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Stephany Jean

Mr. Gallagher

AP Literature 7

16 April 2010

Empowering Women: Crazy, Sexy, Cool

In 1972 African artist Wangechi Mutu was born in “Nairobi, Kenya” (Biography

par. 1). Much of her artwork involves Kenyan or African themes to some extent. Her

upbringing proved to be a modern and urban one at different phases of her life. Mutu was

often baffled by the Western tendency to perceive Africa in terms of its traditional

culture. Being that she was born and raised in the urban portion of Africa she was unable

to relate to the “western generalization of the motherland” (Vielmetter par. 1). Her

homeland was a very modern place like many other areas in the world. Members of

society misinterpret Africa to be a third world starved country plagued with HIV, AIDS,

and death.

When Mutu was nineteen years old she made the journey to the United States.

She currently resides in “Brooklyn, New York” (Murnik par. 3). Mutu was “the daughter

of a businessman/academic and a nurse-midwife” (MacSweeney par.8), who for ten years

ran her own pharmacy. After moving around quite a bit during her childhood as a result

of her father’s occupation, setting down in New York gave her “the anonymity and space

to investigate what” she wanted to do with her career (MacSweeney par. 9). Living in the

heart of a fast paced environment was just the spark needed to keep a fledging Mutu

inspired during the beginning of her career.

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Oddly enough Mutu’s primary career choice was not to venture off into the

creative lifestyle of artistry. As she embarked on her journey into college she desired to

work in “a field that examined human behavior” (“Going to the Wall; Bodies of Work”

par. 5) in its simplest degree. In her younger years she went to England to pursue her

studies in anthropology. She received an international baccalaureate degree in 1991 from

“United World College of the Atlantic in the British region of Wales” (Gladstone sec. 1);

a school that had a student body that drew from all over the world. Their prospective

minds fostered a philosophy of cross-cultural understanding. Studying anthropology

caused Mutu to think in terms of the ways human relationships rest on controversial

social situations. Thus, it exposed her to the ways that Europeans and Americans

perceived the African people and African artistic expression.

Gladstone notes how her future in anthropology appeared to be bright when she

received the Richard Leakey merit award in 1994 (sec. 1). Yet, art proved to be her

passion during the mid-1990s when she enrolled at the Cooper Union, an arts-oriented

school located in New York City. Her journey to the United States was far from easy but

she felt that it was necessary to receive the best education possible. She successfully

received a bachelor of fine arts degree at Cooper Union in 1996. Mutu’s artistic career

began fairly quickly, because in the following year she acquired major attention from

critics. In 2000, she accomplished her life long dream of graduating from Yale

University’s School of Art. While studying at Yale her work was recognized and was

featured at two exhibits in New York City. In 2003, Mutu’s work was featured in well

over a dozen exhibitions all over the United States as well as in Portugal. For a new artist

Mutu has been fortunate enough to receive attention from many different areas. Her “solo
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exhibitions at ArtPace, San Antonio; at the San Francisco Museum of Modern Art; Miami

Art Museum; Susanne Vielmetter Los Angeles Projects, in 2005; and, most recently, at

Sikkema Jenkins & Co., in New York” (Vielmetter par.3) has certainly fast tracked her

career into being in the limelight.

Surprisingly, the artist creates collages that are surrounded around the reoccurring

themes of violence. Politi examines how her creative process begins “with accidental

splattering” that eventually “build up layers of materials” (par. 3). The artist chooses to

use sheets of cut Mylar, “a non-absorptive synthetic material” (Roach par. 3) on which

she is able to manipulate ink and acrylic paint into splotches and colliding pools. Mutu

sorts through mass-produced images of women and cuts “them into fragments—eyes,

lips, manicured nails, and stiletto-clad feet” (Roach par. 3) before she begins assembling

her creations. Her cyborgs are finally able to come to life when she arranges them on the

walls and floors of her studio. These painted forms usually depict the bodies, or body

parts, of her abstract figures. After the bodies have been assembled Mutu accentuates

these images with various elements such as “jewels and lush paint colors” (Macsweeney

par. 8). Mutu’s use of unlikely elements gives the women in the image the effect of a

glamorous, yet barbaric centerfold. In fact, Mutu’s “gruesome gods and goddesses are

born out of [her] chaotic process” (Politi par. 2). The artist’s inconsistent layering patterns

further stress the conflicting factors of the so-called perfect body.

