Fatimah Tuggar
| ụdịekere | nwanyị  |
|---|---|
| mba o sị | Naijiria |
| Aha enyere | Fatima |
| Ụbọchị ọmụmụ ya | 15 Ọgọọst 1967 |
| Ebe ọmụmụ | Kaduna |
| Ọrụ ọ na-arụ | onye na-ahu maka ihe nkiri, osee foto, videographer, video artist |
| ụdị ọrụ ya | visual arts |
| ebe agụmakwụkwọ | Yale University, Kansas City Art Institute |
| Ebe ọrụ | New York City |
| oge ọrụ ya (mmalite) | 1996 |
| Oge ọrụ ya (njedebe) | 2012 |
| Ihe nrite | Guggenheim Fellowship |
| Nwere ọrụ na mkpokọta | Studio Museum in Harlem |
| ikike nwebiisinka dị ka onye okike | Ọrụ nwebiisinka chekwara |
| nnọchiaha nkeonwe | L484 |
Fatimah Tuggar (onye a muru n'ụbọchị n'ọnwa Ọgọstụ n’afọ1967) bu onye Naijiria na-ese ihe nke bi n'obodo Amerika . [1] Vidio Tuggar na ọrụ dijitalụ ya na-enyocha mmetụta teknụzụ.nye ọdịbendị na mmekọrịta mmadụ na ibe ya.
Ndụ onwe[dezie | dezie ebe o si]
A mụrụ Tuggar na Kaduna,nke Naijiria, n'afọ 1967. [2]
Ugbu a o bi na Toronto,nke Ọntario, ebe ọ bụ osote Onye Nkụzi Ọkachamara na Ngalaba Nkà na Mahadum Ontario College of Art and Design University. [3]
Mmụta[dezie | dezie ebe o si]
Tuggar gụrụ akwụkwọ na Blackheath School of Art na Lọndọn,na Ịngland, tupu ọ nata nzere BFA na Kansas City Art Institute n'Amerịka. [2] [4] Tuggar nwetara nzere MFA ya na Mahadum Yale n'afọ 1995. Mgbe ọ gụsịrị akwụkwọ na Yale, ọ gụrụ otu afọ ọmụmụ nke onwe ya na Whitney Museum of American Art . [5] Ọ gakwara Kano Corona na Queens Collage Yaba na Naịjirịa tupu ọ gaa Convent of the Holy Family na Littlehampton, dị naSussex na Ịngland.
Ọrụ[dezie | dezie ebe o si]
Tuggar na-emepụta foto, ihe, nrụnye yana ọrụ nka mgbasa ozi na-akụzi nkuzi n'ịntaneetị. Ha na-abụkarị ihe nkiri sitere na ndụ ndị Afrịka na ndị Westị kwa ụbọchị. Nke a na-adọrọ uche gaa n'usoro metụtara ma na-atụle nrubeisi nke nwoke, nke ya, na echiche nke ọganihu.
Tuggar gosipụtara ọrụ ya na ngosipụta otu na Museum of Modern Art ( MOMA ), New Museum of Contemporary Art, na ngosipụta nke mba ụwa kwa afọ dịka Moscow Biennale of Contemporary Art (2005), Palais des Beaux-Arts, Brussels (2003), Center Georges Pompidou na Paris (2005), na Bamako Biennal,na Mali, n'afọ 2003. Ọ natawo onyinye n'ụlọ ọrụ dịka WA Mellon Research Fellowship - John Hope Franklin Humanities Institute, Durham, NC, US, Artist Production Residency - Kitchen, New York, New York, US, Civitella Ranieri Fellowship - Civitella Ranieri, Umbertide, Umbria, Italia, Techno-Oboro Residency - Oboro Arts Center, Montreal, Canada, Techno-Oboro Residency - Oboro Arts Center Montreal, Canada, Contemporary Art, Copenhagen, Denmark.
