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Posts from the “Africa” Category

Keyezua: Fortia

Posted on April 23, 2018

Keyezua, “Fortia” (2017). Giclée print on Hanhemühle paper 52 1/2h x 78 3/4w. Courtesy of Keyezua.

Grief is one of the most profound emotions we may experience in life, forcing us to reckon with a loss so powerful it can take years, even decades, to fully process. We may become consumed by feelings of denial, anger, bargaining, and depression in waves so strong it feels like they may never end – until our commitment to healing forces us to pull ourselves through, and we wash upon the shore of acceptance, battered, and bruised.

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But the story does not end there, for although grief has gone, something equal and opposite arises in its place: gratitude. Such is the power of love in its deepest sense, for it is love that allows us to change the way we think about and see the world – and ourselves.

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When Angolan-Dutch artist Keyezua lost her father as a young girl, her life was forever changed. Her father, suffering from diabetes, had both his legs amputated before he died. Growing up without a father, Keyezua began to question the disempowering beliefs that were damaging the image of her father that she held close to her heart. In Angola, it has been said that a man without legs is no longer a man – but Keyezua knew this to be false and set about to speak truth to power through the creation of art.

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In her new series, Fortia, which is included in the group exhibition Refraction: New Photography of African and Its Diaspora at Steven Kasher Gallery, New York (April 19 – June 2, 2018), Keyezua transforms the way we look at and think about the physical disability. Each photograph features a black woman in a red dress wearing a mask designed and created by a group of six Angolan men who, like Keyezua’s father, no longer had legs.

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Fortia, which is Latin for “strength” tells Keyezua’s story through a series of work that shares her experience in pieces titled “My Mother’s Womb,” “This is Not His Funeral, This is Life!” “Sailing Back to Africa as a Dutch Woman,” and “Womanhood – Sex, Love and Betrayal.” For Keyezua, the creation of art is a revolutionary act, a ritual for therapeutic self-expression that simultaneously changes the way we look at and think about disability.

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Below, Keyezua takes us through her journey to show how love can become a catalyst to empower, restore, and heal ourselves – and the world.

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Read the Full Story at Dazed

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Keyezua, “Fortia” (2017). Giclée print on Hanhemühle paper 52 1/2h x 78 3/4w. Courtesy of Keyezua.

Categories: Africa, Art, Dazed, Exhibitions, Photography

Patrick Willocq: Song of the Walés

Posted on April 16, 2018

BONTONGU, ONE OF THE LAST BANTU WALE. Bontongu — the young. From the village of Ikoko. Itele clan. © Patrick Willocq

EPANZA MAKITA, BAT WALE. Epanza Makita — the trouble maker. From the village of Bioko. Ilongo clan. © Patrick Willocq

The Bantu (Pygmy) tribes of the Democratic Republic of the Congo are among the oldest peoples living on earth. Believed to be the direct descendants of Late Stone Age hunter-gatherers of the central African rainforest, they have maintained traditions and rituals that date back thousands of years.

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When women of the Ekonda pygmy tribe become first-time mothers, they become Walés (“nursing mothers”), living in seclusion with their children. Here they are tended to by other women who teach them about their health and that of their children, who regardless of gender are the heir of the family and sometimes the entire clan.

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Here, the Walés are given the respect and care otherwise reserved for the king, devoting their energies exclusively to themselves and their children. Adopting elaborate grooming rituals including coating themselves in ngola, a red powder from a tree of the same name that is believed to chase evil spirits away, and donning heavy brass bracelets known as kongas that restrict their movements along with nkumu, the skins of carnivorous animals, the Walés are follow strict rules in seclusion until the time arrives for liberation.

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Liberation requires the women to learn a song and dance that will be performed in a three-hour ceremony that commemorates their experiences. The ritual is highly competitive and requires each Walé to compete for prestige and power by outshining her rivals. At the end of each performance, the Walé is led to bamboo scaffolding built for the occasion, where she is launched into the air or dropped to the floor, symbolically being released from her period of seclusion.

