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Journal articles on the topic 'South African Art pottery'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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1

Pinto, Hugo, Will Archer, David Witelson, Rae Regensberg, Stephanie Edwards Baker, Rethabile Mokhachane, Joseph Ralimpe, et al. "The Matatiele Archaeology and Rock Art (MARA) Program Excavations: The Archaeology of Mafusing 1 Rock Shelter, Eastern Cape, South Africa." Journal of African Archaeology 16, no. 2 (November 27, 2018): 145–67. http://dx.doi.org/10.1163/21915784-20180009.

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AbstractThe rock shelter Mafusing 1 was excavated in 2011 as part of the Matatiele Archaeology and Rock Art orMARAresearch programme initiated in the same year. This programme endeavours to redress the much-neglected history of this region of South Africa, which until 1994 formed part of the wider ‘Transkei’ apartheid homeland. Derricourt’s 1977Prehistoric Man in the Ciskei and Transkeiconstituted the last archaeological survey in this area. However, the coverage for the Matatiele region was limited, and relied largely on van Riet Lowe’s site list of the 1930s. Thus far, theMARAprogramme has documented more than 200 rock art sites in systematic survey and has excavated two shelters – Mafusing 1 (MAF1) and Gladstone 1 (forthcoming). Here we present analyses of the excavated material from theMAF1 site, which illustrates the archaeological component of the wider historical and heritage-related programme focus. Our main findings atMAF1 to date include a continuous, well stratified cultural sequence dating from the middle Holocene up to 2400 cal.BP. Ages obtained from these deposits are suggestive of hunter-gatherer occupation pulses atMAF1, with possible abandonment of the site over the course of two millennia in the middle Holocene. After a major roof collapse altered the morphology of the shelter, there was a significant change in the character of occupation atMAF1, reflected in both the artefact assemblage composition and the construction of a rectilinear structure within the shelter sometime after 2400 cal.BP. The presence of a lithic artefact assemblage from this latter phase of occupation atMAF1 confirms the continued use of the site by hunter-gatherers, while the presence of pottery and in particular the construction of a putative rectilinear dwelling and associated animal enclosure points to occupation of the shelter by agropastoralists. Rock art evidence shows distinct phases, the latter of which may point to religious practices involving rain-serpents and rainmaking possibly performed, in part, for an African farmer audience. This brings into focus a central aim of theMARAprogramme: to research the archaeology of contact between hunter-gatherer and agropastoralist groups.

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2

Fuller, Dorian Q. "Ceramics, seeds and culinary change in prehistoric India." Antiquity 79, no. 306 (December 2005): 761–77. http://dx.doi.org/10.1017/s0003598x00114917.

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Cuisine, argues the author, is like language – it can be adopted, adapted or modified through time. The evidence from actual words for food is also used, together with seed assemblages and types of pottery to chronicle changing food cultures in Neolithic and later India. While some new food ideas (like African millets) were incorporated into existing agricultural practice as substitute crops, others such as the horsegram and mungbean appear to have moved from south to north with their pots (and probably the appropriate recipes) as a social as well as a dietary innovation.

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3

Anderson, Richard L. "Art in Flux: Songs, Poems, and Pots: In Township Tonight: South Africa's Black City Music and Theater ; Cleaned the Crocodile's Teeth: Nuer Song ; The Pottery of Acatlan: A Changing Mexican Tradition." Anthropology Humanism Quarterly 11, no. 4 (December 1986): 106–8. http://dx.doi.org/10.1525/ahu.1986.11.4.106.

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4

Henshilwood, Christopher. "A revised chronology for pastoralism in southernmost Africa: new evidence of sheep atc.2000 b.p. from Blombos Cave, South Africa." Antiquity 70, no. 270 (December 1996): 945–49. http://dx.doi.org/10.1017/s0003598x00084210.

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New excavation at Blombos Cave, in the southern Cape of South Africa, and new radiocarbon dates for its sequence further illuminate the chronology of pastoralism in southern Africa, and the relations between pottery-using and shepherding.

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5

Deacon, Janette. "South African rock art." Evolutionary Anthropology: Issues, News, and Reviews 8, no. 2 (1999): 48–64. http://dx.doi.org/10.1002/(sici)1520-6505(1999)8:2<48::aid-evan4>3.0.co;2-9.