Ihe ndị ahụ na-agụnyekarị ụdị birikọleej ; ijikọta ihe abụọ ma ọ bụ karịa sitere na Westen Afrịka na nhata na be ndị ọcha iji kwuo maka ọkụ eletrik, akụrụngwa, ị nweta na mmetụta mmeghachi omume n'etiti teknụzụ na ọdịbendị. N'otu aka ahụ, mọnteeji kọmputa ya na ọrụ nchịkọta vidiyo na-eweta vidiyo na foto o sere ma chọta ihe sitere na azụmahịa, akwụkwọ akụkọ na eserese ochie. Ihe mghọta pụtaara Tuggar dị n'ime eserese ndị a nke na-enyocha etu mgbasa ozi si emetụta ndụ anyị kwa ụbọchị. Nchịkọta ọrụ Tuggar na-eji atụmatụ nke mmezi iji gbaghaa echiche anyị na mgbakwunye n'ụzọ ndị ọzọ. Ọrụ niile na-ekwupụta echiche gbasara agbụrụ, okike nwoke na nwanyị na klaasị ; [6] akpaghasị echiche anyị banyere isiokwu . Ọrụ ya na-egosipụta njirimara ọtụtụ ihe ma na-agbagha echiche nke e ji mara Afrịka. [7]
Ọrụ ya na-ekwu maka isiokwu nwere ike ị kpachapụ anya dịka agbụrụ, teknụzụ na omenala mgbe ọchịchị gachara. Onye na-ese ihe na-ahọrọ ịghara ịgbasa ozi ngosi, kama ọ bụ iji kọwaa nụwansis ọdịbendị nke karịrị ihe atụ doro anya nke omenaala. Iji maa atụ, na ihe osise afọ 1996 ya a kpọrọ Turntable, [8] Tuggar na-eji diski rafia eme ihe n'ọnọdụ vaịnịl rekọọdụ. Ihe osise a na-ekwu maka ụzọ i webata gramafon si metụta mmepe asụsụ obodo. N'ihi myiri vịnịlnyl na fai-fai n'ọtụtụ asụsụ ndị ugwu nke Naijiria, vaịnịl nwetara aha ya site na diski rafia. Iji maa atụ, n’asụsụ Awụsa a na-akpọ diski rafia fai-fai, ma vaịnịl bụ fai-fain gramofon.
Kpọmkwem, ọrụ onye na-ese ihe na-egosi etu okwu ndị a si arụ ọrụ site na omume ngosipụta ọhụụ dị ka mgbasa ozi telivishọn, ihe nkiri Hollywood, na imepụta ngwaahịa. Fusion Cuisine, nke njikọ aka ya na Kitchen (ụlọ ọrụ nka na-ahụ maka ọrụ anaghị akwụ ụgwọ na New York), ji egwu na-ekpughe echiche efu nke ndị Amerịka maka teknụzụ ndị ahịa dị ka nnwere onwe na ọganihu mba mgbe ha na-ekpughere agbụrụ na mpaghara ala nke na-abụ ntọala nke ọhụụ ndị a nke ọdịnihu. [4] Ihe onyonyo a nwere eserese abụọ: mgbasa ozi agha mba ụwa nke abụọ nke Amerịka na-akpọsa teknụzụ ụlọ ma lekwasị anya n'ebe ụmụ nwanyị ọcha nke Amerịka nọ na klasị etiti, na ihe osise nke ụmụ nwanyị Afrịka nọ na vidio nke onye na-ese ihe nkiri na Naijiria. Fusion Cuisine na-agbanwe n'etiti ihe nkiri ochie nke ihe efu nke ndụ nke oge a na suburbia na ihe osise ndị na-adịbeghị anya nke ọrụ ụlọ n'egwuregwu na Naijiria.
Na mọnteeji komputa ya na vidio, Tuggar chịkọtara onyonyo nke na-enyocha ọdịnala yana mmekọrịta dị iche n'etiti ndị mmadụ na ikike. [5] N'ime ọrụ mmekọrịta ya na weebụ, ndị sonyere nwere ike ị mepụta nchịkọta nke onwe ha site na ịhọrọ ihe ndị na-eme egwuregwu na ndabere. Usoro a na-enye ndị sonyere ohere iwu ma ọ bụ mebie akụkọ nke enweghị usoro. Ihe mmekorita kolaaji ya, "Transient Transfer", na-enye ndi ozo ohere ikeputa ihe ndi ozo na Greensboro n'afọ 2011 ma obu Bronx n'afọ 2008 (lee " Street Art, Street Life: Site n'afọ 1950s ruo taa " na The Bronx Museum of the Arts, New York ). Na oru webusaiti afọ 2006 ya, Triad Raid, e keputara dika akuku nke Rethinking Nordic Colonialism, Tuggar “na-enye onye obula / onye sonyere na onodu ike buru ibu nke i me ihe ha chọrọ, ma ọbụ ị hapụ Omume ma obu emeghi ihe n’ime mpaghara a na-emepụta ihe kolaaji di egwu. Nke a bụ kolaajie a rụrụ site na: Characters icons and totems, Context landscapes and commodities, and Behaviors actions and interactions n'etiti ihe niile ndị a. Nke a na - agba ume ịmepụta akụkọ obere oge na - enweghị usoro, nke e nwere ike wulite ma ọ bụ mebie dabere na nhọrọ nke onye ahụ sonyere. Isi ihe dị na ya bụ mmata nke nhọrọ na nsonaazụ nke ịme ma ọ bụ ị họrọ ịghara igosipụta ikike a. " [9]
