Mary Adeogun -or- mary adeogun (BGC MA ’22) studies textiles, garments, and dress culture. For the past five years she has focused on Yorùbá dress culture and textile practices from her family heritage, relying on conversations with stylish aunties about their lace and aṣọ òkè, interviews with àdìrẹ collectors and scholars, brief apprenticeships or workshops with practicing textile artists, and beyond. Other interests include fiber and dyeing science, how clothes are displayed, American dress culture and everyday dress habits. She is also the Lead Gallery Educator at the Bard Graduate Center gallery, and works with a team to develop exhibition tours for the general public. She is grateful to the many loved ones, students, teachers and collaborators in her life that make this work possible.
Mary Adeogun -or- mary adeogun (BGC MA ’22) studies textiles, garments, and dress culture. For the past five years she has focused on Yorùbá dress culture and textile practices from her family heritage, relying on conversations with stylish aunties about their lace and aṣọ òkè, interviews with àdìrẹ collectors and scholars, brief apprenticeships or workshops with practicing textile artists, and beyond. Other interests include fiber and dyeing science, how clothes are displayed, American dress culture and everyday dress habits. She is also the Lead Gallery Educator at the Bard Graduate Center gallery, and works with a team to develop exhibition tours for the general public. She is grateful to the many loved ones, students, teachers and collaborators in her life that make this work possible.
Malvoisin is a curator and scholar of ancient African history with particular research interests in a globalized ancient world through the study of material culture and trade and from the perspective of African regions. Her research primarily investigates inter-regional communication between the Nile Valley and West African regions. As a ceramicist, she investigates the geographical, ideological, symbolic, economic, and artistic trajectory across the Sahara and beyond during Nubia’s Meroitic period (ca. 343 BCE – 270 CE), although her expertise spans 2000 BCE to ca. 500 CE. Her work contributes to increasing the historical context of ancient African art collections in museums.
Malvoisin is a curator and scholar of ancient African history with particular research interests in a globalized ancient world through the study of material culture and trade and from the perspective of African regions. Her research primarily investigates inter-regional communication between the Nile Valley and West African regions. As a ceramicist, she investigates the geographical, ideological, symbolic, economic, and artistic trajectory across the Sahara and beyond during Nubia’s Meroitic period (ca. 343 BCE – 270 CE), although her expertise spans 2000 BCE to ca. 500 CE. Her work contributes to increasing the historical context of ancient African art collections in museums.
Drew writes and teaches on the subject areas of African, African-American, and Black Diaspora visual and material culture, the history of photography, Black modernism, and museums as (de-)colonial spaces. His work is animated by a profound interest in the role of the visual arts in historical processes like decolonization, and a desire to tell stories about under-recognized artists and art movements. To date, his work has focused on the history of photography in Southern Africa, particularly photography’s role in Southern and Lusophone Africa’s liberation struggles and each region’s post-colonial development. The culmination of his work is the book Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times (University of Michigan Press, 2021). His second monograph, provisionally titled Coloring Black Surveillance: The Story of Polaroid in Africa, the Anti-Apartheid Struggle, and the Contemporary Art World, seeks to draw connections between the invention of instant color photography, the anti-apartheid struggle, and the use of Polaroids in US prisons. Art curating is a critical component of his scholarship and teaching. At present, he is working with the Samuel Dorsky Museum of Art and the Virginia Museum of Fine Arts on a posthumous survey of the Black American artist Ben Wigfall and the artist workshop Communications Village that he established.
Drew writes and teaches on the subject areas of African, African-American, and Black Diaspora visual and material culture, the history of photography, Black modernism, and museums as (de-)colonial spaces. His work is animated by a profound interest in the role of the visual arts in historical processes like decolonization, and a desire to tell stories about under-recognized artists and art movements. To date, his work has focused on the history of photography in Southern Africa, particularly photography’s role in Southern and Lusophone Africa’s liberation struggles and each region’s post-colonial development. The culmination of his work is the book Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times (University of Michigan Press, 2021). His second monograph, provisionally titled Coloring Black Surveillance: The Story of Polaroid in Africa, the Anti-Apartheid Struggle, and the Contemporary Art World, seeks to draw connections between the invention of instant color photography, the anti-apartheid struggle, and the use of Polaroids in US prisons. Art curating is a critical component of his scholarship and teaching. At present, he is working with the Samuel Dorsky Museum of Art and the Virginia Museum of Fine Arts on a posthumous survey of the Black American artist Ben Wigfall and the artist workshop Communications Village that he established.
