Two art books look at the world that is, and at the world that could be

In the Black Fantastic by Ekow Eshun

Ekow Eshun When the exhibition “In the Black Fantastic: The Art of Afrofuturism” opened in London for the summer, critics strained to outdo each other in their praise. “Visually stunning and exhilarating,” said one newspaper. “Stimulating and resonant — there won’t be a better show this year!” cried another.

Curated by the eminent editor and writer Ekow Eshun, the show brought together 11 contemporary artists and centred on the concept of Afrofuturism. The term, coined in the early 1990s, refers to the aesthetic that combines science fiction, history, and fantasy, and connects those from the ubiquitous camera technology that promises the democratisation of image-taking but also disempowers and robs. Data from these pictures, such as locations, faces, audience, and reach, is skimmed and monetised by predatory social-media companies. These striking, skilfully composed photographs demonstrate both Lurie’s superb eye and the vigour of the street scenes he captures. black diaspora with their African ancestry.

Through their chosen mediums the artists confront racism and subjugation and strive to fashion an alternative reality. Eshun’s selection of works blended high technology with mysticism, intergalactic travel, and wildly imaginative speculation, and resulted in a watershed exhibition.Fortunately, for those who didn’t get to see the show, Thames & Hudson has produced a superb book that includes not only the 11 participating artists but dozens of others, too. It is a dazzling collection that unrolls photography, sculpture, film, music, and architecture — art at its boldest and most transcendent.

Dreaming the Street by David Lurie

Also from Thames & Hudson comes the latest collection by celebrated South African photographer David Lurie, titled Dreaming the Street. Lurie takes as his starting point the original tenet of street photography — capturing the images of usually working-class people in a rapidly industrialising society.

Here he addresses the form through the current explosion of cheap, ubiquitous camera technology that promises the democratisation of image-taking but also disempowers and robs. Data from these pictures, such as locations, faces, audience, and reach, is skimmed and monetised by predatory social-media companies. These striking, skilfully composed photographs demonstrate both Lurie’s superb eye and the vigour of the street scenes he captures.