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6

Aronson, Lisa. "Gender and South African Art." African Arts 45, no. 4 (December 2012): 1–5. http://dx.doi.org/10.1162/afar_e_00022.

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7

Lochner, Eben. "The South African Art Centre." Third Text 27, no. 3 (May 2013): 315–26. http://dx.doi.org/10.1080/09528822.2013.795697.

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8

Erickson, Kirstin C. "Pottery of the U.S. South: A Living Tradition." Museum Anthropology Review 9, no. 1-2 (February 20, 2015): 106–8. http://dx.doi.org/10.14434/mar.v9i1-2.13719.

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9

Sealy, Judith, and Royden Yates. "The chronology of the introduction of pastoralism to the Cape, South Africa." Antiquity 68, no. 258 (March 1994): 58–67. http://dx.doi.org/10.1017/s0003598x00046196.

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A careful survey of reports of early sheep in southernmost Africa combines with new radiocarbon dates to revise our knowledge of early pastoralism in the Cape. The new chronology shows the keeping of domestic stock and the making of pottery are not simultaneous and intertwined but separate events in a more complex history.

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10

Legodi, M. A., and D. de Waal. "Raman spectroscopic study of ancient South African domestic clay pottery." Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 66, no. 1 (January 2007): 135–42. http://dx.doi.org/10.1016/j.saa.2006.02.059.

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11

Ouzman, Sven. "South African Conference on Rock Art." Before Farming 2006, no. 1 (January 2006): 1–7. http://dx.doi.org/10.3828/bfarm.2006.1.7.

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12

McShane, Megan C. "Teaching South African Contemporary Political Art." Safundi 5, no. 4 (October 2004): 1–5. http://dx.doi.org/10.1080/17533170400905409.

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13

Pike, Charles Ben, and Gavin Younge. "Art of the South African Townships." African Arts 22, no. 4 (August 1989): 83. http://dx.doi.org/10.2307/3336676.

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14

Danilowitz, Brenda. "Exhibitions of Contemporary South African Art." African Arts 24, no. 3 (July 1991): 12. http://dx.doi.org/10.2307/3336919.

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15

Givens, David B. "New: African Art at South Florida." Anthropology News 35, no. 4 (April 1994): 7. http://dx.doi.org/10.1111/an.1994.35.4.7.1.

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16

Nolte, Jacqueline. "Contemporary South African Art 1985–1995." Third Text 11, no. 39 (June 1997): 95–103. http://dx.doi.org/10.1080/09528829708576676.

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17

Kerkham, Ruth. "Contemporary South African Art 1985–1995." Third Text 13, no. 45 (December 1998): 104–6. http://dx.doi.org/10.1080/09528829808576773.

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18

Koloane, David. "South African Art in the Global Context." Présence Africaine 167-168, no. 1 (2003): 114. http://dx.doi.org/10.3917/presa.167.0114.

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19

Rezaire, Tabita. "Afro cyber resistance: South African Internet art." Technoetic Arts 12, no. 2 (December 1, 2014): 185–96. http://dx.doi.org/10.1386/tear.12.2-3.185_1.

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20

Bristowe, A. "CONTEMPORARY SOUTH AFRICAN ART: THE GENCOR COLLECTION." Nka Journal of Contemporary African Art 1998, no. 8 (March 1, 1998): 64. http://dx.doi.org/10.1215/10757163-8-1-64.

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21

Jacobson, L., F. C. de Beer, and R. Nshimirimana. "Tomography imaging of South African archaeological and heritage stone and pottery objects." Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment 651, no. 1 (September 2011): 240–43. http://dx.doi.org/10.1016/j.nima.2011.02.093.

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22

Danilowitz, Brenda, and Matsemela Manaka. "Echoes of African Art: A Century of Art in South Africa." African Arts 21, no. 4 (August 1988): 84. http://dx.doi.org/10.2307/3336759.

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23

Lamprecht, Andrew. "Evading the obvious: Curating new South African art." de arte 39, no. 70 (January 2004): 50–54. http://dx.doi.org/10.1080/00043389.2004.11877030.

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24

von Veh, Karen. "The Politics of Memory in South African Art." de arte 54, no. 1 (January 2, 2019): 3–24. http://dx.doi.org/10.1080/00043389.2018.1464732.

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25

Sey, James Alexander. "The trauma of conceptualism for South African art." Critical Arts 24, no. 3 (November 2010): 438–56. http://dx.doi.org/10.1080/02560046.2010.511878.

