By examining the time Tanzanian-born artist Sam Ntiro spent abroad in Uganda and the United Kingdom, art historian Gabriella Nugent explores the transnational interstices of his work. By way of Men Taking Banana Beer to Bride by Night (1956), a painting featured in “One Work, Many Voices,” which focuses on individual artworks chosen from MoMA’s collection, Nugent highlights the role of memory in Ntiro’s practice. She argues that these memories are a product of distance and thus complicate the frameworks of art history that limit understandings of his work to national and continental narratives. Moreover, if there is an orientation toward past memories in Ntiro’s work, his paintings simultaneously propose a future vision of Tanzanian independence.
|Media of output||website|
|Publication status||Published - 23 Mar 2022|
|Name||post: notes on art in a global context|