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Read the Full Story at Feature Shoot

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WALE ASONGWAKA TAKES OFF. Asongwaka — the beautiful. From the village of Bioko. Ilongo clan. © Patrick Willocq

Categories: Africa, Art, Feature Shoot, Photography, Women

David Goldblatt: Structures of Dominion and Democracy

Posted on March 29, 2018

Soweto: Young men with dompas, White City, Jabavu. © David Goldblatt

David Goldblatt was just 18 years old when the National Party was elected to power in South Africa – a group which institutionalised legal segregation that systematically exploited and oppressed the majority black nation. His new book, Structures of Dominion and Democracy (Steidl) begins in 1949 and continues through 2016, taking us across a sweeping arc of history that is sensitive to the ways in which apartheid penetrated every aspect of life for men, women, and children, both black and white.

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In Goldblatt’s hands, the camera became a tool that allows him to not only record the moment, but to be an extension of the event itself. “This strange property of the photograph… creates tension,” he writes in an essay titled “Why and What” at the beginning of the book. “It pulls between a heightened awareness of reality and a growing recognition of its possible photograph. For me, this tension is part of the excitement.”

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Read the Full Story at Huck Online

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Soweto: Margaret Mcingana at home on a Sunday afternoon, Zola. As Margaret Singana she became a famous singer. She died on 22 April 2000 at the age of 63. © David Goldblatt

Categories: Africa, Art, Books, Photography

A Portrait of Ming Smith, Pioneer Photographer & Model

Posted on March 6, 2018

Copyright Ming Smith

Copyright Ming Smith

Pioneers are often so far ahead of the curve that few know who they are and what they accomplished though we may all benefit from their work. Many simply live their destiny, leading quiet, humble lives, bearing the stripes and scars of the struggle while their legacy allows generations to succeed because they refused to fail.

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In 1973, Ming Smith moved to New York. A recent graduate of Howard University, Smith took up modelling to support herself, working alongside Grace Jones, Bethann Hardison, Toukie Smith, Sherry Bronfman, and Barbara Smith – the first generation of African-American women to break through the colour barrier which had kept them out of the fashion and beauty industries.

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Living in a studio apartment on Carmine Street in the West Village long before gentrification had set in, Smith invested all of her earnings into her true passion: photography. She carried her camera wherever she went, taking photographs while working in Paris and on assignment in Africa. Photography was a means to survive the challenges of daily life, providing a space where she could integrate with her authentic self, combining the profound power of the black experience with the universal beauty of humanity.

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A woman of principle, poetry, and poise, Smith is a true pioneer in every sense of the word. The first woman member of Kamoinge, the African-American photography collective established in 1963, Smith is the first black woman to have work included in the permanent collection of the Museum of Modern Art – the very establishment that championed the transformation of photography from a vernacular activity into a fine art.

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Despite her historic achievements, Smith never pushed herself into the public eye. It is only in 2017 that the world is catching up with her. Smith kicked things off with a solo exhibition at Steven Kasher Gallery, New York; is featured in the landmark exhibitions We Wanted a Revolution: Black Radical Women, 1965-85; Soul of a Nation: Art in the Age of Black Power; and Arthur Jafa’s recent show at Serpentine Sackler Gallery, London; and is wrapping things up with a big bow, as Karl Lagerfeld personally selected her photograph of Sun Ra for Paris Photo (Steidl).

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Below, Smith shares her journey as an artist and model, reflecting on the challenges of breaking boundaries in fashion and art, and the importance of staying true to yourself while navigating this thing called life.

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Read the Full Story at Dazed

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Copyright Ming Smith

Categories: 1960s, 1970s, 1980s, 1990s, Africa, Art, Dazed, Photography

Francois Beaurain & Medina Dugger: Chromatin

Posted on January 27, 2018

From Chromatin, © Francois Beaurain and Medina Dugger.

