Umasifanisane II (Comparison II) from The Self Portrait Project (2007/2013)

Inscriptions

Signed, lower left, in graphite: NOMUSA MAKHUBU; inscribed, lower center, in graphite: UMASIFANISANE II (2013); inscribed, lower right, in graphite: AP

Label

In Umasifanisane II (Comparison II), Nomusa Makhubu projects onto her own body a colonial photograph of an African woman with albinism holding an infant. By collapsing a historical photo with her contemporary presence, Makhubu asks us to consider the legacy of the colonial history symbolized by the earlier image, as well as its impact today. The artist has said:

Even though it is my body depicted in these works, rather than being explorations of the self, the project explores the representation of African women. Colonial photography is the documentation of violation and the terror of dispossession. Reenacting these scenes brought me closer to this terror. For me, the past is living memory—this work is a way of coming to terms with the persistence of the same repressive structures.

From the 2022 exhibition Embodied: Artist as Medium, curated by Isadora Italia, Campus Engagement Manager

Course History

SART 17.9, The Photographer as Activist: Making Art Inspired by the Hood Museum's Collection, Virginia Beahan, Winter 2015

First Year Student Enrichment Program – Cultures, Identities and Belongings, Colleen Lannon, Summer 2023

First Year Student Enrichment Program - Cultures, Identities and Belongings, Mokhtar Bouba, Summer 2023

Philosophy 1.11, Art: True, Beautiful, Nasty, John Kulvicki, Summer 2023

Writing 2.05, Why Write, Anyway?, Erkki Mackey, Fall 2023

Writing 5.24, Photographic Representations, Amanda Wetsel, Fall 2023

Writing 5.25, Photographic Representations, Amanda Wetsel, Fall 2023

Anthropology 31.01, Women's Gender, and Sexuality Studies 36.01, Gender in Cross Cultural Perspectives, Sabrina Billings, Fall 2023

Anthropology 55.01, Anthropology of Global Health, Anne Sosin, Fall 2023

Creative Writing 10.02, Writing and Reading Fiction, Katherine Crouch, Fall 2023

Geography 31.01, Postcolonial Geographies, Erin Collins, Fall 2023

Humanities 2.01, The Modern Labyrinth, Dennis Washburn, Paul Carranza, Ainsley Morse, Laura Edmondson, Winter 2024

Writing 5.06, Image and Text, Becky Clark, Winter 2024

Writing 5.07, Image and Text, Becky Clark, Winter 2024

Writing 5.32, Photographic Representations, Amanda Wetsel, Winter 2024

Writing 5.33, Photographic Representations, Amanda Wetsel, Winter 2024

College Course 21.01, What's In Your Shoebox?, Francine A'Ness and Mokhtar Bouba, Spring 2024

College Course 21.01, What's In Your Shoebox?, Francine A'Ness and Mokhtar Bouba, Spring 2024

Exhibition Tour: Homecoming: Domesticity and Kinship in Global African Art, Summer 2023

Exhibition History

Embodied: Artist as Medium, Isadora Italia, MALS Class of 2022, Sol LeWitt Wall, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, October 1–December 17, 2022.

Homecoming: Domesticity and Kinship in Global African Art, Harteveldt Family Gallery, Owen Robertson Cheatham Gallery, and Northeast Gallery, Hood Museum of Art, Dartmouth, Hanover, New Hampshire, July 22, 2023–May 25, 2024.

Inventory: New Works and Conversations around African Art, Friends Gallery/Owen Robertson Cheatham Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 16-March 13, 2016.

Provenance

Erdmann Contemporary, Cape Town, South Africa; sold to present collection, 2014.

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