For more than two decades, the artist has been using photography to educate audiences about the LGBTQ+ community. Now, they’re exploring a new medium.
“We don’t often see ourselves in that monumental scale, size, and color,” Muholi tells Vanity Fair. “I’m known as a photographer, but I needed to challenge myself with these sculptures.” The pieces are both mesmerizing and confrontational. The photographs are part of an ongoing self-portrait series titled Somnyama Ngonyama: Hail the Dark Lioness .
The photos were edited into a two-volume monograph published by Aperture and were also featured in The Guggenheim’s 2019 exhibition “Implicit Tensions,” in which Muholi, alongside Catherine Opie, Glenn Ligon, and Lyle Ashton Harris, among others, became part of a lineage of artists grappling with the legacy of photographer Robert Mapplethorpe. Thinking about the future of their practice, Muholi brought up two radical self-portraitists who came before them: Frida Kahlo and Claude Cahun.
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