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26

Jenkins, Elwyn. "Showcasing South African rock art on postage stamps." Critical Arts 26, no. 4 (September 2012): 466–83. http://dx.doi.org/10.1080/02560046.2012.723801.

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27

Botha, Ferdi, Jen Snowball, and Brett Scott. "Art investment in South Africa: Portfolio diversification and art market efficiency." South African Journal of Economic and Management Sciences 19, no. 3 (September 5, 2016): 358–68. http://dx.doi.org/10.4102/sajems.v19i3.1397.

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Art has been suggested as a good way to diversify investment portfolios during times of financial uncertainty. The argument is that art exhibits different risk and return characteristics to conventional investments in other asset classes. The new Citadel art price index offered the opportunity to test this theory in the South African context. Moreover, this paper tests whether art prices are efficient. The Citadel index uses the hedonic regression method with observations drawn from the top 100, 50 and 20 artists by sales volume, giving approximately 29 503 total auction observations. The Index consists of quarterly data from the period 2000Q1 to 2013Q3. A vector autoregression of the art price index, Johannesburg stock exchange all-share index, house price index, and South African government bond index were used. Results show that, when there are increased returns on the stock market in a preceding period and wealth increases, there is a change in the Citadel art price index in the same direction. No significant difference was found between the house price index and the art price index, or between the art and government bond price indices. The art market is also found to be inefficient, thereby exacerbating the risk of investing in art. Overall, the South African art market does not offer the opportunity to diversify portfolios dominated by either property, bonds, or shares.

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28

Juma, Abdurahman M. "The Swahili and the Mediterranean worlds: pottery of the late Roman period from Zanzibar." Antiquity 70, no. 267 (March 1996): 148–54. http://dx.doi.org/10.1017/s0003598x00083009.

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Mortimer Wheeler famously tied together the worlds of ancient Rome and ancient India by finding Roman ceramics stratified into levels at Arikamedu, in south India. Late Roman pottery from far down the East African coast now permits the same kind of matching link from the Mediterranean to a distant shore, this one in the Swahili world.

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29

Muller, Stephanus. "MICHAEL BLAKE'S STRING QUARTETS AND THE IDEA OF AFRICAN ART MUSIC." Tempo 76, no. 300 (April 2022): 6–17. http://dx.doi.org/10.1017/s0040298221000887.

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AbstractThis article considers if and how the five string quartets of the South African composer Michael Blake, written between 2001 and 2014, could be considered as contributing to the compositional and discursive construct that is ‘African art music’. ‘African art music’ has often been evoked in connection with the compositional practices of West African composers especially but has received little consideration and scrutiny of its possible applications to South African composition. The political and artistic isolation of South Africa from the rest of Africa during much of the twentieth century is an obvious reason why this has been the case. But there is also the possibility that white South African composers during and after apartheid have engaged in composition from different intellectual and aesthetic starting points, compared to their African counterparts, due to the specific kind of coloniality they inhabit. The five string quartets afford a perspective on how Michael Blake negotiated the continuities of compositional authority and universalised commitment to a traditional Western sound ideal in the string quartet, with the self-awareness that white composition in post-apartheid South Africa arguably requires.

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30

Dreyer, Elfriede. "Stigma, Crime and Money in South African Art Exhibition." International Journal of the Inclusive Museum 1, no. 3 (2008): 107–18. http://dx.doi.org/10.18848/1835-2014/cgp/v01i03/44525.

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31

Coombes, Annie E. "Visual century: South African art in context 1907–2007." Journal of African Cultural Studies 26, no. 3 (August 11, 2014): 366–69. http://dx.doi.org/10.1080/13696815.2014.929003.

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32

von Veh, Karen. "‘Deconstructing Dogma’: Transgressive religious iconography in South African art." de arte 49, no. 89 (January 2014): 39–65. http://dx.doi.org/10.1080/00043389.2014.11877198.

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33

Clottes, Jean, and David Lewis-Williams. "Upper Palaeolithic Cave Art: French and South African Collaboration." Cambridge Archaeological Journal 6, no. 1 (April 1996): 137–39. http://dx.doi.org/10.1017/s0959774300001633.