In 2015, Francois Beaurain traveled to Lagos Photo, where he met Medina Dugger. Inspired by the work of late photographer J.D. Okhai Ojeikere and Nigerian hair color trends, they launched Chromatin, an on-going collaboration that transforms Dugger’s photographs of traditional Nigerian women’s hair styles into a series of mesmerizing gifs that are rooted in fractals, the very heart of African design and art.

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Fractals are a curve or geometric figure where each part has the same statistical character as the whole, creating a never-ending pattern on an on-going feedback loop. While the West came to understand and name this phenomenon in 1975, fractals have been an integral part of African culture daring back to ancient Egyptian times, and can be seen in cultures in Sub-Saharan Africa writ large.

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With the invasion of the continent by Euorpean imperialists for centuries, a great deal of the traditional cultures were destroyed and erased — with the exception of hair braiding. “African hair designs are among the last remaining remnants of an ancient African cultural pillar that has been almost completely annihilated by centuries of colonization and cultural domination,” Beaurain and Dugger note.

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With Chromatin, the artists restore fractals to their rightful place: as the fundamental essence of African art and design, and imbue it with a modern twist, combining hair design and digital technology to create a powerful new way of seeing the depth and complexity of traditional African culture and thought. Beaurain speaks with us about making fractals the center of their art.

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Read the Full Story at Feature Shoot

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From Chromatin, © Francois Beaurain and Medina Dugger.

Categories: Africa, Art, Feature Shoot, Photography

Kwame Brathwaite: Black is Beautiful

Posted on January 22, 2018

Untitled (Naturally ’68 photo shoot in the Apollo Theater featuring Grandassa models and founding AJASS members Kwame Brathwaite, Frank Adu, Elombe Brath, and Ernest Baxter 1968, printed 2016. Photography by Kwame Brathwaite, Image courtesy the artist and Cherry and Martin, Los Angeles.

Untitled (Sikolo with Carolee Prince Designs) 1968, printed 2017. Photography by Kwame Brathwaite, Image courtesy the artist and Cherry and Martin, Los Angeles.

On the evening of January 28, 1962, a massive crowd gathered outside Harlem’s Purple Manor, eager to gain entrance to Naturally 62 – the landmark event that introduced the ‘Black is Beautiful’ movement to the world.

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The brainchild of photographer Kwame Brathwaite (born in 1938) and his older brother Elombe Brath (now deceased), Naturally 62 presented Blackness in its natural state through a powerful combination of fashion, music, and politics. The brothers, who were born in Brooklyn to a politically active family, had embraced Marcus Garvey’s Back-to-Africa movement and co-founded the African Jazz-Art Society and Studios (AJASS), a collective of artists, writers, musicians, dancers, and fashion designers. “Our mission was to reach the folks so that they could see their own work,” Brathwaite reveals. “It was a time when people were trying to organize and improve the community, to get themselves in order so that they would not be the low man on the totem pole.”

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The brothers worked on two fronts, supporting the African independence movement while embracing Black business at home, producing jazz concerts at legendary locales including Club 845 in the Bronx and Small’s Paradise in Harlem. But it was a local beauty contest that gave the brothers the inspiration for Naturally 62. A year earlier, while attending the annual Marcus Garvey Day Celebration, they watched ‘The Miss Natural Standard of Beauty Contest’, wherein models came to the stage without make-up, their hair free from heat press.

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Read the Full Story at AnOther

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Untitled (Self Portrait) 1964, printed 2017. Photography by Kwame Brathwaite, Image courtesy the artist and Cherry and Martin, Los Angeles.

Categories: 1960s, Africa, AnOther, Art, Books, Exhibitions, Fashion, Manhattan, Photography

Myriam Abdelaziz: After the Revolution Comes

Posted on January 10, 2018

Photo © Myriam Abdelaziz

Photo © Myriam Abdelaziz

A French photographer of Egyptian origins, Myriam Abdelaziz was born in Cairo, a city that would later be home to the Revolution of 25 of January in 2011. The Revolution was a diverse movement of demonstrations, marches, plaza occupations, riots, non-violent civil resistance, acts of civil disobedience, and labor strikes, with millions of protesters from all walks of life demanding the overthrow of the Egyptian President Hosni Mubarak.

