Bloodflowers

May 03 2021 Bloodflowers: Rotimi Fani-Kayode, Photography, and the 1980s Bloodflowers: Rotimi Fani-Kayode, Photography, and the 1980s by W. IanBourlandDurham: Duke University Press, 2019; 336 pp., 92 b/w ill. $27.95 paper Alexandra M. Thomas Alexandra M. Thomas alexandra m. thomas is a History of Art and African-American Studies PhD student at Yale University, where she researches African and African diasporic visual and expressive cultures, global modern and contemporary art, feminist and queer theory, and critical museum studies. Search for other works by this author on: This Site Google Scholar Author and Article Information Alexandra M. Thomas alexandra m. thomas is a History of Art and African-American Studies PhD student at Yale University, where she researches African and African diasporic visual and expressive cultures, global modern and contemporary art, feminist and queer theory, and critical museum studies. Online Issn: 1937-2108 Print Issn: 0001-9933 © 2021 by the Regents of the University of California2021Regents of the University of California African Arts (2021) 54 (2): 93–95. https://doi.org/10.1162/afar_r_00586 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Alexandra M. Thomas; Bloodflowers: Rotimi Fani-Kayode, Photography, and the 1980s. African Arts 2021; 54 (2): 93–95. doi: https://doi.org/10.1162/afar_r_00586 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsAfrican Arts Search Advanced Search Rotimi Fani-Kayode, the Yoruban photographer of Black queer lifeworlds, is coming home. Nigerian curator Bisi Silva imagined this homecoming as a solo exhibition. It would take place in 2039 as part of a queer-friendly future in the Lagos art scene. In the epilogue of his 2019 book, Bloodflowers: Rotimi Fani-Kayode, Photography, and the 1980s, W. Ian Bourland reflects on Silva's speculative proposal. Bourland marks the ways in which Fani-Kayode's creative practice—bringing together homoerotic photography, Western art historical iconography, and African aesthetics—was far ahead of its time. One might read this hypothetical return as a call for historians of African art to take seriously the ongoing project of situating Rotimi Fani-Kayode's work as “in some crucial way, Yoruban” (p. 250). Born in 1955 to an elite Yoruba family, Fani-Kayode spent the earliest years... © 2021 by the Regents of the University of California2021Regents of the University of California You do not currently have access to this content

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