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Emmanuel Iduma

Emmanuel Iduma is the author of two works of nonfiction, including the travelogue A Stranger’s Pose, and I Am Still With You, a memoir. His honors include the inaugural Irving Sandler Award for New Voices in Art Criticism from AICA-USA, the C/O Berlin Talent Prize for Theory, and the Windham-Campbell Prize. He is based between Lagos, Nigeria and Norwich, UK.

Balance of Stories

I asked the writers gathered in this section to choose a photograph and write a narrative based on it. How they defined “narrative” was up to them; they could borrow from any genre, including biography, history, memoir, and the news. I wanted to bring to fore the idea that a critic is, in the best sense, also a storyteller.

The Promise of Mutability

Most recently, I have written for and managed the monthly publication of essays on African art and visual culture in The Trans-African, a publication project by Invisible Borders.

Francisco de Goya, Plate 26 from “The Disasters of War” (“Los Desastres de la Guerra”): <em>One can’t look</em>. (<em>No se puede mirar</em>.) 1810 – 20, published 1863. Etching, burnished lavis, drypoint and burin. 9 15/16 × 13 1/2 in. Purchase, Rogers Fund and Jacob H. Schiff Bequest, 1922. <a href=Metmuseum.org, OASC. " />

9 Primers

Sixty years have passed since Uche Okeke wrote “Natural Synthesis.” Debates surrounding the manifesto’s influence—who is right to be named a member of the group, which younger artists are favored descendants, etc.—eclipse, to my mind, a greater dilemma. That is, are the opportunities for synthesis as available to artists today as they were to their forebears? What can be said of the resources available right now for those who wish to model their practice after the idea of a “natural synthesis”?

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The Brooklyn Rail

NOV 2022

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