Sepuya’s portrait photography, described by the artist as ‘queer modernism’, disrupts the conventions of traditional studio portraiture, to become a site of homoerotic social relations: a space where the roles of artist and subject are constructed and contested. The book exposes Sepuya’s play with artifice and performance as it outlines the development of his visual practice, cataloguing how he uses his own body, and those of his intimate circle of friends and lovers, in ways which challenge notions of power and authorship. Deeply connected with the written word, he found in texts and literature a way to make sense of this ‘gap of language between desired object and desiring subject’ (p.14), the very gap in which his practice is located.
AiW Guest: Uchechukwu Peter Umezurike. Juliana Makuchi Nfah-Abbenyi is Distinguished Professor of English and Comparative Literature in the Department of English at North Carolina State University. She teaches graduate and undergraduate courses in African literature, postcolonial literary and cultural studies,… Read More ›
Binyavanga Wainaina: Literary Legacies and Creative Futures At ASAUK 2020 Cardiff, Wales, UK 08-10 September 2020 Following the general call, we are delighted to share the call for papers for the thematic stream ‘Binyavanga Wainaina: Literary Legacies and Creative Futures’… Read More ›
Following the conversation between AiW Guest Aurélie Journo and the founder of Hekaya, Abu Amirah: “Heroes and scholars are everywhere”: Q&A , we are delighted to share that the Swahili Literary Festival is back for its second year. The Swahili… Read More ›
Call for Papers Society of Africanist Archaeologists (SAFA) 2020 Oxford, 21-24 September 2020 The Past Through the Past: Constructing Identity, Tradition, and Community in Africa In many modern societies identity and social boundaries are often constructed through binary oppositions between… Read More ›
AiW Guest: Toni Stuart Vuyelwa Maluleke’s Things We Lost in the Fire is a meditation on all that still lies broken within and between South Africans. It is at once a meditation on the woundedness of South Africa’s black men, and,… Read More ›