{"id":433,"date":"2019-05-05T20:37:28","date_gmt":"2019-05-05T20:37:28","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/africana-studies-2251-spring-2019\/?p=433"},"modified":"2019-05-11T00:15:47","modified_gmt":"2019-05-11T00:15:47","slug":"the-masked-woman-6-from-the-masked-woman-series","status":"publish","type":"post","link":"https:\/\/courses.bowdoin.edu\/africana-studies-2251-spring-2019\/women-and-gender-artists\/the-masked-woman-6-from-the-masked-woman-series\/","title":{"rendered":"The Masked Woman 6, from the Masked Woman Series"},"content":{"rendered":"

\"\"<\/p>\n

Jenevieve Aken
\n<\/span>Nigeria, b.1989<\/span><\/p>\n

The Masked Woman<\/em> 6, from the Masked Woman<\/em> Series
\n2014
\n<\/span>Photography
\n<\/span>Artist\u2019s collection<\/span><\/p>\n

Jenevieve Aken\u2019s Masked Woman 6 features her in the dining room of an unspecified home, with a meal ready as she faces the viewer. The mask visually represents the stigmatization placed on women who stray past their expected boundaries, but also the power embodied by the woman who defies gender norms, and the threat she poses to an established system. Aken finds that that the mask “makes the body anonymous, [so] it can stand in for any woman in society.”(ArtAfrica 2014: Interview with Jenevieve Aken). Women in Nigeria face an uphill battle \u2013 they are constrained by both social and legal pressures, finding that women are represented by only 24.3 percent of Nigeria\u2019s judges. (Ashiru 2007: 328). Despite these challenges however, Aken wanted this character to be a \u201csuper femme fatale, choosing to achieve pleasure and contentment through self-fulfillment that not dictated by the subservient role as a house wife or defined through a man\u2019s affection.\u201d (Aken 2014: The Masked Woman). The \u201csolitary lifestyle\u201d depicted defies the expectation that a woman in Nigeria\u2019s rights (property wise or suffrage wise) ought to depend on the size of her contributions to a male-dominated world (Panata 2016: 177). Aken creates her work with reaching women throughout Nigeria, across various cultural and geographic groups.<\/span><\/p>\n


\n<\/span>Aken, Jenevieve. “Interview with Jenevieve Aken: Exclusive content from snapped magazine’s Special Re-Launch Issue!” ArtAfrica<\/em>. November 2014.\u00a0https:\/\/artafricamagazine.org\/interview-jenevieve-aken-snapped-magazine-relaunch-issue\/
\nAken, Jenevieve. \u201cThe Masked Woman.\u201d (2014) Jenevieve Aken.<\/i> https:\/\/www.jenevieveaken.com\/untitled-gallery<\/a>
\n<\/span>Ashiru, M. O. A. “Gender Discrimination in the Division of Property on Divorce in Nigeria.” <\/span>Journal of African Law<\/span><\/i> 51, no. 2 (2007): 316-31. <\/span>http:\/\/www.jstor.org\/stable\/27607991<\/span><\/a>.
\n<\/span>Panata, Sara, and Heloise Finch-Boyer. “Campaigning for Political Rights in Nigeria: The Women Movement in the 1950s.” <\/span>Clio. Women, Gender, History<\/span><\/i>, no. 43 (2016): 175-85. <\/span>https:\/\/www.jstor.org\/stable\/26242549<\/span><\/a>.
\n<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Jenevieve Aken Nigeria, b.1989 The Masked Woman 6, from the Masked Woman Series 2014 Photography Artist\u2019s collection Jenevieve Aken\u2019s Masked Woman 6 features her in the dining room of an unspecified home, with a meal ready as she faces the viewer. The mask visually represents the stigmatization placed on women who stray past their expected […]<\/p>\n","protected":false},"author":797,"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":[50,48,16],"tags":[],"class_list":{"0":"post-433","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-jenevieveaken","7":"category-nigeria","8":"category-women-and-gender-artists","9":"entry"},"yoast_head":"\nThe Masked Woman 6, from the Masked Woman Series - 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\/women-and-gender-artists\/the-masked-woman-6-from-the-masked-woman-series\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Masked Woman 6, from the Masked Woman Series - Art & Politics in Africa\" \/>\n<meta property=\"og:description\" content=\"Jenevieve Aken Nigeria, b.1989 The Masked Woman 6, from the Masked Woman Series 2014 Photography Artist\u2019s collection Jenevieve Aken\u2019s Masked Woman 6 features her in the dining room of an unspecified home, with a meal ready as she faces the viewer. 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