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As of 2014, when this interview was done, control of Egypt has gone back and forth between different groups; most recently on 3 July 2012, a coup d’Etat lead by Minister of Defense General Abdel Fattah El-Sissi reinstated power to a government of military rule. Under the military, many things have changed, not the least of which is life a palpable paranoia of photographers and journalists.

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For Abdelaziz, life was no longer the same. She speaks about what it wass like to be a woman—and a photographer—on the streets of Cairo following the revolution.

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Photo © Myriam Abdelaziz

Myriam Abdelaziz: “The experience of the street in Egypt is a different experience for women than anywhere else. Sometimes I feel like the street is a jungle with wild animals, some of which are nice—and some are not. As a woman, you can be a target for sexual harassment and male aggression, especially if you do not blend in.

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I really like to walk on the street for pleasure, but I cannot do it here. It is out of the question. I even think twice about something as simple as running an errand.

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It is a painful experience as a woman to be on the street. I make physical and mental preparations. I have to think of how to dress. I ask myself what to wear so that I become transparent, invisible. I never have the right answer. It takes a lot of energy. I won’t wear the veil. That is my right. But veil or no veil, a woman on the street will be harassed.

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Egyptians people feel they have the right to address you, based on how you dress and how you walk. They feel they have the right to interfere, with words, with touch, or with looks. It has always been like that, but it has become more so ever since the Revolution. Without police, people have less shame to sexually harass a woman. This behavior gets taught from generation to generation, as I see young boys learn it from teenagers and adult men.

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Men have a totally different experience of the street. No one looks at them. No one talks to them. No one cares. But for a woman, having to go out is a task. It is not joyful. I cannot simply “go for a walk” as I do in New York. When you are on the street, you want to get into a car as fast as you can. Cairo is not a city to walk in. Its sidewalks are in bad shape and are becoming the territory of various vendors taking the supposedly pedestrian space. It is so hectic that you take a car, and then there is tons of traffic…

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Photo © Myriam Abdelaziz

When I am on the street, I look serious. I do not smile. I avoid eye contact. I try to make myself transparent. I walk fast like if I am on a mission, avoid interacting unless I have to. My body language is closed so people don’t notice me. I just try to blend in as much as I can.

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As a woman documenting the street, you are subject to another kind of harassment. People will question you, ask you who you are, why you are taking photographs, what you are going to do with them. It’s a constant stream of questions, and soon you are surrounded by ten people questioning you, almost always men. They won’t give up until they get the answer they are looking for.

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People were very happy about the coverage of the Revolution in the beginning of 2011. But events have changed, and now journalists are getting arrested. After the Al Jazeera scandal, the state TV started saying that the foreign media lies.

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My experience in Egypt as a woman photographer shooting the streets, shooting anything and everything, has had an effect on me personally: it has turned me off the streets. Emotionally and practically, it’s just too complicated and too hectic. I can no longer photograph what I want. I can’t produce what I want to produce.

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After the Revolution, I started photographing graffiti instead of people. Graffiti was new, and also photographing it, I had less interaction with other people and less questions were raised. But recently I was in Alexandria working on a project, and I wanted to take a photograph of a poster including Marilyn Monroe on the street. Immediately, I was spotted by two police officers who demanded I prove to them that I am not a journalist. How can I prove that? They were really scaring me. I thought they were going to arrest me but they let me go.

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In terms of creativity, working in a stressful environment is not the kind of spirit for me. It has slowly turned me off the street. I have a lot of respect for the women who still do it. Photographing what is happening on the streets should be a pleasure, but it isn’t for me anymore.”

