The only museum in the nation emphasizing art
by women of the African Diaspora
3 + 1: 'Older Women and Love'

3 + 1: ‘Older Women and Love’

Saturday, March 25, 2017 Camille Olivia Hanks Cosby, Ed.D., Academic Center Auditorium 12:00 p.m. Enjoy a community screening of Camille Billops’ film Older Women and Love (1986), which explores intergenerational relationships and celebrates female sexuality. Immediately following the screening, participants...
Mickalene Thomas:  Mentors, Muses, and Celebrities
Mickalene Thomas:  Mentors, Muses, and Celebrities

Mickalene Thomas: Mentors, Muses, and Celebrities

An exhibition organized by the Aspen Art Museum On view February 9 – May 20, 2017
Please give to the Spelman College Museum of Fine Art during its 20th anniversary season

Please give to the Spelman College Museum of Fine Art during its 20th anniversary season

2016 has been an exceptional year for the Spelman College Museum of Fine Art. During this season of charitable giving, relive highlights from our 20th anniversary and consider supporting the Museum by making a tax-deductible gift. Your generosity will help...
Become a Friend of the Museum Today!

Become a Friend of the Museum Today!

Please become a Friend of the Museum and help  us continue our tradition of presenting engaging projects that consistently expand art offerings in Atlanta, the region, and beyond. click here  

The Spelman College permanent collection dates to the 1940s and includes more than 350 objects. The growing collection also includes African art and works by celebrated artists of African descent. To honor its unique mission, the Museum acquires art that highlights the wide spectrum of works that women artists of the African Diaspora create.  Look forward to a monthly inside peek on a work from the College’s permanent collection.

Nandipha Mntambo, Mlwa ne Nkunzi

Nandipha Mntambo, South African (b. 1982) Mlwa ne Nkunzi, 2008, Archival ink on cotton rag paper. Diptych, 44 x 33 inches each. Purchased with support from Spelman College Life Trustee Vicki and John Palmer in honor of The 15 x 15 Acquisitions Initiative

Nandipha Mntambo is recognized as a leading artist in South Africa. She investigates and interrogates stereotypical ideals of the female form, as well as notions of femininity in her art. Mlwa ne Nkunzi is a diptych in which the artist is posed as the matador (Mlwa) in one of the photographic panels and as the bull (Nkunzi) in the other. Mlwa ne Nkunzi references a Swazi fighting ritual and recalls the bullfighting of colonial Mozambique and modern day Portugal.

Employing cowhide as a medium, the artist questions the use of conventional art materials and products. Additionally, because the cowhides must be manipulated and shaped, she works through aspects of control. She further explores the broader themes sexuality, male and female, internal and public, conflict and contest, and the thin line between the repulsive and attractive. Through Mntambo’s study of the spectacle of bullfighting, the artist deftly addresses the cross-cultural struggles around gender-definition.

 


 

Bradley McCallum & Jacqueline Tarry, Man with Dignity and Woman with Dignity, 2008

Bradley McCallum & Jacqueline Tarry (American, b. 1966 & 1964) Man with Dignity and Woman with Dignity, 2008 From the Whitewash series, 2006-2009 Oil on linen, toner on silk (diptych) 15 x 15 Acquisitions Initiative Purchase, 2012.22.a-b

 

Bradley McCallum and Jacqueline Tarry have worked and exhibited their work internationally. Through their large-scale public projects, performative sculpture, painting, photography, video, and self-portraiture, they explore complex issues revolving around marginalized members of society. They also challenge audiences to face issues of race and social justice in communities, history, and the family.  Embedded within their work, whether it is of an historical, personal, or civic-based nature, is their ability to address the complicated and layered issues of race and power as a mixed-race artists collaborative.

Man with Dignity and Woman with Dignity are from Whitewash, a series of paintings that examines the history of race in the United States through the depiction of social injustice during the civil rights era. A striking combination of painting and photography, the artists’ distinctive process for this series was inspired by the concept of ‘whitewashing’ as a means of masking the truth. With an almost three-dimensional effect, these doubled images stand as a visual metaphor for the variety of ways that memory and history are both similar and different.