Wikipedia

Esmaa Mohamoud

Esmaa Mohamoud, also known as "E," (born 25 November 1992) is an African-Canadian sculptor and installation artist who grew up in London, Ontario, and currently practices in Toronto, Ontario.[1] Her work has been shown at the Royal Ontario Museum,[2] McGill University,[3] The Art Gallery of Ontario,[4][5] YYZ Artist Outlet,[6] The Drake Devonshire Gallery,[7] Art Lab Gallery at Western University,[8] Georgia Scherman Projects,[1] amongst others.

Esmaa Mohamoud
Born25 November 1992
NationalityCanadian
EducationB.A., Western University; M.A. Ontario College of Art and Design
Occupation(s)Sculptor and installation artist

Mohamoud grew up with four brothers, in which she was constantly made aware of gender norms and expectations.[9] She graduated from Western University with a Bachelor's in fine art in 2014 and later from Ontario College of Art and Design University, in June 2016, with a master's degree in fine arts.[10] Her art focuses on interrogating issues around black masculinity culturally in sports (in the NBA and NFL) and politically in North American society at large.[11] She creates sculptures, photography, and drawings to bring awareness to and to expose these specific issues in today's society. Mohamoud's outstanding notable works include exhibits One of the Boys, Heavy, Heavy (Hoop Dreams),[12] Glorious Bones, Blood and Tears Instead of Milk and Honey, A Seat Above the Table,[13] Untitled (No Fields) Why See the World When You've Got the Beach?, Chain Gang, I Am Series, and Unholy Matrimony.

Selected works

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One of the Boys (2017–2018)

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From 2017–2018, Mohamoud collaborated with Qendrim Hoti to create and photograph sculptures designed to be worn by black, male-presenting models.[14] In One of the Boys, men and women wear custom-made ball gown jerseys, thus pointing to gender fluidity and race through their use of fashion. Mohamoud uses Vince Carter's Raptors jerseys for the top half of the gown and the bottom half is a beautiful puffy dress. The jersey itself is not of the usual sports mesh, but is made of velvet and contains corset lacings on both sides an allusion to basketball through the use of shoelaces and to high fashion through the use of corseted tops. Some of the models can be seen wearing jewelry such as earrings, rings, necklaces, colorful hair ties, braids, and tattoos. Amanda Parris points out that some of the models in this series face away from the camera or conversely they stare directly at it, something Mohamoud terms the "power stance."[15]

Fashion and body language work in this piece works in tandem to create a harmonious balance between femininity and masculinity.[16] This balance of feminine and masculine objects and poise convey the overarching theme of gender fluidity depicted on and through black, male bodies. Mohamoud's design of the jersey and the ballgown is meant to convey gender fluidity in a way in which it is difficult for viewers to categorize the subject of the photographs in a binary fashion. The Raptors jersey itself is meant to symbolize masculinity, as athleticism is usually thought to be masculine, and the ballgowns are meant to symbolize femininity.[15]

The title of the series, One of the Boys, is derived from the artist's personal experiences.[17] Mohamoud recalls her mother requiring that she wear a dress when she wanted to play basketball with the neighborhood boys. Mohamoud stated that she wore a dress and put a Raptors jersey on top to which her mother reprimanded, "you are not one of the boys."[17] Mohamoud reflects on what this statement meant to her during her childhood when tension existed between her wanting to play basketball like Vince Carter and her societal obligation to align herself with feminine ideals.[17] One of the Boys is meant to dissipate this tension Mohamoud felt throughout her childhood and the tension that many others, specifically young, black men may feel.

One of the Boys explores and exposes how black male bodies and notions of masculinity have been shaped and viewed by society.[18] Mohamoud focuses on black men in sports and uses basketball specifically to explore societal problems around the construction of black masculinity. In the book Black Sexual Politics, Patricia Hills Collins explains how and why black masculinity is treated and viewed the way it is in sports, specifically in basketball. Collins shares the story about a professional black basketball player named Latrell Sprewell, playing for the Golden State Warriors at the time, who choked his coach P. J. Carlesimo. Collins says Sprewell was viewed "as the worst of basketball"[19] and his actions gave a bad reputation to all black basketball players. Collins notes that black basketball players are thought of as irrational "bad boys" that are too sensitive and can't control their aggressive nature when provoked.[19] Collins states Sprewell's mistake contributed to a societal belief that black basketball players are a bad example of masculinity and establishes the idea that all black men are violent, greedy, childish, rule breakers, and "too black".[19] Since black male masculinity was deemed out of control, sports have been used to control and polish black masculinity to be more like white masculinity.[19] Collins argues that it is clear that society believes people must "submit to White male authority in order to learn how to be a man,"[19] and this is what Esmaa Mohamoud is fighting against with and through her art. Mohamoud argues that, "[i]f we don't take up space, a white body will."[15]

Through this series, Mohamoud attempts to combat pervasive associations of black male bodies with hypermasculinity, violence, and ruggedness, by engaging the models in hyper-feminine clothes and poses. The artist recalls that many people in her hometown of London, Canada were fearful of blackness as Black people, particularly Black men, are perceived in violet light.[20] Author and activist, bell hooks, has acknowledged in her book, We Real Cool: Black Men and Masculinity, the long-standing belief that black men are the embodiment of violence and aggression, stating "read any article or book on black masculinity and it will convey the message that Black men are violent."[21] This image of violence can be dangerous for black men as they navigate their way through the world.[21] To counter this, Mohamoud attempts to offer black men the freedom of gender fluidity. By clothing black, male models in velvet gowns, Mohamoud shields them with the notion that black men can too possess the ability to be fragile and soft.[22]