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Photo © Myriam Abdelaziz

Photo © Myriam Abdelaziz

Categories: Africa, Art, Photography

Roger Ballen: Ballenesque

Posted on December 8, 2017

Photo: Mimicry, 2005. © 2017 Roger Ballen

Photo: Roly Poly, USA, 1972. © 2017 Roger Ballen

When Roger Ballen graduated from high school in 1968, his parents gave him a Nikon FTn camera. It was flown over from Hong Kong by a friend and lost in customs for several weeks before it finally arrived. The day that Ballen received it, he headed to the outskirts of Sing Sing prison to take photographs, a prescient moment to launch a journey in photography like no other before or since.

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His name alone conjures up curious and disturbing visions of an uncanny world, one that recalls the spaces of the dreamscape, theaters of the unconscious. Here reality is a construction, but it is also something else: it is the space where our minds are released from rational sensibilities. To describe the work as unnerving would be polite. It is as though the non-linear spaces of the mind are given full flight.

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“A shadow runs through my work,” Ballen observes in the magnificent new book, Ballenesque: A Retrospective (Thames & Hudson). “The shadow spreads, grows deeper as I move on, grow older. The shadow is no longer indistinguishable from the person they call Roger. I track my shadow (life) through these images.”

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Ballenesque provides a road map through this life, bringing us along the trail that the shadow has traveled over the past five decades. One of his most telling photographs was taken at the very start, a photograph of a dead cat lying on a street in New York. Made in 1970, it has all the hallmarks of what is to come: the strange un-reality of this dead creature, a line that suggested the presence of the entry to a netherworld, an a car driving into the distance, into the great beyond.

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Read the Full Story at Feature Shoot

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Photo: Stare, 2008. © 2017 Roger Ballen

Categories: 1970s, 1980s, 1990s, Africa, Art, Books, Feature Shoot, Photography

“The Rumble in the Jungle” – and the Poster That Sold It

Posted on November 30, 2017

Artwork: Norman Mailer: The Fight, with photographs by Neil Leifer and Howard Bingham (Taschen).

In the darkest part of the morning, they came 60,000 strong — to watch undefeated world heavyweight champion George Foreman take on challenger Muhammad Ali. It was another time. The 20th of May Stadium in Kinshasa, Zaire, is now the Stade Tata Raphaël in the Democratic Republic of the Congo, and The Rumble in the Jungle, as it was known, was scheduled to begin at 4 a.m. local time on Wednesday, Oct. 30, 1974. This was so the match originally titled From Slave Ship to Championship would air live on closed-circuit television in U.S. theaters at 10 p.m. EST.

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From backstage, journalist Norman Mailer described the scene. Although his entourage was somber, Ali appeared relaxed as he addressed himself in a mellifluous tone: “I been up and I been down. You know, I been around. It must be dark when you get knocked out. Why, I’ve never been knocked out. I’ve been knocked down, but never out.”

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Read the Full Story at The Undefeated

 

Categories: 1970s, Africa, Art, Books, Photography, The Undefeated

Brian “B+” Cross: Ghostnotes – Music of the Unplayed

Posted on November 2, 2017

Jay Electronica, Pyramids of Giza, Cairo, Egypt. August 2011 / Nas, Los Angeles, California, US. November 2010. Photography Brian “B+” Cross

From left to right, Beni B, Chief Xcel, and Lyrics Born at Records, downtown Sacramento, California, US. May 1995. This is the cover of “Endtroducing” by DJ Shadow. Photography Brian “B+” Cross.

French Quarter, New Orleans, Louisiana, US. August 1998 / Grand Wizard Theodore, Manhattan, New York, US. February 1996. Theodore is the first person to ever scratch a record. His hands started a revolution in music. Photography Brian “B+” Cross.

Life moves in circles, though we may not notice until the revolution is complete. In 1996, DJ Shadow released Endtroducing…, his debut studio album on Mo’ Wax Recordings, with curious photo on the cover. It showed two guys inside a record store: one in profile, the other’s face blurred – neither were DJ Shadow.

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It was a scene from everyday life, the very thing you’d recognize as a fellow hip hop head. It stood out for it unpretentiousness, it’s lack of glamour and glitz. Just as hip hop was going pop, Endtroducing… was taking it back to the earliest days of the art form when the DJ was king and crate digging was everything.

