Arts Program Gallery, University of Maryland. Diaspora Dialogue: Art of Kwabena Ampofo-Anti, Alexander "Skunder" Boghossian, and Victor Ekpuk. February 12-May 12, 2013. Three-person exhibition. DAVIES, CAROL BOYCE, ed. Encyclopedia of the African Diaspora: Origins, Experiences and Culture. ABC-CLIO, 2008. 3 vols. 1110 pp. Marked by a more than usual editorail indifference to the visual arts, entries of erratic quality and less than desirable levels of research or scholarship. Deborah Willis is alotted a bare handful of pages to cover the entirety of African American photography. The essay on African Diaspora Art was allotted 17 pages to cover a period of 35,000 years and makes a courageous attempt to do so. It is not supported by any entries on individual artists, and many of the artists mentioned are not in the index. The entry is also plagued with inexcusable misspellings of numerous artists' names. The essay on Diaspora photography is also beset by the requirement of inappropriate brevity; the author desperately spends most of the allotted space listing the names of a fairly subjective selection of photographers, some with birth dates, others not. Clyde Taylor packs his 2 1/2 page space allotment to cover Diaspora Film with as many names as possible and, understandably, still can find no room for the Black Audio Film Collective or other such experimental filmmakers, Other essays are depressingly vacuous - the essay on the Black Arts Movement, allotted 2 pages, spends only 31 lines on vague remarks about the movement which the reader is led to think is attributable to events that took place in the Nile Valley thousands of years before. What can you say about a book that devotes more space to rap and hip-hop than to Barbados. Not a book worth consulting? 4to (10.3 x 7.3 in.), cloth. EGONWA, OSA D. African art: a contemporary source book. Benin City: Osasu, 1994. 218 pp., illus., bibliog. Artists include: Aina Onabolu; Benedict Chuka Enwonwu; Demas Nwoko; Clary Nelson Cole; Ben Osawe; Solomon Wangboje; Uche Okeke; Jimo Bola Akolo; Skunder Boghossian; Papa Ibra Tall; El Anatsui; Obiora Udechukwu; Afewerk Tekle; Oshinowo Kolade; Gani Odutokun; Ben Ekanem; Valente Malangatana; Nicholas Mukomberanwa; Nsikak Essien; Olu Oguibe; Jimoh Buraimoh, Gregory Maloba, Sam Ntiro 8vo, wraps. FALL, N'GONE and JEAN LOUP PIVIN, eds. An Anthology of African Art: the Twentieth Century. Paris: Revue Noire Editions and New York: DAP, 2002. 407 pp., 500 color plates, 51 b&w illus., bibliog., index. Contents: Postulates and Convictions / Jean Loup Pivin; Geographical and Cultural Areas / Elikia M'Bokolo; Territory of Forms / Etienne Feau; Ritual Practices in Movement / Etienne Feau; Neo-Christian Folk Art in Ethiopia / Richard Pankhurst; A City of Boundless Expressions / Jean Loup Pivin; Birth of the Colonial Cities / Elikia M'Bokolo; Neo-Traditional Sculpture in Nigeria / John Picton - Ibrahim Njoya; Master of Bamoun Drawing / Alexandra Loumpet-Galitzine; Representation and Advertising / Till Forster and Benetta Jules-Rosette; The "Souweres" / Marie-Helene Boisdur de Toffol; Coffins and Funeral Art / John Picton; Messenger Artists / Jean Loup Pivin; The Artist's Invention / Jean Loup Pivin; First Movements in the Belgian Congo / Jean-Luc Vellut and Sabine Cornelis; The 30s in Lagos, Nigeria / Sylvester Ogbechie; The Poto-Poto School, Congo / Joanna Grabski; The New Moderns of Ghana / Joseph Gazari Seini; The Oshogbo School, Nigeria / Sigrid Horsch-Albert; Modern Art at the Makerere University, Uganda / George Kyeyune; Two Schools in Zimbabwe / Yvone Vera; The Precursors of South Africa / Marylin Martin; The Daydream of a New Africa / Jean Loup Pivin; The Independence Movements: A Birth More Than a Rebirth / Elikia M'Bokolo; The First International Festival of Black Arts, Dakar, 1966 / Ousmane Sow Huchard; Cultural Policy in Senegal / Marie-Helene Boisdur de Toffol; The Black Caribbean School and the Vohou-Vohou Movement / Marie-Helene Boisdur de Toffol; Period of Structuring in Makerere, Uganda / George Kyeyune; Zaria Art Society and the Uli Movement, Nigeria / Sylvester Ogbechie; Continuity and Rupture in South Africa / Marylin Martin and Gavin Younge; Doubt Sets In ... / Jean Loup Pivin; A Chiaroscuro Look at 15 Years of Independence / Elikia M'Bokolo; Teaching the Arts and Academism / Joazinho Francisco Ayi d'Almeida; Burkina Faso: From Social Art to Private Initiatives / Blaise Patrix; Zaria, Nsukka and the Lagos, Nigeria Arts Festival / Sylvester Ogbechie; Upheaval in East Africa / George Kyeyune; Art Training in Kenya and Tanzania / Sunanda K. Sanyal; Ethiopia: The Fine Arts School and the Socialist Revolution / Konjit Seyoun; Kitsch and Political Manipulation in Angola / Adriano Mixingue; Painting and Liberation Movements in Mozambique / Thierry Payet; "Resistance Art" in South Africa / Sue Williamson; Tradition and the 20th Century / John Picton; The Illusion at Interbreeding / Joelle Busca; Art and Style / Simon Njami; Past-Apartheid South Africa / Marylin Martin; Migrations and Convergences / N'Gone Fall; A Chronology of African Art Events. Large 4to (33 cm.; 12.7 x 9.5 in.), cloth, d.j. First ed. FREDERICK (MD). Tatum Art Center, Hood College. Influences: Contemporary African and African-American Art. February 1-March 1, 1989. 