Rasheed Araeen, 6 December 2012
Dear members of the Editorial Board, Advisory Council, and the supporters of Third Text.
I must first thank you all for your tremendous support in this difficult time not only for me personally but, more importantly, for Third Text in its historical struggle to maintain the continuity of its pursuit for truth and its radical vision.
Third Text Advisory Council Members, 5 December 2012
With this letter we announce our collective resignation from the Third Text Advisory Council.
With the full sadness of a long look back, we take our leave from a journal that has occupied a vital place in our critical lives and, for many of us, our artistic and intellectual formation. We do not leave gladly, but we are bound to accept that Third Text, under its current Trusteeship and editorial leadership, is no longer the journal we knew and loved.
Trustees of Black Umbrella, 30 August 2012
Trustees welcome your support for Third Text. We hope to allay your concerns through reaffirming that we have no intention of undermining the collective vision of Third Text and that our priority is to sustain its future. The Trustees are long supporters of both Rasheed Araeen and of the journal and have the highest regard for his achievements. Rasheed has not been ‘ousted’ from Third Text. Our decision that he should pursue his international role was made with full regard to Rasheed’s status as Founding Editor and to the current and long term needs of the journal and Black Umbrella Trust. The current dispute is perhaps a disproportionate response to a decision made with the best intentions for all concerned.
Mario Pissarra, 31 August 2007
From the outset I welcomed this exhibition since exile (‘Imbacu’ in isiXhosa) has received scant attention from South African curators and art historians, despite being perhaps the earliest form of resistance practiced by our artists. I was also curious whether Loyiso Qanya’s curatorial debut represented a shift within the SANG, an institution that has done little to create meaningful curatorial opportunities for trainees.
Barthosa Nkurumeh, 14 July 2007
Deliberating Access to Quality Art Education in the 21st Century
Greetings! Or ndewo, as it is said in one of the Kwa language groups. The following are the proceedings of the panel, Shaping Art Education in Africa: Face-to-Face Dialogues on Curriculum, Teaching-Learning and Assessment at the14th Triennial Symposium on African Art organized by the Arts Council of African Studies Association (ACASA) and the University of Florida (UFL), Gainesville held at UFL on Friday, March 30, 2007 from 2:00 to 4:00 PM in Room 2 of the Florida Museum of Natural History.
by Ugochukwu-Smooth C. Nwezi
The AAW International Artists Workshop 2006 provided me with an important opportunity to visit the historic country of Egypt and the city of Alexandria. Workshops provide an enabling space for artists from diverse ethnic backgrounds to commingle, network and learn from each other, and the AAW workshop was no exception.I arrived in Egypt on November 17, two days before the actual start of the workshop and this afforded me the opportunity to spend two days in Cairo.
Read More
by Mario Pissarra
[An edited version of this review was published as “Defining African Art” on www.cloudband.com in 2001, but is no longer available. Apart from the title, no changes have been made to the original text]
Published to coincide with the opening of the Sainsbury African Galleries at the British Museum, this book avoids the expensive, coffee table format characteristic of books on African art and culture. Attractively presented with high quality colour photographs, and written with jargon free text, this book appears to be aimed at the ‘general’ reader or visitor to the Museum. [1]
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