Adama Bah
Kristine Virsis, American, born 1978
2012
Silkscreen, letterpress
14/40
Sheet: 18 × 12 in. (45.7 × 30.5 cm)
Hood Museum of Art, Dartmouth: Purchased through the Contemporary Art Fund
2013.46.34
Portfolio / Series Title
Migration Now
Publisher
Justseeds Artists’ Cooperative | CultureStrike, New York
Geography
Place Made: United States, North America
Period
21st century
Object Name
Research Area
Not on view
Label
Adama Bah commands the frame, her gaze suggesting hope amidst adversity. Emigrating from Guinea to escape harmful cultural practices, she faced further injustice. Though she is clad in black, her hijab and henna-laden hands burst with color, signifying both celebration and beauty amid sorrow. An electronic ankle monitor reminds us of her wrongful imprisonment due to contentious immigration policies, challenging notions of security versus liberty. Notice the butterflies around her ankle, which symbolize hope and transformation. In the backdrop, the matchsticks suggest the power to ignite change. Adama’s story is one of resilience. This portrait encapsulates her courage and enduring human spirit. It prompts us to question those in power, reflect on similar untold stories, and consider the potential for change.
From the 2024 exhibition A Space for Dialogue 120, Faces of Faith: Unveiling the Beauty of Islamic Art, curated by Noor Najeeb '25, Conroy Intern
Course History
ENGL 74.05, Word-Image Theory, Michael Chaney, Fall 2019
RUSS 7.06, Doing Things with Words, Ainsley Morse, Winter 2020
College Course 26.01, What's In Your Toolbox?, Francine A'Ness and Mokhtar Bouba, Fall 2023
College Course 26.01, What's In Your Toolbox?, Francine A'Ness and Mokhtar Bouba, Fall 2023
Exhibition History
A Space for Dialogue 120, Faces of Faith: Unveiling the Beauty of Islamic Art, Noor Najeeb '25, Conroy Intern, Alvin P. Gutman Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 7 - October 27, 2024.
Provenance
Booklyn Artists Alliance, Brooklyn, New York; sold to present collection, 2013.
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