Arts and Humanities Commons^™

Prospero's Monsters: Authenticity, Identity, And Hybridity In The Post-Colonial Age, Dominique Pen

Africana Studies Student Research Conference

Between April 17^th and May 17^th, 2008, London-born, Nigerian-raised artist Yinka Shonibare’s work was exhibited at the James Cohan Gallery in New York City in a show entitled Prospero’s Monsters. The show was organized into three galleries – “La Méduse”, “The Age of Enlightenment” and “The Sleep of Reason Produces Monsters” – each of which contained works of the same name. This study will focus on the bookends of the show, the first and last galleries, which consisted of seven works in total, in the first: the La Méduse multimedia sculpture/diorama and chromogenic print and in …

Developing Perceptions: Definitions Of Self In African Portrait Photography, Bridget K. Garnai

Africana Studies Student Research Conference

“Developing Perceptions: Definitions of Self in African Portrait Photography”

Photography is a relatively new medium in the art world, and within this world, African photography is consistently excluded from the predominantly Western canon. Despite its introduction to Africa as a mechanism of colonialism, African photography carries with it distinct messages expressing Africa’s experience and global relationship with the world. In the cases of King Njoya, Seydou Keita, and Nontsikelelo “Lolo” Veleko, photography defines itself against the oppressive colonial and postcolonial modes of representation. In doing so, these examples of African portrait photography seek to capture a space that I refer …

Walk Next To The Wall: Images Of Martyrs In The Egyptian Revolution, Kirsten Stricker

Africana Studies Student Research Conference

Prior to the Egyptian revolution citizens of Hosni Mubarak’s Egypt are taught to “walk next to the wall”; a phrase that means keep your head down, mind your own business, do not meddle in the affairs of those who outrank you, and feed your family. In the end, walking next to the wall is not enough to save them. They can no longer escape attention by blending into the walls of their cities. Khaled Said is not the first young man to die at the hands of Cairo’s police, nor is he the last. Said’s death could not be swept …

Reframe, Reuse, Recycle: The Found Object In Post-Colonial Africa, Recontextualized By Contemporary Artists, Hanna L. Stanhouse

Africana Studies Student Research Conference

In his essay, “The cultural biography of things,” Igor Kopytoff writes about the ways in which objects have and develop cultural biographies. From the time of their creation, and subsequent adoption into society, man-made objects acquire “social lives” through the various economic, historic, environmental and political intensities in which they “experience.” Current trends for global contemporary artists, especially those working from an African sensibility, explore the materiality of objects, examining their layered identities and social lives. Artists thus consider how materials have loaded and layered histories and biographies. While economic factors force consumers to reuse, it is the creative impulse …