Word: sidibã
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...strongest points of this exhibition is unfortunately hidden at the back of the show. 14 smaller postcards and photographs from the early twentieth-century—by both European and African photographers—offer a contextualization for Kïeta and Sidib??’s photographs. One of the most striking postcards is internally labeled “Young Arab Woman from Timbuktu,” showing a photograph of two topless women reclining in the pose of an odalisque. The photograph was taken by Francois-Edmund Fortier in 1905, and is quite obviously an example...
...Since Sidib?? and Keïta are both commercial photographers, the use of props assumes a central role in their works. The props—which range from goats to radios, alarm clocks and scooters—are usually used as signs of affluence and prosperity. Such props have precedent, as umbrellas—usually seen as a symbol of European pragmatism—can be seen in some of the 14 early postcards on display. The most poignant of these images is Sidib??’s 1972 “Les jeunes berges Peuhls...
...also important, as the photographers are presented with the challenge of presenting unique personalities within the confines of a studio space. A few portraits show figures seated with hands on their knees, imitating classical poses of African royalty. Other portraits show the subjects posing on stationary scooters, such as Sidib??’s 1962 “Toute la famille en moto,” or “Whole Family on a Motorcycle” and an untitled print from 1959 by Ke?...
While this exhibit does a laudable job in presenting work from African artists, at the end of the exhibit one is still left with a feeling that more is possible. While Keïta and Sidib??’s works are thought-provoking and visually stimulating, they remain the professional portraits of commercial photographers. The question that one is left with is whether there are any artists in Africa that work for purely creative reasons...
...portrait photographs of seydou kïeta and malick sidib?...