A work of openness and inscrutability, Salah Elmur’s Missing and Lost People’s Day (2021) commemorates a terrible moment in Sudan’s recent history: the massacre on June 3, 2019, when security forces opened fire on a peaceful protest in Khartoum. Hundreds were killed, injured, or arrested. In this painting, which Elmur made during a residency in…
In the mid-1980s, over the course of three years and across three continents, feminist artist Everlyn Nicodemus (born 1954, Kilimanjaro, Tanzania) gathered together women to discuss their everyday experiences. From these conversations, which took place in Skive, Denmark; Kilimanjaro, Tanzania; and Calcutta (now Kolkata), India, she produced a series of seventy-five paintings and related poems that…
In the etching Youth (1965; fig. 1), a contemplative figure sits atop a globe, head resting on a knee, legs twisted together, arms tucked protectively into the body. The figure’s head, which is turned inward, counterposes the frontal, downcast face in the lower left foreground. It is this face that the etching’s maker, Ugandan artist…
Magdalene A. N. Odundo is a ceramic artist born in Kenya in 1950 but residing in Britain since 1971. Much has been made of her biography and the complexities of her education, training, and rigorous practice of creating beautiful vessels that speak to multiple associations and inspirations across the history of art and their resonances…
Theresa Musoke (born 1944) is one of Uganda’s premier artists. Part of the earlier generation of artists trained at the Margaret Trowell School of Industrial and Fine Arts at Makerere University, author Serubiri Moses focuses on her concept of the wild and details her intellectual rebuttal of the school’s pedagogy.
By way of Men Taking Banana Beer to Bride by Night (1956), a painting featured in our “One Work, Many Voices” series, which focuses on individual artworks chosen from MoMA’s collection, art historian Gabriella Nugent highlights the role of memory in Ntiro’s practice. She argues that these memories are a product of distance and thus complicate the frameworks of art history.
Taking as her point of departure the kiondo, and the acknowledgment of the multiple forms technology can take, this essay focuses on Wangechi Mutu’s generative re-imagination and re-inscription of the foundational figure of Eve.
The complicated history of painting is taken up by British-Kenyan artist Michael Armitage, whose work respond to contemporary issues and events in Kenya through the ghosts of past picturing.
By the 1850s, commercial photography studios could be found all across the globe, with people in disparate locations holding similar standing poses in front of standardized backdrops. The essay addresses different manifestations of early photography in eastern Africa, including how to critically approach the subjects pictured in colonial photographs created for international consumption.