In the United States of America the obsession with beauty causes members of

society to feel insignificant in comparison to others. Rankman believe that in more than

ten years “cosmetic surgery … has increased by more than 700 percent” (par. 1). As a

result, they feel as though it is necessary for them to spend countless dollars to make
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themselves feel more attractive. The media sculpts an “unattainable model” (Rankman

par. 4) that certain members of society will never be able to achieve. Body image

dissatisfaction is often associated with decreased self-esteem, self-confidence and

psychological well-being. This also can be accountable for a method of female

oppression within the United States of America. The ceaseless purist of physical

perfection can be detrimental towards one’s health. Whether it is the African or American

society the prospect of being beautiful continues to be configured into one set image.

Mutu attempts to use her artwork to show women that there is more than one way to be

considered attractive.

Another important of aspect of Mutu’s collages is her peculiar assimilation of the

female body. The women that she creates through her line of art are “charged and

vehement [with] expression of subverted expectation [and] potential” (MacSweeney par.

7).Wangechi Mutu explores the contradictions of female and cultural identity while

making references to colonial history, contemporary African politics, and the fashion

industry. Her painted and collaged works function as potent social critique. She is a

collage artist, painter and sculptor of site-specific installations.

Her various pieces "highlight an awareness of how African woman are

represented" (Lo par.2). Mutu's artwork presents the audience with examples of frail

beauty plagued by stereotypical perceptions of the past. Her subjects primarily focus on

human behavior and depict African or African-American women with a disturbing twist.

Over the years, Mutu has “conjured and assembled her own futuristic army of cyborg

women”(Murnik par. 4) in hopes of dispelling any or all stereotypes the effect positions

within the general public. Her work to date is centered on the mysterious vulnerability
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and transformative power of the female anatomy through “the medium of collage”

(Vielmetter par.1). The use of a collage allows Mutu to intrigue the audience physically

and conceptually by using layered depth within her artwork. She attempts “to trap her

viewers with layers of visual metaphors that forc[e] them to question assumptions about

race, gender, geography, history and beauty” (Croal par. 1). As an artist, she strives to

break down the barriers that are meant to stifle to progress of women in society.

Mutu’s obscure characters are composed of numerous elements that represent,

overrule and reconfigure “each potential weakness” that relate to the expected “role of

women” (Murnik par. 6). The artist decides to depict women in this manner in hopes of

integrating strength and revision into her pieces of art so that the previous perception of

women is no longer quintessential. During 1992, Mutu recounts watching a

demonstration in Nairobi in which mothers protested the imprisonment of their sons. In

an effort to shame African authorities they “took off their clothes [during] an ancestral

tribal ritual” (Kazanjian par. 4). Mutu tends to evoke this predominant memory within her

drawings and collages to keep “an incredible expression of the power of the female body”

(Kazanjian par. 4) alive.

In many of Mutu’s collages she addresses the stereotypical way in which women

are instructed to conduct themselves. In the collage entitled Backlash Blues Mutu uses a

variety of techniques that give the image an unnatural luminosity. The author uses a

myriad of “stenciling, controlled spills, and detailed brushwork” (Biography par. 17) to

exemplify how disjointed the dissimilar aspects of the image are. The image features a

woman who has her back turned away from the image’s focus. The unknown woman has

thick, full lips which are an indication of her African roots.

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Mutu chooses to make the limbs of the woman different colors to contribute to the

constant speculation regarding the female body. The woman appears to be nude so she

chooses to crouch down in a position that aids in concealing her modest attributes. The

deteriorated appearance of the female allows the audience to get to the bare truth of the

situation. By penetrating the surface observers are able to visualize how conflicted the

life of the unknown woman seems to be. The empty white bubbles in her skin show that

she has been physically stripped of her privacy. The numerous white spaces throughout

the collage resemble the true inner self of the unknown woman. Still, her positioning

displays that she was not ready entirely to show that aspect of herself to society.

