Delinda Collier is Associate Professor of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, where she teaches courses on modern and contemporary African art, new media studies, and Cold War modernisms. She is the author of the books Repainting the Walls of Lunda: Information Colonialism and Angolan Art (University of Minnesota Press, 2016) and the forthcoming Media Primitivism: Technological Art in Africa (Duke University Press, 2020). She has published articles and reviews in Convocarte, Nka, African Art, Third Text, Critical Interventions, ISEA Electronic Almanac, and Times Literary Supplement.
African art, media studies, logocentrism,
Publications and Exhibitions
Repainting the Walls of Lunda: Information Colonialism and Angolan Art (Minneapolis: University of Minnesota Press, 2016)
Media Primitivism: Technological Art in Africa (forthcoming, Duke University Press, 2020)
“The Miscegenated Interface: Functionality in Fatimah Tuggar’s Working Woman (1997) and Broom (1996),” in Davis Museum, Fatimah Tuggar: Home’s Horizons (Munich: Hirmer, 2019).
With Marissa Moorman, “Medium and Media in Angola: expressive practices in context,” in Contemporary Art in Angola and its Diaspora Today (Lisbon: Hangar, 2019).
“On the Sindika Dokolo Foundation and Art’s Exceptionalism” Art Africa (March 2017), 170-176.
“Sona Drawing’s Geometric Discourses and its Implications for Global Art History” Convocarte2:3 (April 2017), 179-190.
“Dogon Ceremonial Adze” in Agnes Etherington Art Centre, Lost Bodies: Brendan Fernandes(Kingston, Ontario: 2016), 90-94.
“Obsolescing Analog Africa: a Re-reading of the ‘Digital’ in Digital Art” Critical Interventions: Journal of African Art History and Visual Culture (Winter 2015), 1-11.
“Suspension Before Closure: ‘Steve McQueen: Works’ at the Art Institute of Chicago” Nka (Fall 2014), 136-139.
“Malangatana Ngwenya” entry for Routledge Enclyclopedia of Modernism, 2016.
“The Tacet Mark as Blackness,” ISEA Sydney Conference Proceedings, Leonardo Electronic Almanac (Winter 2013).
“Accessing the Ancestors: The Re-Mediation of José Redinha’s Paredes Pintadas da Lunda” Critical Interventions: Journal of African Art History and Visual Culture (Spring 2012), 122-140.
“A ‘New Man’ for Africa: Some Particularities of the Marxist Homem Novo Within Angolan Cultural Policy” in Fabio Lanza and Jadwiga Pieper Mooney, eds., De-Centering the Cold War(London: Routledge, 2013), 187-206.
“’All I Am Is a Son of the Cold War’: Nástio Mosquito’s Embedded Videos” Art South Africa (Fall 2011), 32-33.
“The Reception of Nationalist Art: A Response.” Dialogue Section, African Arts (Winter 2008), 8.
“The Displacement of National Art in a Transnational Artworld.” Dialogue Section, African Arts (Autumn 2008), 10-11.
“Captive and the Cowry: Commodities and Currency in Africa,” a review of Toby Green, A Fistful of Shells, London Times Literary Supplement (July 19, 2019).
“El Anatsui: Art and Life by Susan Vogel,” African Arts (Fall 2019), 90-91.
“Picnic in the Ruins: review of In Search of North Africa: a History in Six Lives by Barnaby Rogerson,” London Times Literary Supplement (October 5, 2018).
“Forging Traditions: review of Njinga of Angola: Africa’s Warrior Queen by Linda Heywood,” London Times Literary Supplement (June 9, 2017).
“Double Desire: Transculturation and Indigenous Art edited by Ian McLean,” caa.reviews (July 2016).
“Trash: African Cinema from Below by Kenneth Harrow,” African Arts (Summer 2015), 93-94.
“Western Frontiers of African Art by Moyo Okediji,” African Studies Review (December 2014), 242-244.