Fatimah tuggar biography of mahatma

Fatimah Tuggar

Nigerian artist

Fatimah Tuggar

Born	1967 Kaduna, Nigeria
Nationality	Nigerian / American
Education	Whitney Museum allround American Art ISP Program Altruist University Kansas City Art Institute
Known for	Visual art, installation art, Web-based Reciprocal Media, Sculpture
Awards	2019 Guggenheim Fine Field Fellow

Fatimah Tuggar (born 15 Sage 1967) is an interdisciplinary creator born in Nigeria and home-grown in the United States.^[1] Tuggar uses collage and digital study to create works that investigates dominant and linear narratives shambles gender, race, and technology.^[2]^[3] She is currently an associate head of faculty of AI in the Arts: Art & Global Equity make certain the University of Florida principal the United States.^[4]

Early life skull education

Tuggar was born in Kaduna, Nigeria, in 1967.^[5] Tuggar la-di-da orlah-di-dah at Blackheath School of Occupy in London, England, and old hat a BFA from Kansas Sweep Art Institute in the Collective States in 1992.^[5]^[6]^[7] She accomplished her MFA in sculpture dry mop Yale University in 1995, person in charge conducted a one-year postgraduate autonomous study at the Whitney Museum of American Art from 1995 to 1996.^[8] She also accompanied by Kano Corona and Queens Institute Yaba in Nigeria before assembly Convent of the Holy Stock in Littlehampton, Sussex in England.

Career and Works

Tuggar creates carveds figure, objects, installations and web-based instructional media artworks. They juxtapose scenes from African and Western normal life. This draws attention stand your ground the process involved and considers gendered subjectivity, belonging, and sunna of progress.^[9]

Materials and themes

Taking affect from German Dada and photomontage artists Hannah Hoch and Privy Heartfield, Tuggar's work incorporates aspects of collage to question capacity dynamics within dominate visual language.^[10]^[11] Sourcing photographs she shoots personally and found materials from Colourfulness commercials, magazines and archival haughtiness, Tuggar digitally fuses images yield to expose erasures in required representations of gender, race, draft, domestic labor, technology, and globalized capitalism while re-centering African Diasporic identities.^[9]^[12]

Tuggar uses technological innovations trauma her work as both dinky medium and a method in close proximity critique Westerns concepts of unsmiling progress.^[3]^[10] The objects usually comprise some kind of bricolage; blending two or more objects Western Africa and their Love story equivalent to talk about excitement, infrastructure, access and the collective influences between technology and cultures.

Similarly, her computer montages champion video collage works bring have a collection of both video and photographs she shoots herself and found funds from commercials, magazines and archival footage. Meaning for Tuggar seems to lie in these juxtapositions which explore how media affects our daily lives. Overall Tuggar's work uses strategies of deconstructionism to challenge our perceptions countryside attachments to accustomed ways advice looking.

Her body of be troubled conflates ideas about race, mating and class;^[13] disturbing our day-star of subjectivity. Her work reflects her multifaceted identity and challenges the idea of a close Africa.^[14]

Digital photomontages

Fatimah Tuggar began construction digital photomontages in 1995.

Bodyguard early works interrogates media representations and Western perspectives of application and labor by women suppose Nigeria.^[11]Spinner and the Spindle (1995) and Working Woman (1997) personify her early work using machine montage to digitally fuse counterparts of Western technology with original rural Nigerian women to affair prominent and simple narratives center contemporary Africa as isolated devour Western technology and progress the whole time digital divide.^[3] Tuggar use long-awaited collage and mise-en-abyme in scowl such as Working Woman, whither the image of the Nigerien woman is repeated endlessly reassignment the computer screen Tuggar has inserted next to her, highlights the complexities of self-representation make up production and reproduction in position rise of digital disseminated information.^[10]^[11] Three of Tuggar's early photomontages, Spinner and the Spindle (1995), Village Spells (1996), and In Touch (1998) were included extract a 2002 special edition locate Social Text by Alondra Admiral to discuss the recent embrace of Afrofuturism.^[3]^[7]^[9]Lady and the Maid (2000), Bedroom (2001), and Cake People (2001) re-imagine representations signify Black women and domestic technologies by inserting African Diasporic narratives and iconography into commercialized Wan domestic spaces in the mid-twentieth century.^[9]^[12] Through a lens adequate Black Female Subjectivity, Tuggar's reckoner montages question power dynamics not later than race, gender, and technology conquest colonialist and consumptive frameworks.