Mutu’s use of nature within her collages creates a greater connection to the

motherland. Like Mutu’s collection of collages nature has the ability to scale from

subatomic to cosmic. The traditional concept of nature implies a distinction between

natural and artificial elements of the Earth. Mutu chooses to cleverly integrate both of

these aspects specifically within Backlash Blues. The dark, straggling weeds protruding

from the ground resemble the African bush in a murky manner. The African bush serves

as a place of solace and reflection. She appears to be mentally planning out how she

wants to proceed in the future. Every aspect of this image appears to be incoherent, but it

still remains to be consistently conjoined.

When it comes to female oppression the African society remains “infamous for

their sufferings” (“The Cause” par. 1). Men in Africa continue to hold the traditional view

that women are to be treated like property and subjected to their abuse. A high incidence

of rape, unequal opportunities, and domestic violence prevail over the treatment of

women. Violence, primarily domestic violence deprives women of their ability to

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“achieve their full potential by threatening their safety [and] freedom” (Manuh par.17).

The outdated African society has been designed in a way that women “are unaware of…

[the] rights they have” (“The Cause” par.15). As a result, they will continue to be

oppressed by aspects that go against their natural born rights.

The collage suggests the artist’s underlying thought by examining the unknown

woman’s face. The line of vision that the woman keeps trails off with sad eyes that appear

to tell a story that is too painful to recount. This unknown woman symbolizes how

females are forced to “carry the marks, language and nuances of their culture” (Politi par.

2) more than males. Even though she cannot physically speak for herself, her offset

stature shows that her life has been full of unspeakable turmoil.

Wangechi’s collage entitled, Cancer of the Uterus, is an integration of the modern

and classic style. The main template of this collage appears to be an old pathology

diagram of a woman’s uterus. On the contrary, this is no ordinary uterus because it

contains a few specific features from a female face. The artist creates “distorted beings

that suggest” (Kino par. 1) the duality of human nature. Mutu chooses to use thick, full

lips within her collage for a second time to inform the audience of the woman’s

background. The eyes of the unknown woman within the collage are a piercing, crystal

blue. Her gaze is once again off center in relation to the rest of the collage. It is apparent

that Mutu values the strength behind the interpretation of eyes. These discourages eyes

are yearning for assistance. The makeshift face constructed is being enveloped by the

uterine cancer. The artist does this to reference the “cosmetic social contract” (Fong par.

3) that allows her depict females as fearsome instead of beautiful. By assembling medical

imagery with painted surfaces and found materials, Mutu’s collages are able to “explore
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the split nature of cultural identity” (Biography par. 4).

This collage in particular seems to be “ancient and futuristic” (Biography par.5).

The center of the collage contains a black mass that has been rotting from the inside out

for an extensive period. The troublesome mass appears to be taking over the face of the

goddess. Like any type of cancer, a tumor spreads uncontrollably if it is not caught at the

right time. Within the collage the uterine cancer appears to have already taken its course

of destruction. Her facial expression makes her look like she wants to wash her hands of

the situation and give up entirely. Mutu uses materials that accurately reference African

identity and political strife. The sprinkles of glitter serve as an abyss of western desire,

which allude to the illegal diamond trade and its consequences of oppression and war.

Mutu creates a glamorous vision of beauty through “corrupt[ed] and violen[t]”

(Biography par. 6) aspects. The artist uses figures like these as fuel to empower the need

for a survivalist adjustment to atrocity.

The collage also relates to how the struggle for women’s rights in Africa “put

[them] in a position of opposition” (Going to the Wall; Bodies of Work par. 1). The

uterine cancer symbolizes the uncontrolled growth of faulty male dominance. The roles

that have “been previously assigned” (Going to the Wall; Bodies of Work par. 4) must be

demolished for the sake of empowerment and freedom. Mutu embeds perceptions of

female sexuality and ideals of beauty onto her figures as they are perceived to be in the

Western culture. Mutu attempts to create layers of meaning by using images that are both

elegant and perverse at the same time.

Another collage entitled Adult Female Sexual Organs harnesses inspiration from

“parts cut out from magazines” (Kino par. 5) to create a free flowing experience for the
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audience. The profile of the woman contains components that would categorize her to be

beautiful in the African and Western society. Mutu uses a Victorian medical diagram as a

base photograph to illicit “an archetype of biased anthropology and sexual repression”

(Biography par. 4). In using old medical diagrams, her collages carry the authenticity of

an artifact as well as an appointed cultural value. It also shows audiences how Mutu’s

degree in anthropology has proven to be a beneficial aspect in assisting the construction

of her artwork.