24 pp. exhib. cat., illus. Curated by Winnie Owens-Hart. Included: Gilbert Ahiagble, Abashiya Ahuwan, G. Arowogun, G. Bamidele, Skunder Boghossian, Dejo Fakeye, Agbo Folarin, Kwaku Ofori-Ansah, Twins Seven-Seven, Falaka Yimer, Barbara Bullock, William Harris, Winston Kennedy, Edward Love, David MacDonald, Winnie Owens-Hart, Malikia Roberts, Alfred Smith, and Edgar H. Sorrells-Adewale. 4to (28 cm.), stapled wraps. GAINESVILLE (FL). Samuel P. Harn Museum of Art, University of Florida. Continuity and Change: Three Generations of Ethiopian Artists. January 23-April 29, 2007. 124 pp. exhib. cat., illus. Text by Heran Sereke Bhran and Shiferaw Be. Group exhibition. Includes three generations of Ethiopian artists. Approximately 60 works of art by 23 artists, including photos, and additional media and contextual materials. Included: Behailu Bezabih, Skunder Boghossian, Gebre Desta, Agegnehu Engida, Yohannes Gedamu, Tamrat Gezahegn, Desta Hagos, Ale Felege Selam Heruy, Tesfahun Kibru, Bekele Mekonnen, Geta Mekonnen, Salem Mekuria, Mesfin Tadesse, Luiseged Retta, Abdurahman Sherif, Bisrat Shibabaw, Elias Sime, Afewerk Tekle, Tibebe Terffa, Mesgebu Tessema, Esthetu Tiruneh, Elizabeth Habte Wold, Addisu Worku, Zerihun Yetmgeta. [Traveled to: Diggs Gallery, Winston-Salem State University, Winston-Salem, NC, May 26-December 8, 2007.] 4to (12 x 9.2 in.), wraps. GOLDEN, THELMA, ed. Black Male: Representations of Masculinity in Contemporary American Art. New York: Abrams, 1995. 223 pp. exhib. catalogue, approx. 100 illus., 23 full-page color plates, bibliog., film and video program lists. Important compendium of writings on masculinity and race. Writers include: Henry Louis Gates, Jr., John G. Hanhardt, Elizabeth Alexander, Greg Tate, Valerie Smith, bell hooks, Ed Guerrero, Phillip Brian Harper, Isaac Julien, Tricia Rose, Andrew Ross, Clyde Taylor. 25 artists including: Emma Amos, Kenseth Armstead, Jean-Michel Basquiat, Romare Bearden, Nayland Blake, Skunder Boghossian, Mel Chinn, Robert Colescott, Renée Cox, Roy DeCarava, Aaron Douglas, Jean DeDeaux, Kevin Jerome Everson, David Hammons, Lyle Ashton Harris, Barkley Hendricks, K.O.S., Jacob Lawrence, Glenn Ligon, Carl Pope, Adrian Piper, Horace Pippin, Martin Puryear, Alison Saar, Betye Saar, Gary Simmons, Lorna Simpson, James Vanderzee, Christian Walker, Jack Waters (video The Male GaYze), Carrie Mae Weems, Jack Whitten, William T. Williams, Pat Ward Williams, Fred Wilson and filmmaker Marco Williams ("In Search of My Father." [Exhibited at the Whitney Museum of American Art, NY; Armand Hammer Museum, Los Angeles.] [Exhibition reviews (among others): Ellis Cose and Peter Plagens, "Black Like Whom?" Newsweek (November 14, 1994):64+; Michael Kimmelman, "Constructing Images of the Black Male," NYT, (November 11, 1994):C1; Elizabeth Hess, "Visible Man," Village Voice (November 22, 1994):31+; Mark Stevens, "Black and Blue," New York Magazine (November 21,1994):68; Sandra Hernandez, "Approaching 'Black Male' Agitates L.A." LA Weekly (January 6-12, 1995):10; Jen Budney, "Black Male," Flash Art, February 1995: 91; Linda Nochlin, "Learning from 'Black Male,'" Art in America 3 (March 1995):86-91; Joe Lewis, "More 'Black Male' for L.A.," Art in America 83 (April 1995):25; Okwui Enwezor, "The Body in Question: Whose Body? ‘Black Male: Representation of Masculinity in Contemporary Art'," Third Text, no. 31, Summer 1995.] 8vo, stiff wraps. First ed. GRABSKI, JOANNA and CAROL MAGEE, eds. African Art, Interviews, Narratives: Bodies of Knowledge at Work. Bloomington: Indiana University Press, 2013. 206 pp., 12 b&w illus., appendix, index. Includes brief mention of dozens of artists interviewed by different authors or with whom various curators worked, but the interviews and other materials are not in this dry and rather disorgaized book. 55 artists are cross-referenced, but researchers will likely find no more than a name dropped in passing. 8vo (9.1 x 6.2 in.), cloth. HAMPTON (VA). Hampton University. The International Review of African American Art Vol. 20, no. 1. 2004-5. This issue surveys Hampton University’s historic art and archival collections. Hampton was the first university to establish an African American art collection. Artists included: Joshua Johnson, Henry O. Tanner (4 works), Robert S. Duncanson, Edward M. Bannister, Charles Ethan Porter, William Edouard Scott, John Wesley Hardrick, Albert Alexander Smith, James Lesesne Wells, Augusta Savage, Aaron Douglas, Lois Mailou Jones, Ellis Willis, Malvin Gray Johnson, Archibald Motley, Jr., William Artis, Sargent Johnson, Hale Woodruff (2), Palmer Hayden, William H. Johnson (2), Jacob Lawrence (3), Charles White (2), Elizabeth Catlett (2), Beauford Delaney, Charles Alston, Samella Lewis (2), Joseph Gilliard, Persis Jennings, Claude Clark, John Biggers (3), Mose Tolliver, Felrath Hines, William Pajaud, Romare Bearden, Herman (Kofi) Bailey, Ed Hamilton, Charles Young, Nanette Carter, and Moe Brooker. Contemporary African-born artists include: Skunder Boghossian, Bruce Onabrakpeya, Ben Enwonwu, Ibrahim el Salahi and Akinola Lasekan. Archival photographs by white photographers Leigh Minor and Frances Benjamin Johnston; and photographs by Reuben Burrell. 