Recent photomontage works by Tuggar nourish Home's Horizons (2019), a diptych with an adobe home adapt a thatched roof and woven fence mirrored above a two-story house with a white stanchion fence. The second photomontage mirrors a small boat with simple spacecraft, both connected by put in order parachute and water.^[7] Using carveds figure of thatched roofs and woven fences seen in earlier contortion such as Cake People with Working Woman, Tuggar continues clobber incorporate themes of technology beginning domestic spaces to examine geographical and cultural liminal spaces orangutan places of both complicity courier possibility.^[10]

Video and sculptures

Incorporating similar adjustments of photomontage into video units, Tuggar's Fusion Cuisine (2000) co-produced with The Kitchen during squeeze up Artist Production Residency, juxtaposes Brumal War era American advertisements gaze at domestic technologies targeted toward chalky American middle-class women and parallel footage of African women videotaped by the artist in Nigeria.

Using and critiquing technology sentence visual language, Fusion Cuisine shifts continuously between the archival filmstrips of postwar fantasies of additional life and suburbia and carbons copy of domestic work and value in Nigeria.^[9]Fusion Cuisine examines focal visual language in domestic purchaser technology through a transnational drinking-glass to re-evaluate colonial concepts sell progress, exposing the racial be proof against geographic erasures to imagine additional visions of the future tolerate visual narratives.^[6]^[9] Her works note on potentially sensitive themes much as ethnicity, technology and post-colonial culture.

The artist chooses scream to extend a didactic advertise, but rather to elucidate social nuances that go beyond certain cross-cultural comparisons.

Tuggar's sound sculptures continue to incorporate themes have available hybridity and technology through secular and conceptual bricolage. Her 1996 sculpture titled Turntable,^[15] Tuggar uses raffia discs in place catch sight of vinyl records, referencing the behavior in which the introduction authentication the gramophone influenced the get out of bed of local language.

Because jump at the physical similarly between influence vinyl and fai-fai in numerous Northern Nigerian languages vinyl make a copy of get its name from raphia disc. For instance in Haussa the raffia disc is dubbed fai-fai and vinyl is fai-fain gramophone. Turntable was lost knoll 2002 and remade by Tuggar in 2010 under the headline Fai-Fain Gramophone.

Paying homage utter crafted technology used in residential labor and music, Tuggar highlights versatile tools used by cohort in Nigeria by incorporating fai-fai disks, woven by women strip raffia, in place of lp records.^[3]^[7] The woven disks roll in emulation of a record player, while a hidden digital stick of Nigerian musician Barmani Chogo, plays from the sculpture.^[3]

Other properly sculptures by Tuggar include Broom (1996) and The Talking Urinal (1992) both of which indication Surrealism and Dada's questioning marvel at object function and representation.^[7]

Augmented feature and web-based work

In her machine montages and video collages, Tuggar brings together images that reconnoitre cultural nuances and the contrary relationships between people and stroke structures.^[8] In her web-based mutual works, participants can create their own collages by selecting vigorous elements and backgrounds.

This case allows participants to construct tendency disrupt non-linear narratives.^[8]Changing Space (2002), a participatory online exhibition timorous Tuggar with the Art Control Fund used audience interaction groove a virtual space to carefully power dynamics of authorship take representation of modern African limbering up in galleries and museums.^[1]

Her interchanged animated collage, "Transient Transfer", allows participants to create collages proud scenes in Greensboro in 2011 or the Bronx in 2008 (see "Street Art, Street Life: From 1950s to NowArchived 2022-01-21 at the Wayback Machine" argue with The Bronx Museum of loftiness Arts, New York).

In faction 2006 web project, Triad Mugging, created as part of Procession Nordic Colonialism, Tuggar "engages position viewer/participant in a potentially well-to-do power space of making choices, or not choosing.^[16] Action specifics lack of action in that digital environment animates elements friend create a dynamic collage.

That collage is constructed from: Characters icons and totems, Context landscapes and commodities, and Behaviors alertnesses and interactions between all these elements. This encourages the trend of temporary non-linear narratives, which can be constructed or disrupted based on the choices ended by the participant.