Mutu references migration and quick fixes by using packing tape to construct the

mask. Many women in the United States wear a mask to make themselves appear more

beautiful to other. To many a ‘quick-fix’ can involve “cosmetic surgery” (Rankman par.

2) in the pursuit of happiness and self-fulfillment. Even if a female is able to fool the rest

of society, deep down she knows that the mask has to come off sooner or later. The artist

uses magazine clippings to construct the various perceptions of beauty that women are

forced to live with on a day to day basis. The face of the unknown women serves as a

template for racial distortion. Mutu selects various facial features that were apparently

taken from women with some sort of African decent. Yet, the mind of the unknown

woman is occupied with the prototypical white model. Thus, Mutu’s grotesque

compilation marred through perverse modification “echo[s] the atrocities” of fallacious

advertisements and“self-inflicted improvements of plastic surgery” (Biography par. 7).

Mutu attempts to reverse the damage that has been inflicted onto the female subconscious

regarding body image.

In the collage entitled Misguided Little Unforgivable Hierarchies depicts a man,

woman, and monkey perched on top of each other. The man is crouched down with his
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head angled up and mouth open. While the woman bends over backwards in an attempt to

physically meet him through an oral connection. Mutu uses the monkey in an attempt to

“unite disparate elements in ways that make them clash” (Keith par. 5), alternating

between friction amid elements. Keith recognizes Mutu’s use a cubist technique that

“emphasizes the flatness of the composition while creating depth” (par. 5). The entire

collage is centered on a risky balancing act that forced the three different components of

the image to merge harmonies.

The artist selects a nude colored background to emphasize the vibrant blood

stained splotches. Mutu uses the splotches to portray the effect of a relationship rooted in

abuse. The female in the image appears to be abused countless times by the male figure

on account of her inability to fulfill her womanly duties. Despite the blood and bruises

she has been dealt, Mutu infers that the woman will be able to remain flexible and stay

strong. The artist uses this image to “highlight…how African women are” (Lo par. 3)

built the endure and overcome these injustices.

The woman bending over backwards serves as another indication of female

oppression in the African society. The male in the image crouches expectedly as he waits

for the female to kiss his lips because of the “fragmentary discourse on human rights”

(Fox par. 2). The stilettos that adorn the feet of the female show how she must retain the

“roles and rights” (Fox par. 17) that have been previously laid out before them. Women in

Africa usually choose not to rebel against their unfair treatment because drastic actions

can “set them against their kin” (Fox. par. 26). The male in charge of the family will not

hesitate to inflict abuse onto his wife if she does not submit to his every whim. Mutu’s

aligned image capitalizes on the contradictions of role expectations: western media ideal,
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sex goddess, and wife. The image also alludes to the repercussions of female exploitation

in both Africa and the west.

Mutu uses her artwork to shine a dim light on the treatment of her African sisters.

In actuality, the artist uses her artwork to give a voice back to women in society. For

centuries, they have been instructed how to proceed with their lives. If any woman chose

to divert from their womanly duties they were categorized as unfit. Mutu wants woman to

know that it is time to live their lives for themselves. According to the constitution,

women are endowed with natural born rights that all members of society are guaranteed

to. Through her artwork she is able to give women the tools needed to empower

themselves in society.
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Works Cited

“Biography.” Saatachi Gallery: London Contemporary Art Gallery. 22 Mar. 2010.

<http://www.saatchi-gallery.co.uk/artists/wangechi_mutu.htm>

This website contains a few quick facts about Wangechi Mutu’s past. It divulges

information about pivotal moments within her Mutu’s past that have helped to

sculpt her into the artist she is today.

Croal, Ada. "The Africana QA: Artist Wangechi Mutu" Africana . 12 Feb. 2004. 8 Apr.

2010. < www.africana.com/articles/qa/ar20030305mutu.asp>

The author begins with a typical overview of Wangechi Mutu’s style as an artist.