4to, wraps. HASSAN, SALAH M. Creative impulses/modern expressions: African art today. Ithaca: African Studies and Research Center, Institute for African Development, Cornell University, 1993. In:: Creative impulses/modern expressions: four African artists: Skunder Boghossian, Rashid Diab, Mohammed Omer Khalil, Amir Nour:1-14; notes, bibliog. ITHACA (NY). Herbert F. Johnson Museum of Art, Cornell University. Blackness in Color: Visual Expressions of the Black Arts Movement (1960 to present). August 26-October 22, 2000. Exhibition in celebration of the 30th anniversary of the Africana Studies and Research Center at Cornell University. Artists included: Emma Amos, Nii Ahene ’La Mettle-Nunoo, Akili Ron Anderson, Ellsworth Ausby, Abdullah Aziz, Romare Bearden, G. Falcon Beazer, John Biggers, Camille Billops, Bob Blackburn, Carole Blank, Skunder Boghossian, Kay Brown, Vivian E. Browne. Viola Burley Leak, Carole M. Byard, Elizabeth Catlett, Dana Chandler, Eldzier Cortor, Adger Cowans, Renée Cox. Pat Davis, Murry DePillars, Jeff Donaldson, David Driskell, Melvin Edwards, Miriam B. Francis, Reginald Gammon, David Hammons, Michael Harris, Gaylord Hassan, Frieda High Wasikhongo Tesfagiorgis, Linda Hiwot, Robin Holder. Jamillah Jennings, Lois Mailou Jones, Napoleon Jones-Henderson, Barbara J. Jones-Hogu, Charlotte Kâ (Richardson), Wifredo Lam, Carolyn Lawrence, Jacob Lawrence, Norman Lewis, Al Loving, Valerie Maynard, Dindga McCannon, Geraldine McCullough, Muhammad Mufutau, Otto Neals, Malangatana Ngwenya, Ademola Olugebefola, Gordon Parks, James Phillips, Okoe Pyatt, Abdul Rahman, Faith Ringgold, Ibrahim El-Salahi, Betye Saar, Charles Searles, James Sepyo, Taiwo Shabazz, Lorna Simpson, Merton Simpson, Nelson Stevens, Leo Franklin Twiggs, Cheryl Warrick, Carrie Mae Weems, Charles White, Emmett Wigglesworth, Grace Williams, William T. Williams. JEGEDE, DELE. Encyclopedia of African American Artists (Artists of the American Mosaic). Westport (CT): Greenwood, 2009. 280 pp., b&w illus. and 8 pp. color plates, brief bibliogs. after biographical entries, short general bibliog., index. 66 artists included, some with full entries, some additional artists named in passing. Not remotely encyclopedic. Includes: Charles Alston, Olu Amoda, Emma Amos, Benny Andrews, George Andrews, Herman Kofi Bailey, Edward M. Bannister, Richmond Barthé, Jean-Michel Basquiat, Romare Bearden, John T. Biggers, Elmer Simms Campbell, George Washington Carver, Elizabeth Catlett, Sonya Clark, Robert Colescott, Larry Collins, Ed Colston, Achamyele Debela, Roy DeCarava, Gebre Desta, Buddie Jake Dial, Thornton Dial, Sr., Jeff Donaldson, Aaron Douglas, David Driskell, Melvin Edwards, Victor Ekpuk, Ben Enwonwu, Tolulope Filani, Sam Gilliam, Palmer Hayden, Alvin C. Hollingsworth, Charnelle Holloway, George Hughes, Richard Hunt, Wadsworth Jarrell, William H. Johnson, Joshua Johnson, Lois Mailiou Jones, Ronald Joseph, Byron Kim, Wosene Worke Kosrof, Jacob Lawrence, Edmonia Lewis, Cynthia Lockhart, Frank (Toby) Martin, Richard, Mayhew, Carolyn Mazloomi, Julie Mehretu, Archibald Motley, Wangechi Mutu, Barbara Nesin, Odili Donald Odita, Christopher Okigbo, Bruce Onobrakpeya, Kolade Oshinowo, Gordon Parks, Thomas Phelps, Horace Pippin, Willi Posey (under Jones), Ellen Jean Price, Martin Puryear, Femi Richards, Faith Ringgold, Aminah Brenda Lynn Robinson, Betye Saar, Augusta Savage, John T. Scott, Gerard Sekoto, Thomas Shaw, Lorna Simpson, Edgar Sorrells-Adewale, SPIRAL, Renée Stout, Henry Ossawa Tanner, Fatimah Tuggar, Obiora Udechukwu, James Vanderzee, Ouattara Watts, Carrie Mae Weems, Charles White, William T. Williams, Hale Woodruff. 4to (10.1 x 7.2 in.), boards. KASFIR, SIDNEY LITTLEFIELD. Contemporary African Art. London: Thames and Hudson (World of Art Sereis), 1999. 224 pp., 106 b&w, 74 color illus., map, index. Artists include: Georges Adéagbo, Tayo Adenaike, Yinka Adeyemi, Adebisi Akanji, Sunday Jack Akpan, Dossou Amidou, El Anatsui, Chike Aniakor, Elizabeth Atnafu, Willie Bester, Skunder Boghossian, Frédéric Bruly Bouabré, Jimoh Buraimoh, Sokari Douglas Camp, Achamyeleh Debela, Gebre Desta, Ibrahim El Salahi, Ben Enwonwu, John Goba, Tshibumba Kanda Matulu, Seydou Keita, Dumisani Mabaso, Tommy Motswai, Richard Ndabagoye, Iba Ndiaye, Ephraim Ngatane, Ngecha Group (collective), Elimo Njau, Lucy Njeri, Barthosa Nkurumeh, Francis Nnaggenda, Ouattara, Trigo Piula, Issa Samb, Chéri Samba, Saka Sangodare, Phuthuma Seoka, Ahmed Shibrain, Shine Tani, Fulai Shipipa, Yinka Shonibare, Penny Siopis, El Hadji Sy, Alfred Thoba, Obiora Udechukwu, Eunice Wadu, Sane Wadu, and many more 8vo (8.2 x 5.9 in.), wraps. KENNEDY, JEAN. New Currents, Ancient Rivers: Contemporary African Artists in a Generation of Change. Washington, DC: Smithsonian, 1991. 204 pp., approx. 