Fatimah Tuggar creates computer montages that confront technological disparities by presenting rural Nigerian women and children juxtaposed with useless and fantasy-based technological devices. While several scholars contextualize Tuggar’s digital methods and her work’s relevance to Afrofuturism, I present her work from the perspective of an Africanist art historian by examining Tuggar’s theoretical and aesthetic relationship to Afrofuturism as a strategy that subverts ideas of “traditional” African art and culture.
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Copyright © 2013 Nka: Journal of Contemporary African Art
2013
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