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34

Donald, D. G. M. "South African Nursery Practice—The State of the Art." South African Forestry Journal 139, no. 1 (December 1986): 36–47. http://dx.doi.org/10.1080/00382167.1986.9630055.

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35

Rozwadowski, Andrzej. "From Central Asia to South Africa: In Search of Inspiration in Rock Art Studies." Werkwinkel 12, no. 1 (June 27, 2017): 19–33. http://dx.doi.org/10.1515/werk-2017-0002.

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Abstract The paper describes the story of discovering South African rock art as an inspiration for research in completely different part of the globe, namely in Central Asia and Siberia. It refers to those aspect of African research which proved to importantly develop the understanding of rock art in Asia. Several aspects are addressed. First, it points to importance of rethinking of relationship between art, myth and ethnography, which in South Africa additionally resulted in reconsidering the ontology of rock images and the very idea of reading of rock art. From the latter viewpoint particularly inspiring appeared the idea of three-dimensionality of rock art ‘text’. The second issue of South African ‘origin,’ which notably inspired research all over the world, concerns a new theorizing of shamanism. The paper then discusses how and to what extent this new theory add to the research on the rock art in Siberia and Central Asia.

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36

Watt, Ronnie. "South African Studio Pottery of the Later Twentieth Century and Its Anglo-Oriental Epithet." de arte 53, no. 1 (January 2, 2018): 75–101. http://dx.doi.org/10.1080/00043389.2018.1459107.

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37

Saratovskaya, Larisa. "South African literature in Russia." African Research & Documentation 58 (1992): 11–15. http://dx.doi.org/10.1017/s0305862x00012577.

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The African continent and South Africa in particular have always interested Russians. It may be interesting to note that as early as the 18th century the Russian tzar and reformist Peter 1st, ordered the compilation of a description of Africa, which was made in 1710 in Moscow. In the 18th and especially in the 19th centuries there were many Russian sailors and explorers who went as far as the Cape of Good Hope. Among them was a famous Russian writer and sailor Ivan Goncharov who spent two months in South Africa in 1853 and devoted more than 150 pages of his travelling book “Frigate Pallada” to the description of the lives of different racial groups there. This progressive Russian writer paid special attention to the fight of African people against the European colonisers. Another Russian explorer and art-critic A. Visheslavzev was also in South Africa in the 1850s and in his diary expressed his sympathy with the African chiefs, who led the black tribes against the conquerors.

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38

Lentfer, Carol J., Matthew W. Felgate, Robynne A. Mills, and Jim Specht. "Human history and palaeoenvironmental change at Site 17, Freshwater Beach, Lizard Island, northeast Queensland, Australia." Queensland Archaeological Research 16 (February 12, 2013): 141. http://dx.doi.org/10.25120/qar.16.2013.227.

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Late Holocene patterns of change in occupation and use of islands along the eastern coast of Queensland have long been debated in terms of various drivers, though much of this discussion relates to regions south of Cairns, with comparatively little study of the far northern Great Barrier Reef islands. The numerous middens, stone arrangements and art sites on Lizard Island suggest long-term use by Indigenous people, but recent discoveries of pottery give tantalising glimpses of a prehistoric past that may have included a prehistoric economy involving pottery. Here we review previous archaeological surveys and studies on Lizard Island and report on new archaeological and palaeoenvironmental studies from the Site 17 midden at Freshwater Beach, with an oldest date of 3815–3571 cal BP. We identify two major changes in the archaeological and palaeoenvironmental records, one associated with more recent European influences and the other at c.2000 cal BP. Pottery from the intertidal zone is as yet undated. When dates become available the relationship between the Site 17 results reported here and the use of pottery on the island may be clarified.

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39

Klein, Melanie. "Creating the Authentic? Art Teaching in South Africa as Transcultural Phenomenon." Culture Unbound 6, no. 7 (December 15, 2014): 1347–65. http://dx.doi.org/10.3384/cu.2000.1525.1461347.