175 b&w illus., 18 color plates, notes, extensive bibliog., index. Important survey with new material. Includes nearly 150 artists of sub-Saharan Africa, primarily from Nigeria, Senegal, Ethiopia, Sudan, Cote d'Ivoire, Zimbabwe, Togo, and South Africa. Unique publication. Among those most active in the U.S.: Kwabena Ampofo-Anti, Chike Aniakor, Skunder Boghossian, Acha Debela, Wosene Kosrof, Nii Ahene La Mettle-Nunoo, Bruce Onobrakpeya. Jean Kennedy's text on Oshogbo art mentions Jacob Afolabi, Rufus Ogundele, Adebisi Fabunmi, Muraina Oyelami, Jimoh Buraimoh, Twins Seven-Seven, Samuel Ojo, Ademola Onibonokuta, Tijani Mayakiri, Isaac Ojo Fajana, Yinka Adeyemi, Jinadu Oladepo, Gift Orakpo, and Middle Art. Other artists include Nigerians: Sunday Jack Akpan, Ben Enwonwu, Erhabor Ogieva Emokpae, Lamidi Fakeye, Agbo Folarin, Yusuf Grillo, Ovia Idah, Festus Idehen, Simon Okeke, Uche Okeke, Obiora Udechukwu, Musa Yola, Akan Edet Anamukot, Yemi Bisiri, Buraimoh Gbadamosi, Saka, Sangodare Gbadegesin, Asiru Olatunde, El Loko of Togo, Oku Ampofo, Vincent Akwete Kofi and Christian Lattier (Côte d'Ivoire); Omar Al Shabu (Liberia); and Momodou Ceesay (Gambia); artists of Senegal: filmaker Ousmane Sembene, Mbor Faye, Alpha W. Diallo, Mafaly Sene, lba N'Diaye, Papa lbra Tall, Souleye Keita, Bacary Dieme, Ansoumana Diedhiou, Boubacar Coulibaly, Abdoulaye Ndaiye, lbou Diouf, Amadou Dede Ly, Cherif Thiam, Modou Niang, Amadou Seck, Badara Camara, Samba Balde, Daouda Diouck, Ousmane Faye, Mohamadou Mbaye, Amadou Ba, Boubacar Goudiaby, Bocar Diong, Diatta Seck, Amadou Wade Sarr, Mamadou Gaye. Artists of Ethiopia: Filmmaker Haile Gerima, Gebre Kristos Desta, Skunder Boghossian, Abdel-Rahmam M. Sheriff, Tewodros Tsige Markos, Zerihun Yetmgeta, Andela Haile Selassie, Acha Debela, Tesfaye Tessema, Wosene Kosrof, Falaka Armide, Seleshi Feseha, Alemayehou Gabremedhin, Elisabeth Atnafu. Artists of South Africa: Sidney Kurnalo, Louis Maqhubela, Julian Motau, Mslaba Dumile Geelboi Mgxaji Feni, Eric Mbatha, John Muafangejo, Winston Saoli, Cyprian Shilakoe, Lucas Sithole, Vumikosi Zulu, Tito Zungu. Artists of Sudan: Ahmed Shibrain, Amir Nour, Mohammad Khalil, Ibrahim El Salahi, Musa Khalifa, Mohamed Omer Bushara, Salih Abdou Mashamoun, and Mohammed Abdulla. 4to, cloth, d.j. First ed. LEBEER, IRMELINE. African Painters in Paris. Johannesburg, 1966. In: Johannesburg Quarterly. 2 , no. 2 (1966):63-67. Brief discussion of artists Martin Abbossolo Mwando (Cameroon); Charles Mwenze-Mungolo (Congo); Georgette Diallo (Cote d'Ivoire); Raoul Rabemananjara and Olive Rasamoely (Madagascar); Gerard Sekoto (South Africa); Skunder Boghossian (Ethiopia) (portrait of Skunder included), as well as several artists from Morocco, Algeria, and Tunisia. LONDON (UK). Whitechapel Art Gallery. Seven Stories About Modern Art in Africa. September 27-November 26, 1995. 319 pp., illus. in color and b&w. with a documentary section providing biogs., bibliog, and listing of art schools, collections, major movements and seminal exhibitions. Ed. Clementine Deliss; texts by Catherine Lampert, Clementine Deliss, Everlyn Nicodemus, Chika Okeke, El Hadji Sy, Salah M. Hassan, Kamala Ibrahim Ishaq, David Koloane, Wanjiku Nyachae. Includes painting, sculpture, and theatrical installations by over sixty artists: Tayo Adenaike, Naiyla Al-Tayib, Ayo Aina, El Anatsui, Elizabeth Atnafu, Godfrey Banadda, Skunder Boghossian, Jerry Buhari, Achamyeleh Debela, Gebre Kristos Desta, Rashid Diab, Ndidi Dike, Erhabor Emokpae, Ibrahim El Salahi, Ben Enwonwu, Meek Gichugu, Girmay Hiwet, Jacob Jari, Souleymane Keita, David Koloane, Wosene Kosrof, Ezrom Legae, Kagiso Pat Mautloa, Fabian Mpagi, Hassan Musa, Sam Nhlengethwa, Francis Nnaggenda, Amir Nour, Sam Ntiro, Gani Odutokun, Olu Oguibe, Chika Okeke, Uche Okeke, Bruce Onobrakpeya, Richard Onyango, Joel Oswaggo, Tayo Quaye, Issa Samb, Kefa Sempangi, Pilkington Sengendo, Muhammad Hamid Shaddad, Etale Sukuro, El Hadji Sy, Obiora Udechukwu, Sane Wadu, Osman Waqialla, Zerihun Yetmgeta, et al. [Traveled to: Malmo Konsthall, Sweden, and The Solomon R. Guggenheim Museum, NY.] 4to, cloth, d.j. First ed. LOS ANGELES (CA). California African American Museum. Between Two Worlds: The Alitash Kebede Collection. June 14-September 2, 2007. Exhibition of over 100 works. Included: Skunder Boghossian, Emilio Cruz, Richard Mayhew, Betye Saar, Alison Saar, Lezley Saar, Jacob Lawrence, James Vanderzee, Bob Thompson, and Todd Gray, plus many others. LUBBOCK (TX). Museum of Texas Tech University. Living With Art: Modern & Contemporary African American Art from collection of Alitash Kebede. January 1-March 31, 2003. Traveling exhibition of 75 works (painting, drawing, prints, sculpture) by 38 artists. Includes: Charles Alston, Richmond Barthé, Romare Bearden, Skunder Boghossian, David Butler, Nanette Carter, Elizabeth Catlett, Ed Clark, Emilio Cruz, Melvin Edwards, Herbert Gentry, Sam Gilliam, Maren Hassinger, Palmer Hayden, Richard Hunt, Bill Hutson, Lois Mailou Jones, Gwendolyn Knight, Jacob Lawrence, Norman Lewis, Samella Lewis, James Little, Al Loving, Richard Mayhew, Tyrone Mitchell, Mary Lovelace O'Neal, Betye Saar, Alison Saar, Lezley Saar, Eve Sandler, Charles Searles, William Smith, Alma Thomas, Bob Thompson, Phyllis Thompson, Charles White, Richard Wyatt, Richard Yarde. [Traveled to: Center For Contemporary Art, Univ. of Colorado, Colorado Springs, CO, October 1-December 31, 2003; Pritchard Art Gallery, Univ. of Idaho, Moscow, ID, January 23-February 29, 2004; Smith Robertson Cultural Center, Jackson, MS, July 14-October 31, 2004; Stark University Ctr. Galleries, Texas A & M University, College Station, TX, January 19-March 19, 2006; Peninsula Fine Arts Center, Newport News, VA, June 3-August 27, 2006; Shaw Center for the Arts, LSU, Baton Rouge, LA, January 26-April 27, 2007; California African American Museum, Los Angeles, CA, May 31-September 2, 2007; Bermuda National Gallery of Art, October 8, 2007-January 4, 2008, and other venues.] 