Zanele Muholi on Somnyama Ngonyama, Hail the Dark Lioness at Seattle Art Museum

The aim of this series is to undo racism in the media, in mainstream Zanele Muholi Taken in Europe, Asia, North America, and Africa between 2014 and 2017, each of the 76 selfportraits in the Somnyama Ngonyama (Zulu for Hail the Dark Lioness) series is distinct and poses critical questions about social injustice, human rights, and contested representations of the black body. South African visual activist Zanele Muholi (b. 1972) combines classical portraiture, fashion photography, and ethnographic imagery to establish different archetypes and personae. In this ongoing series, the portraits often rely on found materials, which become culturally loaded props. Scouring pads and latex gloves address themes of domestic servitude. Rubber tires, electrical cords, and cable ties reference forms of social brutality and capitalist exploitation. Collectively, the portraits evoke the plight of workers: maids, miners, and members of disenfranchised communities. The artist often gazes d