“Home’s Horizons” by Fatimah Tuggar at The Davis Museum

Review of Fatimah Tuggar: Home’s Horizons, at The Davis Museum, Wellesley College in Wellesley, MA through December 15, 2019

Eccentricity is an undeniable factor in Fatimah Tuggar’s art. Her most renowned pieces are visually dissonant. Like the inkjet-on-vinyl photomontages Voguish Vista and Lady and the Maid, where she juxtaposes cherry-picked images from the past and the present (the lo-fi and hi-res, understated and glam, the rural and the scenic) in order to confront matters of globalization, unrest, societal roles and the inquisition of what technological advances really entail for humanity. Such as in Robo Entertains, a robot with a Mona Lisa smile is the server of a traditional African gathering.

“Lady and the Maid” (2000) by Fatimah Tuggar

These artworks are a part of Tuggar’s biggest solo exhibition yet, Home’s Horizons, at the Davis Museum. Assistant curator Amanda Gilvin chose to focus on Tuggar’s collages, and along with the commissioned augmented reality project Deep Blue Wells, Home’s Horizons is accompanied by a monograph, a first for the artist.

Divided into six sections, most of the iconoclastically repurposed art has a uniquely African vantage point and a neutral-colored palette. Minus, the bolder installations of Fan-Fan, Broom and the splicing of vintage videos.

Then there’s Fai-Fain Gramophone created in tribute to a woman’s musicianship, workmanship, and clever hacks as it is a crocheted raffia disk that (from an obscured MP3) plays the music of late Hausa singer Barmani Choge (1945-2013). The record’s also in defiance of what’s been reduced to “world music” in the West, a term Tuggar disdains.
“What does ‘world music’ even mean?” she asked with a laugh. “It’s as if there’s everybody else and then there’s ‘Western music’!”

Noticeably, Tuggar has fandom for music and pop art aestheticism. But states to rarely looking at other art while creating. “I try to focus on what I’m trying to communicate.”

Richard Hamilton’s “Just what is it that makes today’s homes so different, so appealing?”, from 1956, is the one piece of pop art I immediately thought of as I viewed Tuggar’s artwork.

And while there is a high sense of blackness in her art, for Tuggar, born in Nigeria, she feels that when appraising a woman’s work, and biology and identity are noted, there’s a fine line between genuine acknowledgment and disturbing fixation.

“There is an exoticization of me when you mention my gender, ethnicity and [then] that I’m an artist,” she said. “I’ve earned being an artist regardless of being a woman and what color I am.”

Reviewed and written by C. Shardae Jobson

*The review above is the draft I submitted for the November/December 2019 issue of Art New England‘s The Photography Issue.

Leave a Reply

Please log in using one of these methods to post your comment:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.