4to, wraps. MESCH, CLAUDIA. Art and Politics: A Small History of Art for Social Change Since 1945. London and New York: I. B. Tauris, 2013. 240 pp., illus. Artists mentioned include: Georges Adeagbo, Romare Bearden, Alexander Skunder Boghossian, Frédéric Bruly Bouabré, Sokari Douglas Camp, Elizabeth Catlett, Le Groupe Amos, David Hammons, Norman Lewis, Glenn Ligon, Ernest Mancoba, Tshibumba Kanda Matulu, Wangechi Mutu, Wifredo Lam, Betye Saar, Gerard Sekoto, Twins Seven-Seven, Yinka Shonibare, Charles White, Hale Woodruff. 8vo, wraps. MUNICH (Germany). Museum Villa Stuck; Haus der Kulturen der Welt and P.S. 1 Contemporary Art Center, New York. The Short Century: Independence and Liberation Movements in Africa 1945-1994. February 10-May 5, 2001. 496 pp. exhib. cat., b&w and color illus., map. Ground-breaking exhibition curated by Okwui Enwezor; texts by co-curators Rory Bester, Lauri Firstenberg, Chika Okeke, Mark Nash. Approximately 50 artists. Includes: Georges Adéagbo, Oladélé Ajiboyé Bamgboyé, Skunder Boghossian, Frédéric Bruly Bouabré, Ernest Cole, Gebre Kristos Desta, Uzo Egonu, Ibrahim El Salahi, Erhabor Ogieva Emokpae, Touhami Ennadre, Ben Enwonwu, Dumile Feni, Samuel Fosso, Kamala Ishaq, Kaswende, Seydou Keita, Bodys Isek Kingelez, Sidney Kumalo, Tshibumba Kanda Matulu, Moshekwa Langa, Ernest Mancoba, Santu Mofokeng, Zwelethu Mthethwa, John Ndevasia Muafangejo, Thomas Mukarobgwa, Iba N'diaye, Malangatana Ngwenya, Amir Nour, Demas Nwoko, Uche Okeke, Antonio Olé, Ben Osawe, Ouattara, Ricardo Rangel, Gerard Sekoto, Twins Seven-Seven, Yinka Shonibare, Lucas Sithole. Pascale Marthine Tayou. (also traveled to Chicago and New York.) 4to, cloth, d.j. First ed NASHVILLE (TN). Fisk University Art Gallery. The Afro-American Collection, Fisk University. 1976. 64 pp. exhib. cat., illus., brief biogs., checklist of works by 63 artists in the Fisk University Collection as of 1976. Pref. by Robert L. Hall; text by David C. Driskell. Artists include: Skunder Boghossian, Ellen Bond, Jacqueline Bontemps, Michael Borders, Elizabeth Catlett, Claude Clark, Samuel Countee, Ralph Arnold, William Artis, Richmond Barthé, Romare Bearden, G. Caliman Coxe, Allan Crite, Dante (Donald Graham), Jeff Donaldson, Lilian Dorsey, Aaron Douglas, John Dowell, David Driskell, Elton Fax, Wilhelmina Godfrey [as Godfrey Wilhelmina], Clementine Hunter, Louise Jefferson, Adrienne Jenkins, Wilmer Jennings, Palmer Hayden, Earl J. Hooks, Manuel Hughes, Ben Jones, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Ben Jones, Jacob Lawrence, Sam Middleton, James Miles, Keith Morrison, Roderick Owens, James Phillips, Stephanie Pogue, James Porter, Martin Puryear, Gregory Ridley, Leo Robinson, William E. Scott, John Scott, Albert A. Smith, Vincent Smith, David Stephens, Nelson Stevens, Henry Ossawa Tanner, Bill Traylor, Alma Thomas, Mildred Thompson, James Wells, Charles White, Benjamin Wigfall, Walter Williams, William T. Williams, Ellis Wilson, Viola Wood, Hale Woodruff and Charles Young. 4to (28 cm.), wraps. NEW YORK (NY). African American Institute. African Art Today: Four Major Artists. May 14-August 13, 1974. Exhibition catalogue. Includes Skunder Boghossian, et al. NEW YORK (NY). African American Institute. African Artists In America: an exhibition of work by 20 African artists living in America. September 20, 1977-January 14, 1978. 9 pp., 16 b&w illus. and photos of artists, cover plate, biogs. Curated by Jane Wilder Jacqz. Text by Tritobia Benjamin. Group exhibition of 20 artists from eight African countries. Artists included: Selena Akua Ahoklui, Kwabena Ampofo-Anti, Chike Aniakor, Skunder Boghossian, Alouine Cissoko, Acha Debela, Felix Eboigbe, Mohammad Omer Khalil, El Loko, Nii Ahene'La Mettle-Nunoo, Kiure Francis Msangi, Louis Mwaniki, Amir Nour, E. Okechukwu Odita, Kwaku Ofori-Ansah, Chief Oloruntoba, Gabriel Sunday Tenabe, Tesfaye Tessema. [Traveled to National Center of Afro-American Art, Boston, MA; Lauren Rogers Library & Museum of Art, Laurel, MS; Leigh Yawkey Woodson Art Museum, Wausau, WI; Milkin University, Decatur, IL; Santa Fe Community College, Gainesville, FL; Southern Illinois University, Carbondale, IL.] 4to (11 x 8.5 in.; 28 cm.), stapled wraps. NEW YORK (NY). Alternative Center for International Arts. Africa: Emergent Artists, Tribal Roots and Influences. May 16-June 24, 1978. 30 pp. exhib. cat., b&w illus. Curated by Geno Rodriguez, with notes and an introduction by Robert H. Browning. Artists include: Arthur Carraway, Chief Z.K. Oloruntoba, Skunder Boghossian, Melvin Edwards, Amir I.M. Nour, Muhammad Omer Khalil, El Loko, Faith Ringgold, Paul Waters, et al. 8vo (8.5 x 6.9 in. 22 cm.), stiff wraps. NEW YORK (NY). Studio Museum in Harlem. Howard University Art Faculty. 