Croal immediately establishes the Western influence and Mutu’s work. She then

attempts to explain how Mutu integrates this type of influence into her artwork.

Fong, P. “Wangechi Mutu”. Modern Painters v. 20 no. 4 (May 2008) p. 99.

<http://vnweb.hwwilsonweb.com>

This article gives a basic overview of the essence of Wangechi Mutu. Fong shows

how Mutu’s artwork is able to intrigue audiences. It also depicts certain themes

used by the artist like figurative tradition and images from Africa.

Fox, Diana. “Women’s Human Rights In Africa: Beyond the Debate Over The University

or Relativity of Human Rights.” African Studies Quarterly. Unknown Date. 2 Apr.

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2010.

<http://www.africa.ufl.edu/asq/v2/v2i3a2.htm>

The article outlines the need for women’s rights in Africa. In the African society

women are meant to be seen and not heard. Most women do not even know of the

rights they naturally have by law. The author argues the importance of universal

rights and equality.

Gladstone, Barbara. “Biography”. Gladstone Gallery.Unknown Date. 16 Mar. 2010.

<http://www.gladstonegallery.com/mutu.asp?id=1730>

This article simply gives a timeline of important aspects the occurred within

Wangechi Mutu’s life. It traces her life from 1991 up until 2009. The timeline is

split up into the following sections: education, awards and grants, selected solo

exhibitions, group exhibitions, artist lectures, and public collections.

“Going to the Wall; Bodies of Work.” The Chronicle of Higher Education 55.30 (2009).

General Reference Center Gold. Web. 22 Mar. 2010.

<http://find.galegroup.com>

This article serves to illuminate neighborhood concerns through murals. These

murals represent the social and political climate of a particular time and place.

The text describes how art is used to influence others.

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Kazanjian, Dodie. "fierce creatures; Kenyan artist Wangechi Mutu has brought her fresh

and vividly energetic vision to figurative art-spinning fantastical tales of folklore

and modernity." Vogue June 2006: 214. Expanded Academic ASAP. Web. 22 Mar.

2010.

Dodie Kazanjian simply gives an overview of Wangechi Mutu’s typical style as

an artist. Kazanjian proceeds to identify the comment trends that are apparent

within her artwork.

Keith, Naima. J. Wangechi Mutu: “Problematica”: Susanne Vielmetter [Exhibit]. Nka no.

21 (Fall 2007) p. 132-3.

<http://vnweb.hwwilsonweb.com>

Naima Keith uses Wangechi Mutu as a tool towards illuminating the narrative of

transfiguration. Mutu shows how women have been silenced by the past

and present colonization.

Kino, Carol. “Art That Leaps Off The Canvas.” New York Times. 1 Nov. 2009: 18(L).

General Reference Center Gold. Web. 21 Mar. 2010.

<http://find.galegroup.com>

A new project involving Wangechi Mutu was being discussed by Rosa Lee
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Goldberg. Mutu’s artwork was being speculated by Goldberg because it was so

intriguing. It was a type of art that itched to tell a story. Goldberg wanted “to get

to the central core” or Mutu’s work.

Lo, Melissa. Wangechi Mutu [Exhibit]. Flash Art (International Edition) v. 38 (May/June

2005) p. 146.

<http://vnweb.hwwilsonweb.com>

Melissa Lo gives a personal statement about Mutu’s work in general. She

continues to find the purpose behind Mutu’s various abstract collages.

Macsweeney, Eve. "A Fertile Mind" Vogue. Apr. 2009: 190. Health Reference Center

Academic. Web. 22 Mar. 2010.

<http://find.galegroup.com>

Eve Macsweeney attempts to focus on Mutu’s mindset when she was pregnant.

Macsweeney continues to ask Mutu about the significance of body image

within her artwork. The article also gives a brief background of Mutu’s life.

Manuh, Takyiwaa. “African women and domestic violence.” OpenDemocracy. 26 Nov.

2007. 2 Apr. 2010.

<http://www.opendemocracy.net/article/5050/ghana_domestic_violence>
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Takyiwaa Manug adresses the issue of domestic violence in Africa. It shows the

positive and negative lessons about gender equality campaigns.