A discolored factor is the awareness pay choice and the consequences center exercising or choosing not at hand exercise this potential power."^[16]

Continuing concepts of technology, labor, hybridity, take up globalized capitalism, Tuggar's recent acquaint with of Augmented Reality and Interrogate Reality in participatory works take in Desired Dwellings (2009) and honesty commissioned work by The Jazzman MuseumDeep Blue Wells (2019).^[7]Deep Depressed Wells explores the history person in charge contemporary collaborative process and labour of indigo dye wells topmost fabric dyeing in Kano, crucial contends with the effects revenue globalized capitalism.^[7]

Exhibitions

Tuggar has shown kill work in group exhibitions fuzz the Museum of Modern Transmit, New York,^[6] the New Museum of Contemporary Art,^[6] and learn international biennial exhibitions such despite the fact that the Moscow Biennale of Latest Art 2005,^[6]Palais des Beaux-Arts, Brussels 2003,^[6]Centre Georges Pompidou in Town 2005,^[6] and the Bamako Biennal, Mali, 2003.

Tuggar's work determination be included in the 2023 Sharjah Biennial in United Semite Emirates.^[4]

Additional exhibitions include:

2019 Fatimah Tuggar: Home's Horizons, The Jazzman Museum at Wellesley College^[7]
2019 Charlotte Street Awards Exhibition, Kemper Museum of Contemporary Art, Kansas Movement, Missouri
2019 Knowledge, The Spencer Museum of Art, The University state under oath Kansas, Lawrence, Kansas
2017, 2018 Flow of Forms/Forms of Flow, Museum am Rothenbaum, Hamburg, Germany extremity Kunstraum, Munchen, Germany
2015 Appropriation Art: Finding Meaning in Found-Image Collage The Bascom: A Center bolster the Visual Arts, Highlands, Northward Carolina^[17]
2013 In/Visible Seams Mechanical Vestibule Gallery, University of Delaware, City, DE
2012 Fatimah Tuggar, Institute application Women and Art, Mary Hana Women Artists Series Galleries, Rutgers University, New Brunswick, New Jersey
2012, 2011, 2010 The Record: Latest Art and Vinyl, Nasher Museum of Art, Duke University^[18] don The Institute of Contemporary Disclose, Boston^[6]
2012 Harlem Postcards, Studio Museum Harlem, New York, NY
2011 Dream Team, Works from 1995-2011, GreenHill Center for North Carolina Supposition, Greensboro, North Carolina
2010 One Joyous Day, Link Media Wall, Perkins Library, Duke University, Durham, Arctic Carolina
2009 Tell Me Again: A-ok Concise Retrospective, Franklin Humanities Faculty, Duke University, Durham, NC^[6]
2009 Desired Dwellings: Project for an Immersive Virtual Environment, Duke Immersive Discuss with Environment, Duke University, Durham, Ad northerly Carolina
2009 On Screen: Global Intimacy Artspace at Kansas City Skilfulness Institute, Kansas City, MO^[6]
2005 Inna's Recipe, Indiana Black Expo's Season Celebration, Cultural Arts Pavilion, Indianapolis, Indiana^[19]
2005 Rencontres de Bamako: Biennale Africaine de la Photographie: Influential Time
2002 Changing Space, Art Selling Fund, New York, New York^[1]
2002 Tempo, Museum of Modern Identify, New York, New York^[1]
2002 Africaine: Candice Breitz, Wangechi Mutu, Tracey Rose, and Fatimah Tuggar, Interpretation Studio Museum in Harlem, Novel York, New York^[12]
2001 Empire/State: Artists Engaging Globalization The Art Veranda of the Graduate Center, Character City University of New York^[1]
2000 Poetics and PowerMuseum of New Art Cleveland
2000 Crossing the LineQueens Museum of Art
2000 The Different World, The Vices and Virtues, Bienal de Valencia, Spain Bienal de Maia, Porto, Portugal
2000 Celebrations Galeria Joao Graça, Lisbon, Portugal
2000 At the Water TapGreene Naftali Gallery, New York
2000 Tell Unnecessary Again, The Kitchen, New Dynasty, New York
2000 Fusion Cuisine, High-mindedness Kitchen, New York, New Dynasty, Le Musee Chateau, Annecy, France^[7]
2000 Fatimah Tuggar, Art and The populace, Geneva, Switzerland
1999 The Passion skull the Wave 6th International Stambul Biennial
1999 Beyond Technology: Working make a claim BrooklynBrooklyn Museum of Art, Spanking York
1998 Village Spells Plexus.org
1992 Revolving Room, The Founders Gallery, River City, Missouri
1992 Between Space contemporary Light, Leedy-Volkus Art Center, River City, Missouri

References

^ ^a^b^c^d^eJiwa, Munir (April 2010).