1972. Unpag. exhib. cat., 4 b&w illus. of work plus thumbnail sketches of the faculty with history of when they joined, what they teach, etc., exhib. checklist of work. Intro. by Edward S. Spriggs; statement by Jeff R. Donaldson. African American faculty included: Star Bullock, Tritobia H. Benjamin, Winston Kennedy, Lois Mailou Jones, Wadsworth A. Jarrell, Edward A. Love, Frank E. Smith, James L. Kane, Alfred J. Smith, Jr., Albert J. Carter, Skunder Boghossian, Kojo Fosu (Baiden), Jeff R. Donaldson. Sq. 8vo, stapled wraps. First ed. NEW YORK (NY). Tribal Arts Gallery. Contemporary African Art. October, 1984. Group exhibition. Included: Iba N'Diaye, Skunder Boghossian, Wosene Worke Kosrof, Tesfaye Tessema. [Review: Carolyn Owerka, African Arts 18, no. 2 (February 1985):78.] NZEGWU, NKIRU. Memory Lines: Art in the Pan African World. 2000. in: Ijele: Art eJournal of the African World Vol. 1, no. 2 (2000). The text explores the role and process of anamnesis in culture-making and identity formation in the works of three artists: Evangeline J. Montgomery, Ademola Olugebefola, Moyo Okediji. Numerous other artists mentioned in passing: Skunder Boghossian, Arthur Carraway, Houston Conwill, Acha Debela, David Driskell, Melvin Edwards, L'Mercie Frazier, Herbert Gentry, Sam Gilliam, Mary Jackson, Roland Jean, Kofi Kayiga, Khadejha, Wifredo Lam, Carlyle Matthew, Nii Ahene ’La Mettle-Nunoo, Ken Morris (Sr.), Cheryle Riley, Sundiata Stewart, Jan Wade, Winsom. E-journal. OKEKE-AGULU, CHIKA. Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria. Duke University Press, 2015. 376 pp., illus., list of illus., notes, index. 4to (10 x 7.2 in.), cloth, d.j. PARIS (France). Galerie Yvon Lambert. The Hidden Reality, Three Contemporary Ethiopian Artists. 1964. Exhib. cat. Includes Skunder Boghossian. Text by Elizabeth W. Giorgis. 4to, wraps. PLOSKI, HARRY A., ed. The Negro Almanac: A Reference Work on the Afro-American. New York: A Wiley-Interscience Publication, 1983. 1550 pp. Includes essay on The Black Artist. Gylbert Coker cited as art consultant. Many misspellings. Artists mentioned include: Scipio Moorhead, James Porter, Eugene Warburg, Robert Duncanson, William H. Simpson, Edward M. Bannister, Joshua Johnston, Robert Douglass, David Bowser, Edmonia Lewis, Henry O. Tanner, William Harper, Dorothy Fannin, Meta Fuller, Archibald Motley, Palmer Hayden. Malvin Gray Johnson, Laura Waring, William E. Scott, Hughie Lee-Smith, Zell Ingram, Charles Sallee, Elmer Brown, William E. Smith, George Hulsinger, James Herring, Aaron Douglas, Augusta Savage, Charles Alston, Hale Woodruff, Charles White, Richmond Barthé, Malvin Gray Johnson, Henry Bannarn, Florence Purviance, Dox Thrash, Robert Blackburn, James Denmark, Dindga McCannon, Frank Wimberly, Ann Tanksley, Don Robertson, Lloyd Toones, Lois Jones, Jo Butler, Robert Threadgill, Faith Ringgold, Romare Bearden, Ernest Crichlow, Norman Lewis, Jimmy Mosley, Samella Lewis, F. L. Spellmon, Phillip Hampton, Venola Seals Jennings, Juanita Moulon, Eugene Jesse Brown, Hayward Oubré, Ademola Olugebefola, Otto Neals, Kay Brown, Jean Taylor, Genesis II, David Hammons, Senga Nengudi, Randy Williams, Howardena Pindell, Edward Spriggs, Beauford Delaney, James Vanderzee, Melvin Edwards, Vincent Smith, Alonzo Davis, Dale Davis, Margaret Burroughs, Elizabeth Catlett, Gordon Parks, Rex Goreleigh, William McBride, Jr., Eldzier Cortor, James Gittens, Joan Maynard. Kynaston McShine, Coker, Cheryl McClenney, Faith Weaver, Randy Williams, Florence Hardney, Dolores Wright, Cathy Chance, Lowery Sims, Richard Hunt, Roland Ayers, Frank Bowling, Marvin Brown, Walter Cade, Catti, Barbara Chase-Riboud, Manuel Hughes, Barkley Hendricks, Juan Logan, Alvin Loving, Tom Lloyd, Lloyd McNeill, Algernon Miller, Norma Morgan, Mavis Pusey, Betye Saar, Raymond Saunders, Thomas Sills, Thelma Johnson Streat, Alma Thomas, John Torres, Todd Williams, Mahler Ryder, Minnie Evans, Jacob Lawrence, Haywood Rivers, Edward Clark, Camille Billops, Joe Overstreet, Louise Parks, Herbert Gentry, William Edmondson, James Parks, Marion Perkins, Bernard Goss, Reginald Gammon, Emma Amos, Charles Alston, Richard Mayhew, Al Hollingsworth, Calvin Douglass, Merton Simpson, Earl Miller, Felrath Hines, Perry Ferguson, William Majors, James Yeargans. Ruth Waddy; Evangeline Montgomery, Jeff Donaldson, Wadsworth Jarrell, Gerald Williams, Carolyn Lawrence, Barbara Jones-Hogu, Frank Smith, Howard Mallory, Napoleon Jones-Henderson, Nelson Stevens, Vivian Browne, Kay Brown, William Harper, Isaac Hathaway, Julien Hudson, May Howard Jackson, Edmonia Lewis, Patrick Reason, William Simpson, A. B. Wilson, William Braxton, Allan Crite, Alice Gafford, Sargent Johnson, William H. Johnson, William Artis, John Biggers, William Carter, Joseph Delaney, Elton Fax, Frederick Flemister, Ronald Joseph, Horace Pippin, Charles Sebree, Bill Traylor, Ellis Wilson, John Wilson, Starmanda Bullock, Dana Chandler, Raven Chanticleer, Roy DeCarava, John Dowell, Sam Gilliam, David Hammons, Daniel Johnson, Geraldine McCullough, Earl Miller, Clarence Morgan, Norma Morgan, Skunder Boghossian, Bob Thompson, Clifton Webb, Jack Whitten. 4to, cloth. 4th ed. POWELL, RICHARD J. Black Art and Culture in the 20th Century. New York: Thames and Hudson, 1997. 256 pp., 176 illus. (including 31 in color), biog. notes, list of illus., bibliog. 8vo, cloth, d.j. First ed. POWELL, RICHARD J. Black Art: A Cultural History. London: Thames & Hudson, 2002. 