Mary Adeogun -or- mary adeogun (BGC MA ’22) studies textiles, garments, and dress culture. For the past five years she has focused on Yorùbá dress culture and textile practices from her family heritage, relying on conversations with stylish aunties about their lace and aṣọ òkè, interviews with àdìrẹ collectors and scholars, brief apprenticeships or workshops with practicing textile artists, and beyond. Other interests include fiber and dyeing science, how clothes are displayed, American dress culture and everyday dress habits. She is also the Lead Gallery Educator at the Bard Graduate Center gallery, and works with a team to develop exhibition tours for the general public. She is grateful to the many loved ones, students, teachers and collaborators in her life that make this work possible.
Mary Adeogun -or- mary adeogun (BGC MA ’22) studies textiles, garments, and dress culture. For the past five years she has focused on Yorùbá dress culture and textile practices from her family heritage, relying on conversations with stylish aunties about their lace and aṣọ òkè, interviews with àdìrẹ collectors and scholars, brief apprenticeships or workshops with practicing textile artists, and beyond. Other interests include fiber and dyeing science, how clothes are displayed, American dress culture and everyday dress habits. She is also the Lead Gallery Educator at the Bard Graduate Center gallery, and works with a team to develop exhibition tours for the general public. She is grateful to the many loved ones, students, teachers and collaborators in her life that make this work possible.
Malvoisin is a curator and scholar of ancient African history with particular research interests in a globalized ancient world through the study of material culture and trade and from the perspective of African regions. Her research primarily investigates inter-regional communication between the Nile Valley and West African regions. As a ceramicist, she investigates the geographical, ideological, symbolic, economic, and artistic trajectory across the Sahara and beyond during Nubia’s Meroitic period (ca. 343 BCE – 270 CE), although her expertise spans 2000 BCE to ca. 500 CE. Her work contributes to increasing the historical context of ancient African art collections in museums.
Malvoisin is a curator and scholar of ancient African history with particular research interests in a globalized ancient world through the study of material culture and trade and from the perspective of African regions. Her research primarily investigates inter-regional communication between the Nile Valley and West African regions. As a ceramicist, she investigates the geographical, ideological, symbolic, economic, and artistic trajectory across the Sahara and beyond during Nubia’s Meroitic period (ca. 343 BCE – 270 CE), although her expertise spans 2000 BCE to ca. 500 CE. Her work contributes to increasing the historical context of ancient African art collections in museums.
Drew writes and teaches on the subject areas of African, African-American, and Black Diaspora visual and material culture, the history of photography, Black modernism, and museums as (de-)colonial spaces. His work is animated by a profound interest in the role of the visual arts in historical processes like decolonization, and a desire to tell stories about under-recognized artists and art movements. To date, his work has focused on the history of photography in Southern Africa, particularly photography’s role in Southern and Lusophone Africa’s liberation struggles and each region’s post-colonial development. The culmination of his work is the book Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times (University of Michigan Press, 2021). His second monograph, provisionally titled Coloring Black Surveillance: The Story of Polaroid in Africa, the Anti-Apartheid Struggle, and the Contemporary Art World, seeks to draw connections between the invention of instant color photography, the anti-apartheid struggle, and the use of Polaroids in US prisons. Art curating is a critical component of his scholarship and teaching. At present, he is working with the Samuel Dorsky Museum of Art and the Virginia Museum of Fine Arts on a posthumous survey of the Black American artist Ben Wigfall and the artist workshop Communications Village that he established.
Drew writes and teaches on the subject areas of African, African-American, and Black Diaspora visual and material culture, the history of photography, Black modernism, and museums as (de-)colonial spaces. His work is animated by a profound interest in the role of the visual arts in historical processes like decolonization, and a desire to tell stories about under-recognized artists and art movements. To date, his work has focused on the history of photography in Southern Africa, particularly photography’s role in Southern and Lusophone Africa’s liberation struggles and each region’s post-colonial development. The culmination of his work is the book Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times (University of Michigan Press, 2021). His second monograph, provisionally titled Coloring Black Surveillance: The Story of Polaroid in Africa, the Anti-Apartheid Struggle, and the Contemporary Art World, seeks to draw connections between the invention of instant color photography, the anti-apartheid struggle, and the use of Polaroids in US prisons. Art curating is a critical component of his scholarship and teaching. At present, he is working with the Samuel Dorsky Museum of Art and the Virginia Museum of Fine Arts on a posthumous survey of the Black American artist Ben Wigfall and the artist workshop Communications Village that he established.