Ihe ngosi ndi ozo gunyere:
(2015) " Art Appropriation: Finding Meaning in Found-Image Collage " ( Bascom: Ebe Nlekọta Maka Visual Arts, Highlands, North Carolina)
(2013) " Na / Anya Seams " (Mechanical Hall Gallery, Mahadum nke Delaware, Newark, DE)
(2012, 2011, 2010) " Ihe ndekọ ahụ: Contemporary Art and Vinyl " ( Nasher Museum of Art, Mahadum Duke ; Institute of Contemporary Art, Boston, MA) [4]
(2012) "Harlem Postcards" (Studio Museum Harlem, New York, NY)
(2009) "Tell Me Again: A Concise Retrospective" (Franklin Humanities Institute, Duke University, Durham, NC) [4]
(2009) " On Screen: Global Intimacy " (Artspace at Kansas City Art Institute, Kansas City, MO) [4]
(2005) "Inna's Recipe" (Indiana Black Expo's Summer Celebration, Cultural Arts Pavilion, Indianapolis, Indiana) [10]
(2005) " Rencontres de Bamako: Biennale Africaine de la Photographie: Telling Time "
(2001) "Empire/State: Artists Engaging Globalization" (The Art Gallery of the Graduate Center, The City University of New York)
(2000) "Poetics and Power" (Museum of Contemporary Art Cleveland)
(2000) "Crossing the Line" (Queens Museum of Art)
(2000) "The New 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 Tap" (Greene Naftali Gallery, New York)
(1999) "The Passion and the Wave" 6th International Istanbul Biennial
(1999) "Beyond Technology: Working in Brooklyn" (Brooklyn Museum of Art, New York)
(1998) "Village Spells" (Plexus.org)
Nrụtụaka[dezie | dezie ebe o si]
- ↑ Jegede, Dele (2009). Encyclopedia of African American Artists. Westport, Connecticut: Greenwood Press. pp. 235-237.
- ↑ 2.0 2.1 Julie L. McGee, Mechanical Hall Gallery - Fatimah Tuggar: In/Visible Seams, University of Delaware. Retrieved 5 May 2013.
- ↑ Contemporary Art, Design and New Media Art Histories (MA). Archived from the original on March 5, 2017. Retrieved on March 4, 2017.
- ↑ 4.0 4.1 4.2 4.3 4.4 "Fatimah Tuggar", Signs: Journal of Women in Culture and Society, 2012-10-11. (in en-US)
- ↑ 5.0 5.1 The Fertile Crescent: Gender, Art and Society.
- ↑ Gonzalez, Jennifer, The Appended Subject: Race and Identity as Digital Assemblage. In Kolko, Nakamura, and Rodman, 2000, 27–50. New York: Routledge. Retrieved 9 September 2010.
- ↑ Brodsky. The Fertile Crescent: Gender, Art, and Society.
- ↑ Nasher Museum of Art at Duke University. “Turntable”. Retrieved 9 September 2010.
- ↑ Colonialism Within: Indigenous Rights and Multicultural Realities. Retrieved on March 4, 2017.
- ↑ "Fatimah Tuggar", Indianapolis Recorder, July 22, 2005.
Njikọ dị na mpụga[dezie | dezie ebe o si]
Ọgụgụ ọzọ[dezie | dezie ebe o si]
- Hamilton, Elizabeth (2013). " Analog Girls in a Digital World: Fatimah Tuggar's Afrofuturist Intervention in the Politics of "Traditional " African Art ". Nka: Journal of Contemporary African Art, No. 33.
- Tuggar, Fatimah (2013). “Montage as a Tool of Political Visual Realignment,” Visual Communications Journal: “The Ethics of Images,” edited by Bolette Blaagaard & Carey Jewit. pp. 375–392, University of London, UK Institute of Education; Culture, Communication & Media Department, SAGE Publications, Special Issue, August 2013, https://doi.org/10.1177/1470357213482607
- Tuggar, Fatimah (2017). "Methods, Making, and West African Influences in the Work of Fatimah Tuggar." African Arts, Vol. 50, No. 4, pp. 12–17. https://doi.org/10.1162/AFAR_a_00370