Murnik, Tracy. “Afro-Alien Exquisite Corpses”. Art South Africa v 5.1. Oct. 2006. 9

Apr. 2010.

<http://artsouthafrica.com/?article=139>

The author of the article gives the audience some background information on

Wangechi Mutu. Murnik also receives direct quotations from the artist that were

later expanded into prominent themes within her artwork. She then focuses on a

few specific collages and the message they radiate.

Mutu, Wangechi. Misguided Little Unforgivable Hierarchies. 2005. San Francisco

Museum of Modern Art. 13 Apr. 2010.

<http://www.sfmoma.org/artwork/120789#>

Mutu, Wangechi. Adult Female Sexual Organs. 2005. The Saatchi Gallery. 9 Mar. 2010.

<http://www.saatchi-gallery.co.uk/artists/wangechi_mutu.htm>

Mutu, Wangechi. Backlash Blues. 2004. The Saatchi Gallery. 9 Mar. 2010.

<http://www.saatchi-gallery.co.uk/artists/wangechi_mutu.htm>

Mutu, Wangechi. Cancer of the Uterus. 2005. The Saatchi Gallery. 9 Mar. 2010.
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<http://www.saatchi-gallery.co.uk/artists/wangechi_mutu.htm>

Politi, G. Wangechi Mutu [Exhibit]. Flash Art (International Edition) v. 41 (March/April

2008) p. 136.

<http://vnweb.hwwilsonweb.com>

The author attempts to grasp Mutu’s so-called inspiration for art. Politi observes

Mutu’s artwork in the Victoria Miro Gallery. The author attempted to uncover

meaning behind the reoccurring aspects of Mutu’s artwork.

Rankman, Angie. “Obsessed With Beauty: The Rush To Cosmetic Surgery”. Aphrodite

Women’s Health. 7 Oct. 2005. 12 Apr. 2010.

<http://www.aphroditewomenshealth.com/news/cosmetic_surgery.shtml>

The growing obsession with being beautiful in the United States of America are in

direct correlation with the media. Women across the nation spend thousands of

dollars on cosmetic surgeries in hopes of competing with the prettiest women in

society. The media puts unrealistic images in the minds of consumers. As a result,

these women obsess over the littlest of imperfections.

Roach, Jill. “Indepth Arts News”. Absolute Arts. 16 Dec. 2005. 14 Apr. 2010.

<http://www.absolutearts.com/artsnews/2005/12/19/33549.html>
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This article focuses on the messages behind Wangechi Mutu’s artwork. It informs

the audience on how every aspect is significant for different reasons. The author is

able to depict the collision of the monstrous, exotic, and feminine cyborgs that

Mutu continues to create. It assists the audience understand why the artist must

construct the females within the collage in this manner.

“The Cause.” Man & Women The Age-Old Struggle. 7 Aug. 2007. 2 Apr. 2010.

<http://library.thinkquest.org/07aug/01443/fo_region_africa.html>

Female oppression is fully explained as the age old struggle between man and

woman. The article gives reason to that specific struggle in society. It also gives

reasons why women remain oppressed in Africa.

Vielmetter, Susanne. "New Work Wangechi Mutu" . SFMOMA. 2 Nov. 2005. 8 Apr.

2010.

<ttp://www.sfmoma.org/exhibitions/216>

Mutu’s art exhibit at SFOMA resulted in article being written about her

background information. The author shows how Mutu’s typical tendencies are

formed into the female anatomy. SFOMA stands for the San Francisco Museum

of Modern Art. It is known for being one of the world’s leading museums for

modern and contemporary art.

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Works Consulted

Aldarondo, Cecilia. Ghada Amer + Wangechi Mutu: Minneapolis [Exhibit]. Art Papers v.

31 no. 3 (May/June 2007) p. 66.

<http://vnweb.hwwilsonweb.com>

Cecilia Aldarondo focuses on how WACK! Art and the Feminist Revolution

currently view feminism in this day and age. Wangechi usually portrays her

artwork with the reoccurring theme of female oppression. In this article,

Aldarando views how feminism and Mutu mesh cohesively.

Butler, Cornelia, and Lisa Gabrielle Mark. “The Wack Catalogue.” Moca. 23 Feb. 2007.

