In Ousmane Sembène’s 1966 film, Black Girl (La Noire de…), an indigenous mask percolates persistently between the film’s white and black bodies. As one scholar of African art has suggested, “Masks pose vexing questions for museum curators, not only as an uncomfortable legacy of colonial collecting practices, but because they inevitably suggest an absence.”1 The […]
M. Gail Hamner
LFU/ - M. Gail Hamner