DC -- Natl Museum of African Art -- Exhibit: I Am... Contemporary Women Artists of Africa:
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- Description of Pictures: I Am... Contemporary Women Artists of Africa
June 20, 2019 – March 15, 2020
Taking its name from a 1970’s feminist anthem, I Am… Contemporary Women Artists of Africa draws upon a selection of artworks by women artists from the Smithsonian National Museum of African Art’s permanent collection to reveal a more contemporary feminism that recognizes the contributions of women to the most pressing issues of their times. With experimental and sophisticated use of diverse media, the 28 featured artists offer insightful and visually stunning approaches to matters of community, faith, the environment, politics, colonial encounters, racism, identity, and more.
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- Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
- IAM_190626_001.JPG: I Am...
Contemporary Women Artists of Africa
- IAM_190626_026.JPG: Njidekoa Akunylli Crosby
Wedding Souvenirs, 2016
- IAM_190626_031.JPG: Patience Torlowei
Esther, 2013
- IAM_190626_040.JPG: Billie Zangewa
Constant Gardener, 2014
- IAM_190626_060.JPG: Senzeni Marasela
Covering Sarah, 2009-10
- IAM_190626_074.JPG: Nike Davies-Okundaye
Liberal Women Protest March I & II, 1995
- IAM_190626_083.JPG: Nompumelelo Ngoma
Take Care of Me, 2009
- IAM_190626_099.JPG: Sokari Douglas Camp
Sketch for Church Ede, 1985
- IAM_190626_106.JPG: Adejoke Tugbiyele
Past/Future, 2015
- IAM_190626_115.JPG: Wangechi Mutu
Tree Woman, 2016
- IAM_190626_124.JPG: Zanele Muholi
Pam Dlungwana, Verdjoek, Cape Town, 2011
- IAM_190626_129.JPG: Toyin Ojih Odutola
Untitled (D.O. Back Study), 2011
- IAM_190626_136.JPG: Frances Goodman
Skin on Skin, 2012
- IAM_190626_142.JPG: Diane Victor
Good Shepherd, 2012
- IAM_190626_150.JPG: Suzanne Wenger
Untitled, 1960-69
- IAM_190626_160.JPG: Maimouna Guerresi
M-Eating, Sufi, 2013, printed 2016
- IAM_190626_164.JPG: Mmakgabo Mmapula Helen Sebidi
There can be death but the spirit never dies, 1991-97
- IAM_190626_173.JPG: Ladi Kwali
Bowl
- IAM_190626_184.JPG: Esiye Dimma Poulsen
Femme rouge a l'anneau, 2001
- IAM_190626_188.JPG: Magdalene Anyango N. Odundo
Reduced Mixed-Color Symmetrical Piece, 1990
- IAM_190626_200.JPG: Aida Muluneh
Sai Mado (The Distant Gaze), 2016
- IAM_190626_209.JPG: Penny Siopis
Studio Setting, 1986
- IAM_190626_215.JPG: Helga Kohl
Family Accommodation/Portfolio Kalmanskop, 1994
- IAM_190626_221.JPG: Bertina Lopes
Am I dreaming? Is this the city?, 1958
- IAM_190626_237.JPG: Sue Williamson
The Last Supper Revisited, 1993
"The Last Supper Revisited" tells the story of the destruction of the District Six community, in Cape Town, South Africa. The social life of the District was multiracial from the time of its beginnings in the 19th century until it was demolished to create a "white area" in the 1970s and 1980s, in accordance with apartheid legislation which forbade people of different races from living together. This program of eviction and destruction affected the lives of over 65,000 people, mostly of mixed race, Indian, and African descent. The artist invites us to share in the last supper for the Muslim holiday of Eid al Fitr, celebrated by the Ebrahim family of District Six, one of the last families whose house was leveled by bulldozers. The three backlit boxes suggest house windows through which we glimpse scenes of family life on this bittersweet occasion. We hear the distant sounds of the local muzzein calling the faithful to prayer, the insidious and ubiquitous drone of the bulldozers, and the eyewitness accounts of the destruction of home by local residents. A subtle sense of incense envelops us and welcomes us into the home. The artist has set the table for this intimate feast with a meal made up of multiple resin blocks that contain the scraps of precious and mundane objects to document this doomed community. The encased remnants of a vibrant community life in the District are treated as witnesses to and survivors of racist apartheid system. The installation as a whole highlights the power of art to embody social action, shared memory, and forgotten histories. Sue Williamson initially visited the site of the Ebrahim's razed house in 1980 and created an installation work, "The Last Supper," from large bits of rubble (windows, doors, books and the like). Twelve years later she returned to the original site only to find little had changed. For "The Last Supper Revisited," the artist was able to collect new, smaller bits of detritus to encase and display.
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