22 Mar. 2010.

<http://moca.org/wack

This article features a catalog that is far from being politically correct. It may

seem pornographic to others, but it is meant to serve as a celebration of women

and what they offer.

“Changing attitudes to female circumcision.” BBC News. 8 Apr. 2002. 23 Mar. 2010.

<http://news.bbc.co.uk/2/hi/health/1916917.stm>

The author of this article describes the horrors of female mutilation. The article

educates those who are not in this society on why they continue to make young
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girls go through this painful procedure. It serves to inform the rest of society on

how to prevent this act from continuing in the future.

Cotter, Holland. “ARTREVIEW; An African Dispora Show Asks: What is Africaness?

What is Dispora?” New York Times. 21 Nov. 2003. General Reference Center

Gold. Web. 28 Mar. 2010.

This article discusses modernism that is currently taking place in Africa. It also

exemplifies the significant differences between African and European artists. The

true definition of African art in the United States is finally released.

“Feminism a hit in a land of mechanism.” Times of India. 14 Mar. 2010. General

Reference Center Gold. Web. 28 Mar. 2010.

This article shows the everyday sensual aspects affect everyday life in society. It

basically shows how monumental moments in history have come to impact

women.

Heitman, Rhonda. “Female Genital Mutilation.” Wolvesdreams. 10 Apr. 2010. 2 Apr.

2010.

<http://www.members.tripod.com/Wolvesdreams/FGM.html>

Female Genital Mutilation is a dangerous procedure that many young women in

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Africa are forced to undergo. It is a cultural practice that dates back to

approximately 2000 years ago. This article reveals the superstitious thoughts of

what could happen to females if they are not circumcised.

“HIV and AIDS in Africa.” Avert. 24 Feb. 2010. 2 Apr. 2010.

<http://www.avert.org/hiv-aids-africa.htm>

HIV and AIDS is an issue that is dealt with all over the world. In Africa the spread

of this disease is strikingly detrimental without proper medical care. The

prevention of HIV in Africa was created in an effort to slow down the growing

epidemic.

Kruger, Barbara. “Wangechi Mutu.” Interview. Apr. 2007: 118+. General Reference

Center Gold. Web. 22 Mar. 2010.

<http://find.galegroup.com>

A brief interview with Wangechi Mutu by Kruger was taken at a time when she

was fresh out of college. Kruger touches on the goals and aspirations of the young

artist.

Lindow, Megan. “South Africa’s Rape Crisis: 1 in 4 Men Say They’ve Done It.” TIME.

<http://www.time.com/time/world/article/0,8599,1906000,00.html>
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Megan Lindow gives information on a recent survey that revealed how common

rape was in South Africa. Lindow discusses how the treatment of women in South

Africa is truly an eye opening experience for onlookers.

O’Reilly, Finbarr. “South Africa’s child-rape edpidemic.” Reuters. 2 Mar. 2010. 2 Apr.

2010.

<http://blogs.reuters.com/photo/2010/03/02/south-africas-child-rape-epidemic/>

Men in Africa who are of a higher rank are more likely to commit rape. They feel

that is okay for them to rape women and children to satisfy themselves because of

their level of education. Rape is an issue in Africa that greatly contributes to the

oppression of women.

“Stone Ihiga.” Performa. 13 Nov. 2010. 22 Mar. 2010.

<http://performa-arts.org>

The Performa 09 Commission is advertising Wangechi Mutu’s motivation whole

creating art. It also enlightens viewers on the messages that are viewed within the

art.

“WACK! Art and the Feminist Revolution.” Moca. 25 July 2007. 22 Mar. 2010.

<http://moca.org/wack>

This article traces the aspirations of “WACK!”. It is an exhibition of female art in

 Jean 24

it entirety. The article shows how women are still struggling for certain equalities

at this time in society.

“Wangechi Mutu Named Deutsche Bank's 2010 Artist of the Year." Business Wire 22

Feb. 2010. General OneFile. Web. 21 Mar. 2010.

<http://find.galegroup.com>

Deutsche Bank is honoring Wangechi Mutu with an award. She is being named

2010’s Artist of the Year. She was selected as a suggestion of the Deutsche Bank

Global Art Advisory Council.

 Jean 25

Images Used