{"id":311,"date":"2019-05-05T16:48:22","date_gmt":"2019-05-05T16:48:22","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/africana-studies-2251-spring-2019\/?p=311"},"modified":"2019-05-12T22:58:33","modified_gmt":"2019-05-12T22:58:33","slug":"untitled-just-like-us","status":"publish","type":"post","link":"https:\/\/courses.bowdoin.edu\/africana-studies-2251-spring-2019\/lgbtq\/untitled-just-like-us\/","title":{"rendered":"Untitled, Just Like Us"},"content":{"rendered":"

\"Photograph\"<\/a><\/strong>Eric Gyamfi
\nGhana, b. 1990<\/p>\n

Untitled, Just Like Us<\/em>
\n2016
\nPhotograph<\/p>\n

Eric Gyamfi’s Collection<\/p>\n

 <\/p>\n

<\/p>\n

\u201cOnce there is a me<\/i> and a you<\/i>, everyone potentially carries the possibility of being an other,\u201d (Eric Gyamfi).<\/p>\n

\u201cOtherness\u201d marginalizes individuals strictly on assumptions of their character and sexuality, potentially distancing them from their community and making it more difficult to exist comfortably in some situations.<\/p>\n

The intimacy of this image is uncomfortable because it illuminates a moment of routine that is foreign to outsiders. Gyamfi records a moment that elicits different reactions for each individual\u2013some people look in the mirror and are pleased with their appearance, while others judge their own features as being common. Not only is this individual\u2019s reaction to their appearance hidden, the their gender identity is also hidden. It is unclear whether this individual will wear makeup to assume a feminine gender or will maintain a more masculine appearance. The ambiguity of this individual\u2019s identity allows them to defy labels of otherness.<\/p>\n

Amanda Banasiak ’20<\/p>\n

Bibliography<\/p>\n

Chin, Matthew. \u201cFeelings, Safe Space, and LGBTQ of Color Community Arts Organizing.\u201d Journal of Community Practice. <\/i>Jul-Dec 2017. pp. 391-407.
\nThere are only a number of spaces where individuals of the LGBTQ community feel safe against oppression. The creation of art and art spaces acts as physical walls which protect these individuals to express their true selves.<\/p>\n

Frost, Stuart. \u201cExploring and Interpreting LGBTQ Histories.\u201d Interpretation Journal<\/i>, 22. Summer 2017. pp. 7-8.
\nLGBTQ histories and experiences have traditionally been overlooked or underrepresented by museums and galleries. This show aims writes narratives of these experiences through art.<\/p>\n

Irish, Anni. \u201cMapplethrope Legaxy Endures at Guggenheim.\u201d Modern Painters<\/i>, 37. Apr 2019.\u00a0122-123.
\nU.S. photographer Robert Mapplethrope (1946-1989) is an emblematic figure within the art world and the LGBTQ community as he photographs experiences being LGBTQ. His advocacy in depicting these individuals parallels Muholi, Gyamfi and Owunna\u2019s work illustrating the lives of the LGBTQ community in Africa and the diasporas.<\/p>\n

Moosa, Tauriq. \u201cThe Next Level: LGBTQ Equality in South Africa.\u201d Free Inquiry<\/i>, 30. Oct\/Nov 2010,\u00a0pp. 28-31.
\nThis article outlines the region\u2019s laws regarding abortion and same-sex marriage.<\/p>\n

Naughton, Jake. \u201cPhotos That Celebrate Ghana\u2019s L.G.B.T. Community.\u201d The New York Times. <\/i>Apr 4, 2017.
\n\u201cJust Like Us\u201d documents an aspect of Eric Gyamfi\u2019s history that he feels is undocumented; a history that shows that queer people exist in Africa. This series attempts to fill this void of history.<\/p>\n

Schjedahl, Peter. \u201cSafe Space.\u201d New Yorker.<\/i> Oct 9, 2017. Pp. 78-79.
\nThis articles reviews the LGBTQ art exhibit \u201cTrigger: Gender as a Tool and a Weapon,\u201d which was held at the New Museum of Contemporary Art in New York City. It adds to the narrative of LGBTQ artists representing themselves through safe spaces in the art world.<\/p>\n","protected":false},"excerpt":{"rendered":"

Eric Gyamfi Ghana, b. 1990 Untitled, Just Like Us 2016 Photograph Eric Gyamfi’s Collection  <\/p>\n","protected":false},"author":795,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[45,15],"tags":[44,30,37],"class_list":{"0":"post-311","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-gender","7":"category-lgbtq","8":"tag-eric-gyamfi","9":"tag-gender","10":"tag-photograph","11":"entry"},"yoast_head":"\nUntitled, Just Like Us - Art & Politics in Africa<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/courses.bowdoin.edu\/africana-studies-2251-spring-2019\/lgbtq\/untitled-just-like-us\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Untitled, Just Like Us - 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