Mary Adeogun -or- mary adeogun (BGC MA ’22) studies textiles, garments, and dress culture. For the past five years she has focused on Yorùbá dress culture and textile practices from her family heritage, relying on conversations with stylish aunties about their lace and aṣọ òkè, interviews with àdìrẹ collectors and scholars, brief apprenticeships or workshops with practicing textile artists, and beyond. Other interests include fiber and dyeing science, how clothes are displayed, American dress culture and everyday dress habits. She is also the Lead Gallery Educator at the Bard Graduate Center gallery, and works with a team to develop exhibition tours for the general public. She is grateful to the many loved ones, students, teachers and collaborators in her life that make this work possible.
Mary Adeogun -or- mary adeogun (BGC MA ’22) studies textiles, garments, and dress culture. For the past five years she has focused on Yorùbá dress culture and textile practices from her family heritage, relying on conversations with stylish aunties about their lace and aṣọ òkè, interviews with àdìrẹ collectors and scholars, brief apprenticeships or workshops with practicing textile artists, and beyond. Other interests include fiber and dyeing science, how clothes are displayed, American dress culture and everyday dress habits. She is also the Lead Gallery Educator at the Bard Graduate Center gallery, and works with a team to develop exhibition tours for the general public. She is grateful to the many loved ones, students, teachers and collaborators in her life that make this work possible.
Malvoisin is a curator and scholar of ancient African history with particular research interests in a globalized ancient world through the study of material culture and trade and from the perspective of African regions. Her research primarily investigates inter-regional communication between the Nile Valley and West African regions. As a ceramicist, she investigates the geographical, ideological, symbolic, economic, and artistic trajectory across the Sahara and beyond during Nubia’s Meroitic period (ca. 343 BCE – 270 CE), although her expertise spans 2000 BCE to ca. 500 CE. Her work contributes to increasing the historical context of ancient African art collections in museums.
Malvoisin is a curator and scholar of ancient African history with particular research interests in a globalized ancient world through the study of material culture and trade and from the perspective of African regions. Her research primarily investigates inter-regional communication between the Nile Valley and West African regions. As a ceramicist, she investigates the geographical, ideological, symbolic, economic, and artistic trajectory across the Sahara and beyond during Nubia’s Meroitic period (ca. 343 BCE – 270 CE), although her expertise spans 2000 BCE to ca. 500 CE. Her work contributes to increasing the historical context of ancient African art collections in museums.
Drew writes and teaches on the subject areas of African, African-American, and Black Diaspora visual and material culture, the history of photography, Black modernism, and museums as (de-)colonial spaces. His work is animated by a profound interest in the role of the visual arts in historical processes like decolonization, and a desire to tell stories about under-recognized artists and art movements. To date, his work has focused on the history of photography in Southern Africa, particularly photography’s role in Southern and Lusophone Africa’s liberation struggles and each region’s post-colonial development. The culmination of his work is the book Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times (University of Michigan Press, 2021). His second monograph, provisionally titled Coloring Black Surveillance: The Story of Polaroid in Africa, the Anti-Apartheid Struggle, and the Contemporary Art World, seeks to draw connections between the invention of instant color photography, the anti-apartheid struggle, and the use of Polaroids in US prisons. Art curating is a critical component of his scholarship and teaching. At present, he is working with the Samuel Dorsky Museum of Art and the Virginia Museum of Fine Arts on a posthumous survey of the Black American artist Ben Wigfall and the artist workshop Communications Village that he established.
Drew writes and teaches on the subject areas of African, African-American, and Black Diaspora visual and material culture, the history of photography, Black modernism, and museums as (de-)colonial spaces. His work is animated by a profound interest in the role of the visual arts in historical processes like decolonization, and a desire to tell stories about under-recognized artists and art movements. To date, his work has focused on the history of photography in Southern Africa, particularly photography’s role in Southern and Lusophone Africa’s liberation struggles and each region’s post-colonial development. The culmination of his work is the book Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times (University of Michigan Press, 2021). His second monograph, provisionally titled Coloring Black Surveillance: The Story of Polaroid in Africa, the Anti-Apartheid Struggle, and the Contemporary Art World, seeks to draw connections between the invention of instant color photography, the anti-apartheid struggle, and the use of Polaroids in US prisons. Art curating is a critical component of his scholarship and teaching. At present, he is working with the Samuel Dorsky Museum of Art and the Virginia Museum of Fine Arts on a posthumous survey of the Black American artist Ben Wigfall and the artist workshop Communications Village that he established.
