{"id":362,"date":"2019-05-07T00:25:39","date_gmt":"2019-05-07T00:25:39","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/africana-studies-2251-spring-2019\/?p=362"},"modified":"2019-05-12T21:20:46","modified_gmt":"2019-05-12T21:20:46","slug":"id-crisis-only-half-the-picture","status":"publish","type":"post","link":"https:\/\/courses.bowdoin.edu\/africana-studies-2251-spring-2019\/lgbtq\/id-crisis-only-half-the-picture\/","title":{"rendered":"ID Crisis, Only Half the Picture"},"content":{"rendered":"<p><a href=\"https:\/\/courses.bowdoin.edu\/africana-studies-2251-spring-2019\/wp-content\/uploads\/sites\/256\/2019\/05\/muholi-e1557076695464.jpg\" rel=\"lightbox[362]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-364 size-medium\" src=\"https:\/\/courses.bowdoin.edu\/africana-studies-2251-spring-2019\/wp-content\/uploads\/sites\/256\/2019\/05\/muholi-300x220.jpg\" alt=\"Photography\" width=\"300\" height=\"220\" \/><\/a><\/p>\n<p>Zanele Muholi<br \/>\nSouth-African, b. 1972<\/p>\n<p><em>ID Crisis, Only Half the Picture<\/em><br \/>\n2003<br \/>\nPhotograph: gelatin silver print on paper<\/p>\n<p>Tate Collection<br \/>\nPurchased with funds provided by Wendy Fisher 2015, P81289<\/p>\n<p><!--more--><\/p>\n<p>Zanele Muholi\u2019s photographs challenge how gender identities are presented. Black lesbians and queers are targets of brutal oppression and violence in South Africa, which makes it difficult, if not impossible, for them to feel safe in their own communities.<\/p>\n<p>Muholi advocates for the LGBTQ+ community in South Africa and establishes \u201cblack queer visibility\u201d (Muholi) through the presentation of intimate moments that tell untold stories. Muholi\u2019s photographs challenge the stereotypical perspectives of black lesbian, gay, bisexual, trans, and queer individuals.<\/p>\n<p>In this vulnerable moment, while the woman wraps her breasts to disguise her anatomy, the woman\u2019s desire to hide her identity is emphasized. South Africa does not approve of her sexuality and her decision to express her sexuality as part of her identity, so she must hide her body to deceive the community she lives in and present herself not as a woman.<\/p>\n<p>Amanda Banasiak &#8217;20<\/p>\n<p><!--more--><\/p>\n<p>Bibliography<\/p>\n<p>Baderoon, Gabeba. \u201c\u2018Gender Within Gender\u2019: Zanele Muholi\u2019s Images of Trans Being and Becoming.\u201d <i>Feminist Studies<\/i> 37. Summer 2011.<br \/>\nZanele Muholi\u2019s photographs aim to rewrite narratives of African sexuality and LGBTQ intimacy. Her series \u201cTransfigures\u201d and \u201cFaces and Places\u201d depict lesbian and transgender life in South Africa with a focus on presenting a new politically meaningful vision of queer life.<\/p>\n<p>Chin, Matthew. \u201cFeelings, Safe Space, and LGBTQ of Color Community Arts Organizing.\u201d<i>Journal of Community Practice. <\/i>Jul-Dec 2017. pp. 391-407.<br \/>\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<p>DeBarros, Luiz. \u201cOnly Half the Picture.\u201d <i>Mamba.<\/i> May 24, 2006.<br \/>\nZanele Muholi\u2019s photographs are rooted in her background as an activist for Forum for the Empowerment of Women. Her photographs of queer and lesbian individuals act as active photographs which ask the viewer to think critically ask why images like these are rarely seen.<\/p>\n<p>Farber, Leora. \u201cBeyond the Ethnographic Turn: Refiguring the Archive in Selected Works by Zanele Muholi.\u201d <i>University of Johannesburg, South Africa<\/i>, 32. 2017. pp. 12-27.<br \/>\nHal Foster identifies the art movement which focuses on representation of cultural difference and issues of sociopolitical change as the \u201cethnographic turn in contemporary art.\u201d Zanele Muholi engages with and \u201crefigures\u201d the ethnographic archive by simultaneously replaying and resisting the ethnographic pictorial tropes by affirming the agency and power of those photographed.<\/p>\n<p>Frost, Stuart. \u201cExploring and Interpreting LGBTQ Histories.\u201d <i>Interpretation Journal<\/i>, 22. Summer 2017. pp. 7-8.<br \/>\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<p>Igor, Efeoghene. \u201cRethinking the Egalitarian Potential of Post Apartheid South Africa: Zanele Muholi\u2019s Intervention.\u201d <i>Radical History Review<\/i>, 126. Oct 2016. pp. 181-193.<br \/>\nQueer and lesbian Africans are targets of sexual violence and disrespect in Africa; they are victims of rape and sexual abuse. Zanele Muholi\u2019s, through her series of \u201cFaces and Places,\u201d gives these victims the authority to speak against the disrespect they experience.<\/p>\n<p>Irish, Anni. \u201cMapplethrope Legaxy Endures at Guggenheim.\u201d <i>Modern Painters<\/i>, 37. Apr 2019.\u00a0122-123.<br \/>\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<p>Schjedahl, Peter. \u201cSafe Space.\u201d <i>New Yorker.<\/i> Oct 9, 2017. Pp. 78-79.\u201cZanele Muholi: ID Crisis.\u201d <i>Tate.<br \/>\n<\/i>This 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<p>\u201cZanele Muholi: ID Crisis.\u201d <i>Tate.<br \/>\n<\/i><i>Only Half the Picture (2003-2006)<\/i> confronts stereotypes and taboos faced by the black LGBTQ community in South Africa.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Zanele Muholi South-African, b. 1972 ID Crisis, Only Half the Picture 2003 Photograph: gelatin silver print on paper Tate Collection Purchased with funds provided by Wendy Fisher 2015, P81289<\/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":[30,37,43],"class_list":{"0":"post-362","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-gender","7":"category-lgbtq","8":"tag-gender","9":"tag-photograph","10":"tag-zanele-muholi","11":"entry"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>ID Crisis, Only Half the Picture - Art &amp; 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