Zanele Muholi Art Analysis Zanele Muholi, Vredehoek, Cape Town (2011): from the series, Faces and Phases (2010-ongoing) Image: http://lightbox.time.com/2013/02/25/saving-face-the-portraits-of-zanele-muholi/#10

Faces and Phases series (2006-ongoing) Faces and Phases series (2010-ongoing). In this series of photographs, Muholi creates photographic portraits of black lesbian women and transmen (female-to-male transgender or transexual persons). These photographs are significant because they lend visibility to a group of people that have experienced societal marginalization. Questions for Students: Faces and Phases (2006-ongoing): What do these portraits tell us about the people who are photographed? What do these portraits tell us about the photographer? Why are these works important? How can portraiture be used to promote activism? Images: Skye Chirape, Brighton, United Kingdom, 2010, Zanele Muholi: http://www.stevenson.info/exhibitions/muholi/faces85.html Pam Dlungwana, Woodstock, Cape Town, 2010, Zanele Muholi: http://www.stevenson.info/exhibitions/muholi/faces82.html Bakhambile Skhosana, Natalspruit, 2010, Zanele Muholi: http://www.stevenson.info/exhibitions/muholi/faces48.htm Thlalefo 'Zeal' Ntseane, Mafikeng, North West, 2011, Zanele Muholi: http://www.stevenson.info/exhibitions/muholi/faces105.html Reference: Stevenson Gallery (n.d.). Zanele Muholi [Web Page]. Retrieved from http://www.stevenson.info/artists/muholi.html

Artistic Reference: Seydou Keïta Seydou Keïta (Mali, 1921-2001) was a Malian photographer. Keïta’s portraiture bears strong stylistic and content connections to Muholi’s photography. Question for Students: How can you compare and contrast Seydou Keïta’s work and Muholi’s Faces and Phases series (2006-ongoing)? Images: Untitled, 1956/1957, Seydou Keïta: http://www.seydoukeitaphotographer.com/en/photographs/women-portraits/#10 Untitled, 1952/1955, Seydou Keïta: http://www.seydoukeitaphotographer.com/en/photographs/women-portraits/#17 Untitled, 1952/1955, Seydou Keïta: http://www.seydoukeitaphotographer.com/en/photographs/men-portraits/#5 Untitled, 1957/1960, Seydou Keïta: http://www.seydoukeitaphotographer.com/en/photographs/women-portraits/#28 Reference: Seydou Keïta Photographer (n.d.). Seydou Keïta Photographer [Web Page]. Retrieved from http://www.seydoukeitaphotographer.com/#13

Artistic Reference: Lorna Simpson Like Muholi, Lorna Simpson explores issues of stereotyping and discrimination of black women in her photography. Questions for Students: How can you compare/contrast Stereo Styles (1988) by Lorna Simpson to Muholi’s Faces and Phases (2006-ongoing) series? Image: Stereo Styles, 1988, Lorna Simpson: http://lsimpsonstudio.com/photographicworks06.html Reference: Lorna Simpson Studio (n.d.). Lorna Simpson [Web Page]. Retrieved from http://lsimpsonstudio.com/

Being series (2007) Being series (2007). In this series, Muholi depicts lesbian couples in their everyday lives. These photographs serve to normalize the relationships of lesbian South African women and create awareness of their lives. Questions for Students: Being (2007): What do these portraits tell us about the people who are photographed? What do these portraits tell us about the photographer? Why are these works important? Images: Katlego Mashiloane and Nosipho Lavuta, Ext. 2, Lakeside, Johannesburg 2007: http://www.stevenson.info/exhibitions/muholi/being6.htm Busi Mdaki and Malesedi Nthute, Katlehong, Johannesburg 2007: http://www.stevenson.info/exhibitions/muholi/being3.htm

Artistic Reference: Robert Mapplethorpe Like Muholi, Robert Mapplethorpe broke boundaries by using photography to lend visibility to the gay community (in the U.S. in Mapplethorpe’s case). Muholi’s photography is also reminiscent of Mapplethorpe’s portraits in the way they are composed. Images: Patti Smith, 1986, Robert Mapplethorpe: http://www.mapplethorpe.org/portfolios/portraits/ Ken Moody and Robert Sherman, 1984, Robert Mapplethorpe: http://www.mapplethorpe.org/portfolios/portraits/?i=4 Smutty, 1982, Robert Mapplethorpe: http://www.mapplethorpe.org/portfolios/portraits/?i=1 Reference: Robert Mapplethorpe Foundation (n.d.). Robert Mapplethorpe [Web Page]. Retrieved from http://www.mapplethorpe.org

“Massa” and Mina(h) series (2008) In the “Massa" and Mina(h) (2008) series, Muholi (who performs in these photographs), explores the complicated relationships between black female domestic workers and their white female employers. “Massa” refers to the term “master” and “Mina” is the word for “I” in the Zulu language. Mina or Minah is also a common female name in South Africa. Images: http://www.zanelemuholi.com/massa.jpg http://www.zanelemuholi.com/massa1.jpg Reference: Südafrika: Land der Kontraste: The German Gateway to South Africa. (2010, May 31). Exklusive interview with Zanele Muholi [Blog Post]. Retrieved from http://2010sdafrika.wordpress.com/2010/05/31/exklusive-interview-with-zanele-muholi/

Artistic Reference: Carrie Mae Weems Like Muholi, Carrie Mae Weems explores issues of visibility with black women in her photographic work. Weems often choreographs and photographs scenarios that explore the issues of race, with particular focus on African American females (themes echoed in Muholi’s “Massa” and Mina(h) work. Questions for Students: What are some similarities and differences between photography that is “staged” or “posed” and photography that is more journalistic? Is one form of photography more “true” or “real” than the other? Why or why not? Images: From The Kitchen Table Series, 1990, Carrie Mae Weems: http://carriemaeweems.net/galleries/kitchen-table.html Mayflowers Long Forgotten, 2003, Carrie Mae Weems: http://carriemaeweems.net/galleries/mayflowers.html The Louisiana Project, 2003, Carrie Mae Weems: http://carriemaeweems.net/galleries/louisiana.html Reference: Weems. C.M. (n.d.). Carrie Mae Weems [Web Page]. Retrieved from http://carriemaeweems.net

Queercide project (2008-ongoing) Muholi uses photography to expose hate crimes against the LGBTQ community in South Africa. While Muholi was preparing a collection of work depicting a series of crime scenes, funerals, and other documentation of some of these hate crimes (Queercide), her home was burglarized and her camera and photographs were stolen. In response, Muholi created an exhibition (MO(U)RNING) (2012) about the ways in which South African authorities have attempted to silence her and censor her work (and silence the voices the LGBTQ community as a whole). Questions for Students: Queercide (2008-ongoing): How can photography be used in a socially activist way? This work is much more documentary-based and journalistic than some of Muholi’s other work. Does that make it more effective? Why or why not? Which of Muholi’s works is most effective in reaching her goal of being a “visual activist”? Images: A year later.... candle light as sign of memorial, 2012: http://www.stevenson.info/exhibitions/muholi/index2012/kwathema2.html Eudy's portrait painted by fellow activists on the bridge wall in Tornado, KwaThema, few meters away from where her body was discovered on 28th April 2008: http://www.stevenson.info/exhibitions/muholi/index2012/kwathema8.html References: Stevenson Gallery (n.d.). Zanele Muholi [Web Page]. Retrieved from http://www.stevenson.info/exhibitions/muholi/index2012.html Muholi, Z. (n.d.). Zanele Muholi [Web Page] Retrieved from http://www.zanelemuholi.com/about%20me.htm