272 pp., 192 illus. including 39 in color, biog. notes, list of illus., index. Revised and slightly enlarged from 1997 edition. 8vo, wraps. Second Revised ed. RALEIGH (NC). North Carolina Museum of Art. Far From Home. February 17-July 13, 2008. Exhib. brochure, illus. Group exhibition of work by 20 artists. Included: José Bedia, Skunder Boghossian, Achamyeleh Debela, Seydou Keita, Zwelethu Mthethwa, Youssef Nabil, Lorna Simpson, Renée Stout. REID, CALVIN. Skunder Boghossian and Mohammed Omer Khalil at the Contemporary African Art Gallery - New York. 1994. In: Art in America (March 1994). Detailed discussion of two African-born artists working in the U.S. Ethiopian artist Boghossian who left Ethiopia in 1955 to study in Europe, taught in France, Ethiopia, and at Howard University, from 1974 on. Sudanese printmaker Mohammed Omer Khalil left his native Khartoum in 1959, studied in Italy and has lived and worked in New York since 1967. 4to, wraps. RIGGS, THOMAS, ed. St. James Guide to Black Artists. Detroit: St. James Press, 1997. xxiv, 625 pp., illus. A highly selective reference work listing only approximately 400 artists of African descent worldwide (including around 300 African American artists, approximately 20% women artists.) Illus. of work or photos of many artists, brief descriptive texts by well-known scholars, with selected list of exhibitions for each, plus many artists' statements. A noticeable absence of many artists under 45, most photographers, and many women artists. Far fewer artists listed here than in Igoe, Cederholm, or other sources. Stout 4to (29 cm.), laminated yellow papered boards. First ed. ROCKFORD (IL). Rockford Art Museum. An Inside View: Highlights from the Howard University Collection. February 7-April 19, 2003. Exhib. cat., illus., checklist of 90 works, paintings, sculptures, prints and drawings, dating from 1839 to 1996. Text by Floyd Coleman. Artists included: William Artis, Richmond Barthé, Romare Bearden, Skunder Boghossian, Elizabeth Catlett, Claude Clark, Eldzier Cortor, David Driskell, Aaron Douglas, Robert Duncanson, Meta Warrick Fuller, Sam Gilliam, Felrath Hines, Humbert Howard, Wadsworth Jarrell, Wilmer Jennings, William H. Johnson, Lois Mailou Jones, Wifredo Lam, Jacob Lawrence, Edmonia Lewis, Norman Lewis, Ed Love, Archibald J. Motley, Jr., Faith Ringgold, Augusta Savage, Charles Searles, Albert A. Smith, Alvin Smith, William E. Smith, Nelson Stevens, Lou Stovall, Henry Ossawa Tanner, Alma Thomas, Dox Thrash, Laura Wheeler Waring, James Lesesne Wells, Charles White, Hale Woodruff. SAN FRANCISCO (CA). Bomani Gallery and Jernigan-Wicker Fine Arts. Paris Connections: African and Caribbean Artists in Paris. January 25-March 31, 1992. 56 pp. exhib. cat., 11 color plates, full-page, biogs. and exhibs. of 11 artists, notes, bibliog., index. Dual lang. texts in English/French by Lizzetta Lefalle-Collins, Simon Njami, Jeff R. Donaldson, Judith Bettelheim. Artists exhibited include: Mickael Bethe-Sélassié, Fode Camara, Jose Castillo, Edouard Duval-Carrié, Radhames Mejia, Barbara Prézeau, Alain Salevor, Ousseynou Sarr, Patricia Seznec, Victor Ulloa, William Wilson. Other artists are mentioned in the texts including: African and Caribbean artists: Bruce Onobrakpeya, Souleymane Keita (as Keia), Albert Lubaki, Tshyela Ntendu, Pétion Savain, Wifredo Lam, Skunder Boghossian, Andela Haile Selassie, Iba N'diaye, Papa Ibra Taal, Peter Clarke, Gerard Sekoto, Ibrahim El Salahi, Taj Ahmed, Valente Malangatana, Christian Lattier, Tiberio, Alphonse Moto, Bogolan Kasobane, Ouattara (as Quattara); Americans: Henry O. Tanner, Romare Bearden, Beauford Delaney, Herbert Gentry, Lloyd McNeill, Larry Potter, Jean-Michel Basquiat, Houston Conwill, William T. Williams, and others. Sq. 4to (26 cm.), wraps. First ed. SANTA FE (NM). Western States Arts Federation. Withinsight: Visual Territories of Thirty Artists. 1994. 126 exhib. cat., biogs., exhibs., illus. for each artist. Texts by Benjamin Forgey, Keith Morrison. Artists mentioned or in the exhibition: John Robinson, Ed Love. Romare Bearden, Aaron Douglas, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Norman Lewis, Alma Thomas, David Driskell, Lloyd McNeil, David Stephens, Lou Stovall, Ken Young, Napoleon Jones-Henderson, James Phillips, Frank Smith, Edgar Sorrells-Adewole, Gerald Williams, Sam Gilliam, Skunder Boghossian, Yvonne Pickering Carter, Percy B. Martin, Carroll Sockwell, James Lesesne Wells. Sq. 4to, self-wraps. SYRACUSE (NY). Everson Museum of Art. Other Gods: Containers of Belief. Washington, DC: Fondo del Sol, 1986. 64 pp. exhib. cat., 37 illus., 4 color plates, statements by all artists, checklist of exhibition. Texts by Rebecca Kelley Crumlish, David Driskell, Houston Conwill. Mostly wall sculpture and installation pieces. Roughly 35 artists including numerous women artists and artists of color: African American artists: Martha Jackson-Jarvis, John Outterbridge, Alison and Betye Saar, Joyce Scott, Skunder Boghossian. [Traveled to Contemporary Art Center, New Orleans.] 4to, stapled wraps. First ed. WASHINGTON (DC). Corcoran Gallery of Art. The Washington Show. May 11-July 14, 1985. 