Alternative perspectives and humanist propositions define the intriguing world-building of the Milanese collective in their investigations of functionality, identity, and the mundane.

A#22
A Magazine Curated By Grace Wales Bonner
BARAKA, A. FUNDI. (1970) In Our Terribleness. Bobbs-Merrill Company, Inc., New York.
In a series of Afro-Atlantic narratives, Grace Wales Bonner weaves together archival portfolios and historical ephemera to anoint the themes of her issue, subtitled Rhapsody in the Street, and commission new works within it.
A Magazine Curated By Grace Wales Bonner is a continuation of the research that the designer dedicates to her craft, diving deep into the literary and visual traditions documenting Blackness in fleeting pockets of history or as a part of a larger interconnected history. Rather than the monolith often portrayed by Eurocentric narratives, the designer muses on the complexities and nuances of the Black Atlantic expressed throughout various disciplines, from essays and poems to paintings and portraits. Between the collection of Black poetry and photography books, Bonner draws a continuous line starting from In Our Terribleness through the Sweet Flypaper of Life to the Sweet Breath of Life. Discover these references in dialogue with one another, informing a new generation of artists and culminating into A Magazine Curated By Grace Wales Bonner.
In Memory of Greg Tate, whose profound thoughts examining contemporary culture in Flyboy in the Buttermilk (1992) continue to inspire the artists featured in this edition and beyond.
ALS, H. (2017) James Baldwin/Jim Brown and the Children. Online: The Arts Institute.
BARAKA, A. FUNDI. (1970) In Our Terribleness. Bobbs-Merrill Company, Inc., New York.
BALDWIN, J. (1956) Giovanni’s Room. Dial Press. New York.
CAMPT. T. (2017) Listening to Images. Duke University Press. Durham, North Carolina.
DECARAVA, R. (1955) The Sweet Flypaper of Life. Simon & Schuster. New York.
FOSSO, S. (2020) Autoportrait. Steidl. Göttingen, Germany.
GATES, H.L. (1987) Figures in Black. Oxford University Press, New York.
HAWKESWORTH, J. (2021) The British Isles. Mack. London.
HEMPHILL, E. (1989) Looking for Langston [Film excerpt]. British Film Insititute. London.
HEMPHILL, E. (1991) Brother To Brother. Alyson Publications. Boston.
HUGHES, L. (1926) The Weary Blues. Knopf Publishing Group. New York.
JOHNSON ARTUR, L. (2016) Liz Johnson Artur. Bierke Publishing. Berlin.
OKRI, B. (1999) Mental Fight. Phoenix House. London.
REED, I. (1972) Mumbo Jumbo. Doubleday. Garden City, N.Y.
REED, I. (1971) Catechism of d neoamerican hoodoo church. P. Breman. London.
SASSEN.V. (2012) Parasomnia. Prestel Publishing. London.
SEPUYA, P.M. (2012) Studio Work. Familiar. New York.
SEPUYA, P.M. (2020) Paul Mpagi Sepuya. Aperture. New York.
SHANGE. N. (2004) The Sweet Breath of Life. Simon & Schuster. London.
SIDIBÉ, M. (1998) Mali Twist. Xavier Barral. Paris.
SMITH, M. (2020) Ming Smith: An Aperture Monograph. Aperture. New York
SORY, S. (2017) Volta Photo. Reel Art Press/Morton Hill. London.
SORY, S. (2019) Peuple de la nuit. Stanley/Barker. London.
STREULI, B. (2019) Fabric of Reality. Lars Müller Publishers. Zurich.
Alternative perspectives and humanist propositions define the intriguing world-building of the Milanese collective in their investigations of functionality, identity, and the mundane.
Portraits of the 20th century icon are featured within the pages of A Magazine Curated By Erdem, and form part of the Pinault Collection currently on display in CHRONORAMA. Photographic Treasures of the 20th Century.
On the occasion of the exhibition This plate is what I have to say at Charleston House, British artist Isaac Benigson details his longtime friendship and childhood memories with the South African ceramicist and A#19 Curated By Kim Jones contributor Hylton Nel.
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