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The question about what art and craft from Black individuals in South Africa should look like as well as how and for what purposes it could be created was of prominent importance within the contact zone of educational institutions from the 1930s onwards. Art teachers of mostly European origin established provisional art educational venues for African students first, within the curricula of mission schools and then as workshops and art schools in their own right. They transferred modernistic concepts from Europe into the South African context, yet were also confronted with divergent expectations of their students and the overarching policy of Bantu Education that was launched in 1953. A closer look at selected case studies reveals complex and ambivalent theoretical approaches that were negotiated and discussed in the seemingly autonomous context of art schools and workshops. The teachers’ attitudes seemed to oscillate between the search for an ‘authentic’ African idiom and the claim to partake in global archives or in the making of an art history that was imagined as universally applicable. Art educational institutions perceived as transcultural contact zones exemplify a genesis of modern art from South Africa that was formed by mutually influencing perspectives apart from the restrictions for and the re-tribalisation of Black people imposed by the apartheid regime.

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40

de Villiers, Nico. "On Migration, Exile, and Cosmopolitanism: A Brief Survey of South African Art Song." Journal of Singing 80, no. 2 (October 25, 2023): 145–56. http://dx.doi.org/10.53830/srri3101.

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One of the genres that comprise the different musics of South Africa is that of the art song. Imported through its European heritage, the art song has found a place in the portfolios of South African composers throughout the twentieth century. However, against the backdrop of its complicated history, South Africa’s art songs often seem to reflect themes of exile, inner struggle and nostalgia. This article contemplates how these themes resonate through South Africa’s complex history, and how they have subsequently been reflected in the genre of art song, with specific reference to songs by composers S. le Roux Marais, Hubert du Plessis, Arnold van Wyk, Peter Klatzow, Hendrik Hofmeyr, and Bongani Ndodana-Breen.

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41

Nkeh-Chungag, Benedicta N., Nandu Goswami, Godwill A. Engwa, Constance R. Sewani-Rusike, Vuyolwethu Mbombela, Ingrid Webster, Patrick De Boever, Harald H. Kessler, Evelyn Stelzl, and Hans Strijdom. "Relationship between Endothelial Function, Antiretroviral Treatment and Cardiovascular Risk Factors in HIV Patients of African Descent in South Africa: A Cross-Sectional Study." Journal of Clinical Medicine 10, no. 3 (January 20, 2021): 392. http://dx.doi.org/10.3390/jcm10030392.

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Limited information on the effect of antiretroviral treatment (ART) on vascular function in South Africans of African descent living with human immunodeficiency virus (HIV) is available. The relationship between ART, vascular function and cardiovascular risk factors in South Africans of African ancestry with HIV was therefore studied. This cross-sectional study recruited 146 HIV-positive individuals on ART (HIV+ART+), 163 HIV-positive individuals not on ART (HIV+ART−) and 171 individuals without HIV (HIV−) in Mthatha, Eastern Cape Province of South Africa. Flow-mediated dilation (FMD) test was performed to assess endothelial function. Anthropometry and blood pressure parameters were measured. Lipid profile, glycaemic indices, serum creatinine as well as CD4 count and viral load were assayed in blood. Urinary albumin to creatinine ratio (ACR) was determined as a marker of cardiovascular risk. Obesity and albuminuria were positively associated with HIV, and HIV+ART+ participants had significantly higher HDL cholesterol. Dyslipidaemia markers were significantly higher in hypertensive HIV+ART+ participants compared with the controls (HIV+ART− and HIV− participants). FMD was not different between HIV+ART+ participants and the controls. Moreover, HIV+ART+ participants with higher FMD showed lower total cholesterol and LDL cholesterol comparable to that of HIV− and HIV+ART− participants. A positive relationship between FMD and CD4 count was observed in HIV+ART+ participants. In conclusion, antiretroviral treatment was associated with cardiovascular risk factors, particularly dyslipidaemia, in hypertensive South Africans of African ancestry with HIV. Although, ART was not associated with endothelial dysfunction, flow-mediated dilatation was positively associated with CD4 count in HIV-positive participants on ART.

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42

Coker, Gylbert Garvin, and William Arnett. "Souls Grown Deep: African American Vernacular Art of the South." African American Review 35, no. 4 (2001): 660. http://dx.doi.org/10.2307/2903291.

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43

Marschall, Sabine. "Transforming Symbolic Identity: Wall Art and the South African City." African Arts 41, no. 2 (June 2008): 12–23. http://dx.doi.org/10.1162/afar.2008.41.2.12.

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44

Pawłowska, Aneta. "The Art of Miss Irma Stern: Ugliness as a Cult." Roczniki Humanistyczne 70, no. 4 (May 16, 2022): 99–121. http://dx.doi.org/10.18290/rh22704.4.