126 pp. exhib. cat., 77 b&w illus., brief biogs., exhibs., and one illus. for each artist. Texts by Benjamin Forgey, Jane Addams Allen, John D. Antone and Cass Currier Vogt, Jane Livingston, Martha McWilliams, E. Ethelbert Miller, Keith Morrison, Rex Weil. Eight African American artists included in the exhibition: Skunder Boghossian, Yvonne Pickering-Carter, Sam Gilliam, Ed Love, Percy B. Martin, Carroll Sockwell, Lou Stovall, James Lesesne Wells. 4to, blue and grey illustrated wraps. First ed. WASHINGTON (DC). Howard University Gallery of Art. 8th Annual Faculty Exhibition. March 22-April 14, 1978. 46 pp., 39 b&w illus. including photos of artists and their work, statements by artists and others, exhibition checklist of 83 works. Artists include: Lila O. Asher (white artist), Michael Auld, Skunder Boghossian, Starmanda Bullock (Featherstone), Doris Colbert, David Driskell, Raymond Dobard, Kojo Fosu, Winston Kennedy, Ed Love, Winnie Owens, Malkia Roberts, Alfred J. Smith, Jr., Frank E. Smith, Edgar Sorrells-Adewale, Mildred Thompson, James Wells. Oblong 4to, stapled wraps. First ed. WASHINGTON (DC). Howard University Gallery of Art. American Art from the Howard University Collection. Howard University, 2000. Narration by Tritobia Benjamin. A selection from the collection at Howard University of over 4500 works. Includes primarily 19th and 20th-century (pre-1950) African American art. The works selected address one or more of the following themes: Forever Free: Emancipation Visualized, The First Americans, Training the Head, Hand and the Heart, The American Portrait Gallery, American Expressionism, and Modern Lives, Modern Impulses. A production on CD-ROM by Howard University Television (WHUT-TV), Howard University Radio (WHUR-FM) and Information Systems and Services. Black artists include: William Artis, Edward M. Bannister, Richmond Barthé, Romare Bearden, Skunder Boghossian, Hilda Wilkinson Brown, Samuel J. Brown, Selma Burke, Elizabeth Catlett, Eldzier Cortor, Allan Rohan Crite, Charles C. Davis, Aaron Douglas, David Driskell, Robert Duncanson, Sam Gilliam, Isaac Hathaway, May Howard Jackson, Malvin Johnson, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Archibald J. Motley, Lenwood Morris, Horace Pippin, James Porter, Faith Ringgold, John Robinson, Charles Sallee, Augusta Savage, Charles Sebree, William H. Simpson, Albert A. Smith, William E. Smith, Henry Ossawa Tanner, Dox Thrash, Laura Wheeler Waring, James Weeks, James Lesesne Wells, Charles White, Franklin White, Walter J. Williams, George L. Wilson, Hale Woodruff. CD-ROM WASHINGTON (DC). National Museum of African Art, Smithsonian Institution. African Cosmos: Stellar Arts. June 20-December 9, 2012. 352 pp. exhib. cat., illus. Text by curator Christine Mullen Kreamer. Group exhibition of approximately 100 objects that evidence the importance of the celestial bodies of the sun, moon, and stars and celestial phenomena as rainbows and eclipses, as sources of inspiration in the creation of African art. Included: Areogun of Osi-Ilorin, El Anatsui, Skunder Boghossian, Garth Erasmus, Ben Enwonwu, Lamidi Fakeye, Romuald Hazoumé, Julie Mehretu, Kwesi Owusu-Ankomah, Gabra Sallase, Yinka Shonibare, Obiora Udechukwu, Sandile Zulu, et al. [Traveled to: Newark Museum, Newark, NJ, February 27-August 11, 2013; Los Angeles County Museum of Art, August 24-November 30, 2014.] [Review: Lonnae O'Neal Parker, "‘African Cosmos: Stellar Arts’ centers on science and human need to connect," Washington Post, June 19, 2012.] 4to (11.3 x 9.8 in.), boards. WASHINGTON (DC). National Museum of African Art, Smithsonian Institution. Ethiopian Passages: Contemporary Art from the Diaspora. May 2-December 7, 2003. 128 pp., exhib. catalogue, color illus., chronol., biogs. Texts by Elizabeth Harney, Jeff Donaldson (including discussion with Floyd Coleman), Achamyeleh Debela, and Kinsey Katchka. Debela's "Then and Now: The Arts in Addis Ababa," is a useful account of the history of the School of Fine Arts and Design from its inception in 1957 to its present situation under the aegis of Addis Ababa University. The exhibition includes 10 artists of Ethiopian descent, from across several generations, who have addressed issues of identity and displacement. Artwork ranges from painting, mixed media, photography and digital prints to ceramic and papier mâché sculptures, murals and on-site installations. Includes: Julie Mehretu, Elizabeth Habte Wold, Kebedech Takleab, Etiyé Dimma Poulsen, Aida Muluneh, Mickaël Bethe-Sélassié, Elizabeth Atnafu, Alexander Skunder Boghossian, Wosene Worke Kosrof, Achamyeleh Debele. Tall 4to (31 cm.), wraps. WASHINGTON (DC). Parish Gallery. HERBERT GENTRY and Friends. July 18-September 14, 2008. Group exhibition. Included: Mohammed Ahmed Abdalla, Skunder Boghossian, Romare Bearden, Nanette Carter, Ed Clark, Beauford Delaney, Herbert Gentry, Robin Holder, Bill Hutson, Lois Mailou Jones, Wifredo Lam, Richard Mayhew, Sam Middleton, Toni Parks, Vicente Pimentel, Larry Potter, Rachelle Puryear, Vincent D. Smith and Walter Williams.

  • Condition: Used
  • Artist: SKUNDER BOGHOSSIAN
  • Type: Print
  • Year of Production: 1977
  • Theme: Art
  • Original/Licensed Reprint: Original
  • Subject: Figures

PicClick Insights - Skunder Boghossian - U.n. (Wfuna) Art Graphic - “Combat Racism “ Ethiopian PicClick Exclusive

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