ABSTRACT
In other words, the rearrangements and reworking of the photographs exhibit the negotiation involved in art-making that seem to parallel that involved in “self-making.” Thus, the irregular, fragmented imagery does not imply the fragmentation of black female psyches. Rather, it indicates the multiple perspectives that comprise completed artworks and complete individuals. It is this comprehensiveness that the intact colonialist photographs lack. In effect, they are the fragments, as they each present only one (point of) view that is directed by the photographer. Conversely, the aforementioned non-objectivity of Ark Collection and The Uninvited points out the subjectivity of the models and especially that of Mutu and Hinkle.