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The purpose of this article is to present the life and work of a well-known and celebrated South African painter of German-Jewish origin – Irma Stern (1894-1966). The artist was one of the first painters from South Africa whose works fitted well into the expressionist trend. Irma Stern’s artistic development was influenced by numerous trips to Europe and her studies at German art schools and academies. Her African roots were another important source of inspiration for her. Stern, who travelled all over Africa (including South Africa, Zanzibar and Congo) created numerous portraits of its indigenous peoples surrounded by wild nature. In her works, she most often presented an idyllic vision of the African continent, but one whirling with life and dynamism, thus reflecting her personal views of Africa as a real ‘paradise.’

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45

Ridings, Rosanna, and C. Garth Sampson. "There's No Percentage in It: Intersite Spatial Analysis of Bushman (San) Pottery Decorations." American Antiquity 55, no. 4 (October 1990): 766–80. http://dx.doi.org/10.2307/281249.

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Grass-tempered bowls made by the forbears of historical Karoo Bushmen between ca. A.D. 1500 and 1800 were decorated with many different stamp-impressed motifs. Five of the seven observed motif groups appear to be distributed randomly across the 2,000 km2 study area in the upper Seacow River valley, South Africa. When their percentage frequencies per site cluster were mapped, however, localized concentrations appeared. The validity of the percentage concentrations is tested here by unconstrained cluster analysis, which is not subject to the closure effect. Also, several other tests, all avoiding the use of percentage frequency maps, are introduced as alternative ways to deal with unevenly distributed sites and scarce artifacts or traits unevenly distributed among the sites themselves. The results demonstrate that percentage-frequency mapping can produce occasionally spurious and misleading patterns. Because stratigraphic evidence is scarce and inconclusive, and direct dating of sherds has not yet been conducted, a test also is proposed for determining contemporaneity of motif groups.

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46

Greyling, Annemarie. "The South African Cultural History Museum Library." Art Libraries Journal 20, no. 4 (1995): 25–26. http://dx.doi.org/10.1017/s0307472200009603.

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The South African Museum (cultural history) opened in 1966 as part of the South African Museum; in 1969 it began an independent existence as the South African Cultural History Museum, with a mission to enable the ‘entire community… to enjoy and to learn about our Cape and international heritage’. The library dates back to the opening of the museum, and now comprises some 12,000 books, 900 pamphlets, and 190 current journals on art related topics. Although the library exists primarily to serve the museum staff, it is open to the public and is well used by students.

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47

Reid, Andrew, and Ceri Z. Ashley. "A context for the Luzira Head." Antiquity 82, no. 315 (March 1, 2008): 99–112. http://dx.doi.org/10.1017/s0003598x00096472.

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The Luzira head, a pottery figure discovered in a Ugandan prison compound in 1929, has remained curiously anonymous ever since. New archaeological work on the northern shores of (Lake) Victoria Nyanza has defined a formative period of political centralisation at the end of the first millennium AD. The authors show that this period of early to late Iron Age transition is where this remarkable object and related figurative material belongs. This has implications both for the formation of kingdoms in Uganda and for the story of African art more generally.

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48

Rees, D., R. Cronje, and R. S. du Toit. "Dust exposure and pneumoconiosis in a South African pottery. 1. Study objectives and dust exposure." Occupational and Environmental Medicine 49, no. 7 (July 1, 1992): 459–64. http://dx.doi.org/10.1136/oem.49.7.459.

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49

du Plessis, L. P. "Art-Making under Siege: a Prognosis for South African Art Education in the Nineties." de arte 24, no. 40 (September 1989): 39–47. http://dx.doi.org/10.1080/00043389.1989.11761094.

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50

Battles, Natalie, and Kathi King. "Because the movement, it’s never done." Journal of American Folklore 134, no. 534 (October 1, 2021): 492–500. http://dx.doi.org/10.5406/jamerfolk.134.534.0492.

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Abstract The South Side Community Art Center (SSCAC) is a cultural hub, meeting place, and gallery on the South Side of Chicago. The only surviving Works Progress Administration (WPA) community art center, it functions as a space for African American art, intergenerational dialogue, and as an institution for community education in the arts. In this interview with Natalie Battles, artist, activist, and former employee at the SSCAC, we learn about the center’s history and its connections with social and cultural movements, her work there, and what it is like to be a young artist involved with a long-standing institution of African American art.

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