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Five years later, an editor at C Photography in Spain reached out to Brian “B+” Cross, the photographer who created this seminal image. They wanted to feature it in their annual. Cross agreed – then sent along more images turning their request into a 15-page spread. When it was published, David Hamrick put a Post-It note on the page. Then, in 2015, when he was the director of the University of Texas Press, he reached out to Cross to see if he had more work, thinking it could make an excellent book.

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The inevitable does not need a plan; it simply arrives. Cross had been working on Ghostnotes, a collection of photographs made throughout his career, for nearly two decades. The book was conceived as a mixtape, a visual corollary to the sounds of the African diaspora that flow through hip hop, uniting generations of people from all walks of life in the rhythms of the drums, the heartbeat of the art form.

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Weaving together threads the combine documentary and portrait photography, Cross guides us through a musical landscape, crafting a composition as brilliantly conceived as a work by Miles Davis. Conceptualized with “A” and “B” sides, Ghostnotes takes us on a journey around the world, brilliantly synthesizing hip hop, Jamaican dub, Brazilian samba, Ethiopian jazz, Cuban timba, and Colombian cumbia. The book features portraits of everyone from The Notorious B.I.G., Eazy-E, and Kendrick Lamar to George Clinton, Brian Wilson, and the Watts Prophets, among so many more. Cross speaks with us about his journey bringing Ghostnotes to life.

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Read the Full Story at Miss Rosen

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The Notorious B.I.G., Beverly Hills, California, US. April 1995. Biggie was murdered outside this building three weeks later, and there is still no plaque or monument to commemorate his death. Photography Brian “B+” Cross

Forest Lawn, Glendale, California, US. February 14th, 2006. J Dilla’s funeral. Photography Brian “B+” Cross.

Categories: 1990s, Africa, Art, Books, Bronx, Dazed, Exhibitions, Music, Photography

Samuel Fosso: Self-Portraits

Posted on October 18, 2017

Photo: Samuel Fosso 70s series, by Samuel Fosso, c. 1976/1977. © Samuel Fosso, Courtesy JM Patras/ Paris.

Photo: Samuel Fosso 70s series, by Samuel Fosso, c. 1976/1977. © Samuel Fosso, Courtesy JM Patras/ Paris.

At the tender age of 13, Samuel Fosso set up Studio Photo Nationale, and began his career as a photographer. The year was 1975, and Fosso was working in the city of Bangui, located just inside the border of Central African Republic.

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“With Studio National, you will be beautiful, stylish, dainty and easy to recognize,” Fosso promised. Here he works taking passport, portrait, and wedding photographs for the community—but it was his self-portraits that brought the artist global acclaim.

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“I started taking self-portraits simply to use up spare film; people wanted their photographs the next day, even if the roll wasn’t finished, and I didn’t like waste. The idea was to send some pictures to my mother in Nigeria, to show her I was all right.,” Fosso told The Guardian in 2011. “Then I saw the possibilities. I started trying different costumes, poses, backdrops. It began as a way of seeing myself grow up, and slowly it became a personal history – as well as art, I suppose.”

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And from this seed of genius, a life’s work arose, one that is rooted in the complexity of layering, meaning, and identity inherent to the self, and just how plastic these things are when we skate along the surface of life, mistaking appearances for the thing they claim to represent.

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Like a great actor, Fosso delves deep within himself and returns with an understanding of human nature and the way it manifests in the body, and on the face, through costume, gesture, and expression. For the past forty years, Fosso has honed his craft, creating a body of work that examines the experience of life as a West African man.

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Read the Full Story at Feature Shoot

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Photo: Samuel Fosso 70s series, by Samuel Fosso, c. 1976/1977. © Samuel Fosso, Courtesy JM Patras/ Paris.

Photo: Samuel Fosso 70s series, by Samuel Fosso, c. 1976/1977. © Samuel Fosso, Courtesy JM Patras/ Paris.

Categories: 1970s, Africa, Art, Exhibitions, Feature Shoot, Photography

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