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This collection explores women's multifaceted historical and
contemporary involvement in photography in Africa. The book offers
new ways of thinking about the history of photography, exploring
through case studies the complex and historically specific
articulations of gender and photography on the continent, and
attending to the challenge and potential of contemporary feminist
and postcolonial engagements with the medium. The volume is
organised in thematic sections that present the lives and work of
historically significant yet overlooked women photographers, as
well as the work of acclaimed contemporary African women
photographers such as Hela Ammar, Fatoumata Diabate, Lebohang
Kganye and Zanele Muholi. The book offers critical reflections on
the politics of gendered knowledge production and the production of
racialised and gendered identities and alternative and subaltern
subjectivities. Several chapters illuminate how contemporary
African women photographers, collectors and curators are engaging
with colonial photographic archives to contest stereotypical forms
of representation and produce powerful counter-histories. Raising
critical questions about race, gender and the history of
photography, the collection provides a model for interdisciplinary
feminist approaches for scholars and students of art history,
visual studies and African history.
This collection explores women's multifaceted historical and
contemporary involvement in photography in Africa. The book offers
new ways of thinking about the history of photography, exploring
through case studies the complex and historically specific
articulations of gender and photography on the continent, and
attending to the challenge and potential of contemporary feminist
and postcolonial engagements with the medium. The volume is
organised in thematic sections that present the lives and work of
historically significant yet overlooked women photographers, as
well as the work of acclaimed contemporary African women
photographers such as Hela Ammar, Fatoumata Diabate, Lebohang
Kganye and Zanele Muholi. The book offers critical reflections on
the politics of gendered knowledge production and the production of
racialised and gendered identities and alternative and subaltern
subjectivities. Several chapters illuminate how contemporary
African women photographers, collectors and curators are engaging
with colonial photographic archives to contest stereotypical forms
of representation and produce powerful counter-histories. Raising
critical questions about race, gender and the history of
photography, the collection provides a model for interdisciplinary
feminist approaches for scholars and students of art history,
visual studies and African history.
This book offers a range of perspectives on photography in Africa,
bringing research on South African photography into conversation
with work from several other places on the continent, including
Angola, the DRC, Kenya, Mali, Morocco, Nigeria, Ethiopia, and
Eritrea. The collection engages with the history of photography and
its role in colonial regulatory regimes; with social documentary
photography and practices of self-representation; and with the
place of portraits in the production of subjectivities, as well as
contemporary and experimental photographic practices. Through
detailed analyses of particular photographs and photographic
archives, the chapters in this book trace how photographs have been
used both to affirm colonial worldviews and to disrupt and critique
such forms of power. This book was originally published as a
special issue of Social Dynamics.
This book offers a range of perspectives on photography in Africa,
bringing research on South African photography into conversation
with work from several other places on the continent, including
Angola, the DRC, Kenya, Mali, Morocco, Nigeria, Ethiopia, and
Eritrea. The collection engages with the history of photography and
its role in colonial regulatory regimes; with social documentary
photography and practices of self-representation; and with the
place of portraits in the production of subjectivities, as well as
contemporary and experimental photographic practices. Through
detailed analyses of particular photographs and photographic
archives, the chapters in this book trace how photographs have been
used both to affirm colonial worldviews and to disrupt and critique
such forms of power. This book was originally published as a
special issue of Social Dynamics.
How does South Africa deal with public art from its years of
colonialism and apartheid? How do new monuments address fraught
histories and commemorate heroes of the struggle? Across South
Africa, statues commemorating figures such as Cecil Rhodes have
provoked heated protests, while new works commemorating icons of
the liberation struggle have also sometimes proved contentious. In
this lively volume, Kim Miller, Brenda Schmahmann and an
international group of contributors explore how works in the public
domain in South Africa serve as a forum in which
important debates about race, gender,
identity and nationhood play out. Examining statues and
memorials as well as performance, billboards, and other temporal
modes of communication, the authors of these essays consider the
implications of not only the exposure, but also erasure of events
and icons from the public domain. Revealing how public visual
expressions articulate histories and memories, they explore how
such works may serve as a forum in which tensions surrounding race,
gender, identity, or nationhood play out.
How does South Africa deal with public art from its years of
colonialism and apartheid? How do new monuments address fraught
histories and commemorate heroes of the struggle? Across South
Africa, statues commemorating figures such as Cecil Rhodes have
provoked heated protests, while new works commemorating icons of
the liberation struggle have also sometimes proved contentious. In
this lively volume, Kim Miller, Brenda Schmahmann and an
international group of contributors explore how works in the public
domain in South Africa serve as a forum in which important debates
about race, gender, identity and nationhood play out. Examining
statues and memorials as well as performance, billboards, and other
temporal modes of communication, the authors of these essays
consider the implications of not only the exposure, but also
erasure of events and icons from the public domain. Revealing how
public visual expressions articulate histories and memories, they
explore how such works may serve as a forum in which tensions
surrounding race, gender, identity, or nationhood play out.
Impossible Mourning argues that while the HIV/AIDS epidemic has
figured largely in public discourse in South Africa over the last
ten years, particularly in debates about governance and
constitutional rights post-apartheid, the experiences of people
living with HIV for the most part remain invisible and the multiple
losses due to AIDS have gone publicly unmourned. This profound fact
is at the center of this book which explores the significance of
the disavowal of AIDS-death in relation to violence, death, and
mourning under apartheid. Impossible Mourning shows how in spite of
the magnitude of the epidemic and as a result of the stigma and
discrimination that has largely characterized both national and
personal responses to the epidemic, spaces for the expression of
collective mourning have been few. This book engages with multiple
forms of visual representation that work variously to compound,
undo, and complicate the politics of loss. Drawing on work Thomas
did in art and narrative support groups while working with people
living with HIV/AIDS in Khayelitsha, a township outside of the city
of Cape Town this book also includes analyses of the work of South
African visual artists and photographers Jane Alexander, Gille de
Vlieg, Jillian Edelstein, Pieter Hugo, Ezrom Legae, Gideon Mendel,
Zanele Muholi, Sam Nhlengethwa, Paul Stopforth, and Diane Victor.
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