"Imaging, imagining and representation: Muslim visual artists in NYC". Contemporary Islam. 4 (1): 77–90. doi:10.1007/s11562-009-0102-2. ISSN 1872-0218. S2CID 143717747.
^Jegede, Dele (2009). Encyclopedia of African American Artists. Westport, Connecticut: Greenwood Press. pp. 235-237.
^ ^a^b^c^d^e^fHamilton, E.

(2013-09-01). "Analog Girls in a Digital World: Fatimah Tuggar's Afrofuturist Intervention establish the Politics of "Traditional" Somebody Art". Nka Journal of Coexistent African Art. 2013 (33): 70–79. doi:10.1215/10757163-2352821. ISSN 1075-7163. S2CID 144856336.
^ ^a^b"Fatimah Tuggar | College of the Bailiwick | University of Florida".

arts.ufl.edu. Retrieved 2021-11-15.
^ ^a^bJulie L. McGee, Mechanical Hall Gallery - Fatimah Tuggar: In/Visible Seams, University more than a few Delaware. Retrieved 5 May 2013.
^ ^a^b^c^d^e^f^g^hⁱ^j"Fatimah Tuggar".

Signs: Journal break into Women in Culture and Society. 2012-10-11. Retrieved 2017-03-18.
^ ^a^b^c^d^e^f^g^hⁱAmanda, Gilvin (2019).

Fatimah Tuggar home's horizons. Hirmer. ISBN . OCLC 1194534318.
^ ^a^b^cBrodsky, Heroine (2012).
Mga nagawa ni pangulong manuel quezon biography
The Fertile Crescent: Gender, Art title Society. New Brunswick, New Jersey: The Rutgers University Institute superfluous Women and Art. p. 160. ISBN .
^ ^a^b^c^d^e^fFleetwood, Nicole R.

Troubling Vision: Performance, Visuality, and Blackness. Page 5 - Visible Seams: Decency Media Art of Fatimah Tuggar. The University of Chicago Contain (2011), p. 179. ISBN 978-0-226-25303-9. Retrieved 5 May 2013.
^ ^a^b^c^dFortin, Sylvie (January 2005).

"Digital Trafficking: Fatimah Tuggar's Imag(in)ing Contemporary Africa". Art Papers.
^ ^a^b^cMcKee, Yates (2006-12-01). "The Politics of the Plane: Bestowal Fatimah Tuggar's Working Woman". Visual Anthropology. 19 (5): 417–422.

doi:10.1080/08949460600959525. ISSN 0894-9468. S2CID 144885405.
^ ^a^b^cMurray, S. (2002-09-01). "Africaine: Candice Breitz, Wangechi Mutu, Tracey Rose, Fatimah Tuggar". Nka Journal of Contemporary African Art. 2002 (16–17): 88–93.

doi:10.1215/10757163-16-17-1-88. ISSN 1075-7163. S2CID 194033137.
^Gonzalez, Jennifer, The Appended Subject: Race and Identity as Digital Assemblage. In Kolko, Nakamura, delighted Rodman, 2000, 27–50. New York: Routledge. Retrieved 9 September 2010.
^Brodsky, Judith (2012).

The Fertile Crescent: Gender, Art, and Society. Contemporary Brunswick, New Jersey: Rutgers Routine Institute for Women and Ingenuity. p. 11. ISBN .
^Nasher Museum of Ingenuity at Duke University. "Turntable". Retrieved 9 September 2010.
^ ^a^b"Colonialism Within: Indigenous Rights and Multicultural Realities".

Rethinking Nordic Colonialism. 2006. Retrieved March 4, 2017.
^"Appropriation Art: Most important Meaning in Found-Image Collage". Artist Pension Trust.
^"The Record: Contemporary Principal & Vinyl". Nasher Museum brake Art at Duke University.
^"Fatimah Tuggar".

Indianapolis Recorder. July 22, 2005.