Through her art, Mohamoud brings awareness to a current and problematic view of black masculinity in order to shift it and reclaim it as her own through subversion of gender norms, "power stances," and the use of bell hooks' the "oppositional gaze."[23]

Heavy, Heavy (Hoop Dreams) (2016)

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In 2016, Esmaa Mohamoud displayed Heavy, Heavy (Hoop Dreams) as part of her Interdisciplinary Master's in Art, Media, and Design Program.[12] Heavy, Heavy (Hoop Dreams) consists of 60 deflated concrete basketballs in a grid on the floor. The original piece was supposed to have 30 basketballs, the amount of first-round picks in the NBA, but Mohamoud settled on 60 basketballs as it filled up more space and is the number of second-round picks for the NBA.[11]

Mohamoud uses concrete to show the heaviness and fragileness that comes from people relying on getting scouted by the NBA .[11] The artist ensures that the concrete basketballs will crack and fall apart as it symbolizes the disappearance of a future career.[11]

The title is influenced by Hoop Dreams, a documentary following black boys who never made it to the NBA.[24] Mohamoud added the Heavy Heavy as a reference to the disappointment black boys feel when they are not scouted for the NBA.[13]

References

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  1. ^ a b "Georgia Scherman Projects". georgiascherman.com. Retrieved 2019-06-15.
  2. ^ "Here We Are Here: Black Canadian Contemporary Art". Royal Ontario Museum. Retrieved 2019-06-15.
  3. ^ "Esmaa Mohamoud". Arts Against PostRacialism. Retrieved 2019-06-15.
  4. ^ "Canadian Artist Esmaa Mohamoud Confronts Injustice and Her Critics". S/ magazine. 2018-07-09. Retrieved 2019-06-15.
  5. ^ "Every. Now. Then: Reframing Nationhood". Art Gallery of Ontario. Retrieved 2019-06-15.
  6. ^ "Esmaa Mohamoud: #000000 Violence". OCAD University. 2016-03-29. Retrieved 2019-06-15.
  7. ^ "thedrakeblog". thedrakeblog. Retrieved 2019-06-15.
  8. ^ "14 Emerging Women Artists to Watch in 2017". artnet News. 2016-12-21. Retrieved 2019-06-15.
  9. ^ Walsh, Meeka; Enright, Robert (18 August 2020). "Esmaa Mohamoud: Game Changer". Border Crossings. Retrieved 9 March 2021.
  10. ^ "Esmaa Mohamoud". Light Grows the Tree. Retrieved 2019-06-15.
  11. ^ a b c d "Sports Culture Is The Catalyst For Esmaa Mohamoud's Art". The Fader. Retrieved 2019-06-15.
  12. ^ a b "Esmaa Mohamoud: "My practice is unapologetically black and industrial"". OCAD University. 2018-10-01. Retrieved 2019-06-15.
  13. ^ a b Reeve, Charles (25 February 2019). "How Artist Esmaa Mohamoud Reveals the Dark Heart of American Athletics". Frieze (201). Retrieved 2019-06-15.
  14. ^ Newell-Hanson, Alice; Loiseau, Benoit (2017-12-15). "meet the artist who dresses basketball players in ball gowns". I-D. Retrieved 2019-06-15.
  15. ^ a b c Parris, Amanda (July 20, 2017). "Why Esmaa Mohamoud is bringing blackness and basketball into the gallery". CBC. Retrieved June 15, 2019.
  16. ^ "This Artist Takes Masculinity To A Different Level By Making Basketball Ball GOWNS For Players!". veri-art.net. Retrieved 2019-06-15.
  17. ^ a b c "YouTube". www.youtube.com. Retrieved 2019-06-15.
  18. ^ "Back Matter". Transition (124). 2017. doi:10.2979/transition.124.bm. JSTOR 10.2979/transition.124.bm.
  19. ^ a b c d e Hill Collins, Patricia (2004). Black sexual politics : African Americans, gender, and the new racism. New York: Routledge. ISBN 0415930995. OCLC 53284925.
  20. ^ Earnshaw, Doris; McClatchy, J. D. (1979). "Anne Sexton: The Artist and Her Critics". World Literature Today. 53 (2): 299. doi:10.2307/40133708. ISSN 0196-3570. JSTOR 40133708.
  21. ^ a b Hooks, Bell (2004). We real cool : black men and masculinity. New York. ISBN 0415969263. OCLC 52819816.{{cite book}}: CS1 maint: location missing publisher (link)
  22. ^ "The Art of Esmaa Mohamoud". RedMilk. 2018-01-17. Retrieved 2019-06-15.
  23. ^ Hooks, Bell (1992). Black looks: race and representation. Boston, MA: South End Press. ISBN 0896084337. OCLC 25281874.
  24. ^ Enright, Robert (Nov 2020). "Esmaa Mohamoud: Game Changer". Border Crossings. 39: 56–67. ProQuest 2471844781 – via ProQuest Central.
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