
In a more recent ongoing series, Somnyama Ngonyama (Hail the Dark Lioness), Muholi becomes both the participant and the image-maker, as they turn the camera on themself. Experimenting with different characters and archetypes, Muholi’s self portraits reference specific events in South Africa’s political history. Through exaggerating the darkness of their skin tone, Muholi reclaims their blackness, and offsets the culturally dominant images of black women in the media today.
Muholi was born in Umlazi, Durban and lives in Cape Town. They studied Advanced Photography at the Market Photo Workshop in Newtown, Johannesburg, and in 2009 completed an MFA: Documentary Media at Ryerson University, Toronto. Muholi has won numerous awards including the ICP Infinity Award for Documentary and Photojournalism (2016); Africa’Sout! Courage and Creativity Award (2016); the Outstanding International Alumni Award from Ryerson University (2016); the Fine Prize for an emerging artist at the 2013 Carnegie International; and a Prince Claus Award (2013), among others. Muholi’s work has been exhibited at Documenta 13; the South African Pavilion at the 55th Venice Biennale; and the 29th São Paulo Biennale.
Muholi was born in Umlazi, Durban and lives in Cape Town. They studied Advanced Photography at the Market Photo Workshop in Newtown, Johannesburg, and in 2009 completed an MFA: Documentary Media at Ryerson University, Toronto. Muholi has won numerous awards including the ICP Infinity Award for Documentary and Photojournalism (2016); Africa’Sout! Courage and Creativity Award (2016); the Outstanding International Alumni Award from Ryerson University (2016); the Fine Prize for an emerging artist at the 2013 Carnegie International; and a Prince Claus Award (2013), among others. Muholi’s work has been exhibited at Documenta 13; the South African Pavilion at the 55th Venice Biennale; and the 29th São Paulo Biennale.

In a more recent ongoing series, Somnyama Ngonyama (Hail the Dark Lioness), Muholi becomes both the participant and the image-maker, as they turn the camera on themself. Experimenting with different characters and archetypes, Muholi’s self portraits reference specific events in South Africa’s political history. Through exaggerating the darkness of their skin tone, Muholi reclaims their blackness, and offsets the culturally dominant images of black women in the media today.
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