Andrew Heller's Annotated Bibliography 9, 10, 11

Andrew Heller


Annotated Bibliography 9,10,11

Lalla Essaydi

Observations

In this photograph four people stand in order from tallest to smallest. The two smallest women on the right appear to be females and it is assumed that the other two women are also female given the type of traditionally Islamic clothing they are wearing. The smallest girl has short black hair but it is unknown whether or not the other two women have hair under their hoods. The tallest woman has her entire face covered in the hooded shroud, while the woman to the right of her has her eyes exposed. The two smaller girls on the right have their entire faces exposed and the smallest girl is not wearing a hood. Additionally, all four subjects are covered in a cloth that has Islamic calligraphy imprinted on it. The wallpaper behind them is also covered in the same calligraphy. The two small girls also aren't wearing shoes.


Inferences

From all of the research I have done so far on Essaydi it appears to me that her dominant themes revolve around representing aspects of Islamic womanhood and identity through a lens that doesn't fuel stereotypes. With both positive and negative messages intended Essaydi, captures this theme in the above photograph. One of the most frequently used quotes by Essaydi that I found in my research is, "In my art, I wish to present myself through multiple lenses -- as artist, as Moroccan, as traditionalist, as Liberal, as Muslim.  In short, I invite viewers to resist stereotypes." In this photograph I see all of those elements at work in this photograph. The hoods and robes appear to represent a traditional side of Islamic womanhood and the calligraphy could be there to represent Moroccan and Islamic heritage. There is also a liberal argument at work here for the repression of womanhood as it appears that as the girls get taller and older they are forced to cover their face and lessen their identity. Or rather, perhaps the argument is representing for the embrace of Islamic culture in females as they increase in age. These ambiguous and contrary arguments present in the photo allow Essaydi to display her work in a way that does not immediately conform to any stereotype of Islamic culture, and it is in my eyes her strongest attribute as a photographer. Essentially, she is portraying an image of a culture without definitively arguing for a stereotypical side, which thus leaves the message up to the viewer. And this I believe to be the ultimate goal in photography. 




Zanele Muholi

Observations

In this photograph two black women are seen holding each other at their shoulders. They both have short hair and are wearing some type of earring. The image is in black and white and a curtain is hanging along the right side of the photo. Both women are also naked and have a slight smirk on their faces. One hand is not entirely on the other's back.

Infrences

From what I've gathered from Muholi is that much of her work is devoted to visual activism for the African LGBTQ community. And it is apparent that this photograph is meant to visually represent love and affection between two African women. I am particularly intrigued by the mirror-esque style of photograph. Given the black and white nature of the photo and the two girls similar appearance, it appears to me at first glance that the girl she is holding is a reflection of the other. That being said, the hairstyles and earrings do distinguish a difference, but I believe that a theme of sameness is still present. I'd argue that Muholi intended to show pride for same sex relationships, and more importantly pride for same sex relationships between African Americans. The affection is clearly evident by their loving smirks and it is also seems as though they're in a comfortable embrace. Ultimately, this picture is an accurate example of Muholi's peaceful visual activism for LGBTQ pride.


Yinka Shonibare

Observation

In this photograph an adult African male is sitting in colonial attire and holding a large white quill. His jacket is red and his long wig is a light brown. The man has beard and a stern, but condemning look on his face. His neck scarf and cufflinks are white, and there is a gold trim on the center of his chest. There is a red fabric lining the walls behind him that is the same color of his jacket. A white column stands at the right of the image and three opened books sit on the table in front of him. There is a second quill in the background and a gold ribbon below the white column. 

Inferences

Shonibare is widely known for his themes regarding colonialism and post-colonialism. He particularly centers his works through the idea of globalization which involves a unified world separate from race and with one cultural identity. I believe that these ideas are present in this photograph as he is making a commentary on the hypocrisy of the founding fathers during the colonial days in America. His costume and fabric choices are both from that era, and it is clear that Shonibare is exemplifying the misrepresentation of Africans during that period with the look of contempt that the subject has on face. Many of the founding fathers frequently wrote of equality in their documents and the pen in his hand most likely represents the hypocrisy the white leaders of our nation carried at their time given their relationships with slavery and racism.