Join Sandrine Colard, guest curator of The Way She Looks: A History of Female Gazes in African Portraiture, and Julie Crooks, Associate Curator at the AGO, for a conversation about the making of the RIC exhibition, which celebrates the viewpoints of women in African photography from the nineteenth-century to today.
Sandrine Colard, guest curator of The Way She Looks, is an art historian, writer and curator based in New York, United States, and Brussels, Belgium. A specialist of modern and contemporary African arts (PhD Columbia University), Colard is a professor at Rutgers University-Newark, United States, and has been appointed Artistic Director of the 6th Lubumbashi Biennale 2019, Democratic Republic of Congo (DRC). Colard is working on her book about the history of photography in the DRC (awarded 2019-2020 Ford Foundation Fellowship).
Julie Crooks is Associate Curator, Photography at the AGO. Crooks received her PhD in the Department of History of Art and Archaeology at the School of Oriental and African Studies (SOAS), University of London, England, where her research focused on historical photography in Sierra Leone, West Africa and the diaspora. She has curated and co-curated a number of exhibitions in Toronto, including Mickalene Thomas: Femmes Noires at the AGO (2018-2019).
ABOUT THE EXHIBITION
The Way She Looks: A History of Female Gazes in African Portraiture. Photographs from The Walther Collection
Drawn from the extraordinary holdings of The Walther Collection, The Way She Looks: A History of Female Gazes in African Portraiture revisits the history of African photographic portraiture through the perspectives of women, both as sitters and photographers. Spanning the beginnings of colonial photography on the continent to the present day, the exhibition features contemporary works by female artists, including Yto Barrada, Jodi Bieber, Lebohang Kganye, Zanele Muholi, Grace Ndiritu, and Nontsikelelo “Lolo” Veleko alongside 1950s studio portraits by such important historical figures as Malick Sidibé and Seydou Keïta, and nineteenth-century prints, cartes de visite, postcards, and albums.
Image: Mimi Cherono Ng’ok, Chebet and Chimu in the Garden, from the series The Other Country, 2008–ongoing (printed 2018), inkjet print © The artist. Courtesy of the artist and The Walther Collection
Wednesday, September 25
Ryerson Image Centre 33 Gould Street