Mary Adeogun -or- mary adeogun (BGC MA ’22) studies textiles, garments, and dress culture. For the past five years she has focused on Yorùbá dress culture and textile practices from her family heritage, relying on conversations with stylish aunties about their lace and aṣọ òkè, interviews with àdìrẹ collectors and scholars, brief apprenticeships or workshops with practicing textile artists, and beyond. Other interests include fiber and dyeing science, how clothes are displayed, American dress culture and everyday dress habits. She is also the Lead Gallery Educator at the Bard Graduate Center gallery, and works with a team to develop exhibition tours for the general public. She is grateful to the many loved ones, students, teachers and collaborators in her life that make this work possible.
Mary Adeogun -or- mary adeogun (BGC MA ’22) studies textiles, garments, and dress culture. For the past five years she has focused on Yorùbá dress culture and textile practices from her family heritage, relying on conversations with stylish aunties about their lace and aṣọ òkè, interviews with àdìrẹ collectors and scholars, brief apprenticeships or workshops with practicing textile artists, and beyond. Other interests include fiber and dyeing science, how clothes are displayed, American dress culture and everyday dress habits. She is also the Lead Gallery Educator at the Bard Graduate Center gallery, and works with a team to develop exhibition tours for the general public. She is grateful to the many loved ones, students, teachers and collaborators in her life that make this work possible.
Malvoisin is a curator and scholar of ancient African history with particular research interests in a globalized ancient world through the study of material culture and trade and from the perspective of African regions. Her research primarily investigates inter-regional communication between the Nile Valley and West African regions. As a ceramicist, she investigates the geographical, ideological, symbolic, economic, and artistic trajectory across the Sahara and beyond during Nubia’s Meroitic period (ca. 343 BCE – 270 CE), although her expertise spans 2000 BCE to ca. 500 CE. Her work contributes to increasing the historical context of ancient African art collections in museums.
Malvoisin is a curator and scholar of ancient African history with particular research interests in a globalized ancient world through the study of material culture and trade and from the perspective of African regions. Her research primarily investigates inter-regional communication between the Nile Valley and West African regions. As a ceramicist, she investigates the geographical, ideological, symbolic, economic, and artistic trajectory across the Sahara and beyond during Nubia’s Meroitic period (ca. 343 BCE – 270 CE), although her expertise spans 2000 BCE to ca. 500 CE. Her work contributes to increasing the historical context of ancient African art collections in museums.
Drew writes and teaches on the subject areas of African, African-American, and Black Diaspora visual and material culture, the history of photography, Black modernism, and museums as (de-)colonial spaces. His work is animated by a profound interest in the role of the visual arts in historical processes like decolonization, and a desire to tell stories about under-recognized artists and art movements. To date, his work has focused on the history of photography in Southern Africa, particularly photography’s role in Southern and Lusophone Africa’s liberation struggles and each region’s post-colonial development. The culmination of his work is the book Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times (University of Michigan Press, 2021). His second monograph, provisionally titled Coloring Black Surveillance: The Story of Polaroid in Africa, the Anti-Apartheid Struggle, and the Contemporary Art World, seeks to draw connections between the invention of instant color photography, the anti-apartheid struggle, and the use of Polaroids in US prisons. Art curating is a critical component of his scholarship and teaching. At present, he is working with the Samuel Dorsky Museum of Art and the Virginia Museum of Fine Arts on a posthumous survey of the Black American artist Ben Wigfall and the artist workshop Communications Village that he established.
Drew writes and teaches on the subject areas of African, African-American, and Black Diaspora visual and material culture, the history of photography, Black modernism, and museums as (de-)colonial spaces. His work is animated by a profound interest in the role of the visual arts in historical processes like decolonization, and a desire to tell stories about under-recognized artists and art movements. To date, his work has focused on the history of photography in Southern Africa, particularly photography’s role in Southern and Lusophone Africa’s liberation struggles and each region’s post-colonial development. The culmination of his work is the book Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times (University of Michigan Press, 2021). His second monograph, provisionally titled Coloring Black Surveillance: The Story of Polaroid in Africa, the Anti-Apartheid Struggle, and the Contemporary Art World, seeks to draw connections between the invention of instant color photography, the anti-apartheid struggle, and the use of Polaroids in US prisons. Art curating is a critical component of his scholarship and teaching. At present, he is working with the Samuel Dorsky Museum of Art and the Virginia Museum of Fine Arts on a posthumous survey of the Black American artist Ben Wigfall and the artist workshop Communications Village that he established.
