https://www.sunujournal.com/essays daily 0.75 2020-06-20 https://www.sunujournal.com/essays/strongpursuing-the-canon-black-womens-fiction-as-sacred-textsstrong-ph9j3-frecf monthly 0.5 2020-05-27 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586210224180-0HL0PE6GLXY8IRPH61EY/image-asset.jpeg Essays - Pursuing The Canon: Black Women’s Fiction As Sacred Texts Gwendolyn Brooks in her home in Chicago, 1968. Courtesy of the Associated Press https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586210251978-5H7632L8HJTET73KIJBB/image-asset.jpeg Essays - Pursuing The Canon: Black Women’s Fiction As Sacred Texts Poet Gwendolyn Brooks with Copy of Maud Martha, in 1963. Photo by David W. Jackson https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586210688436-5REZQOE9UYC3KT8W8AK9/image-asset.jpeg Essays - Pursuing The Canon: Black Women’s Fiction As Sacred Texts Gwendolyn Brooks by John Matthew Smith, 2001 https://www.sunujournal.com/essays/strongrevisiting-sembenes-women-the-four-of-emxalaemstrong-flwy8 monthly 0.5 2020-05-17 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586128496790-OYBIXBIUN8JD6NW3E1UQ/image-asset.jpeg Essays - Revisiting Sembene’s Women: The Four of Xala Still from Xala (1975). Seune Samb, Thierno Lèye and Younousse Sèye who play Adja, El Hadji and Oumi respectively. https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586212282195-B2SXUHH8NQUZR1FFXNC3/image-asset.jpeg Essays - Revisiting Sembene’s Women: The Four of Xala Still from Xala (1975). Makhouredia Gueye (front, left) plays the unnamed President of the Chamber of Commerce. Thierno Lèye (second-to-last row, far right) plays El Hadji. Courtesy of Films Domireew / Alamy https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586212358373-EK6BN4ND0SBPQD55X6X4/image-asset.jpeg Essays - Revisiting Sembene’s Women: The Four of Xala Still from Xala (1975). Thierno Lèye and Younousse Sèye who play El Hadji and Oumi. Courtesy of Films Domireew / Alamy https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586212413703-7W3R3071WBBH5QU2SGQB/image-asset.jpeg Essays - Revisiting Sembene’s Women: The Four of Xala Still from Xala (1975). Thierno Lèye and Dyella Touré who play El Hadji and N’Gone. Courtesy of Films Domireew / Alamy https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586273423859-5NH57ILYPIH2BNDW0658/image-asset.jpeg Essays - Revisiting Sembene’s Women: The Four of Xala Still from Xala (1975). Mareme Niang plays Rama https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586212469993-QAJUBVZ5BUJJ6BOVP0JS/image-asset.jpeg Essays - Revisiting Sembene’s Women: The Four of Xala Still from Xala (1975). Seune Samb and Younousse Sèye who play Adja and Oumi respectively. Courtesy of Films Domireew / Alamy https://www.sunujournal.com/essays/stronga-transcultural-characterization-of-racial-freedomnbspembush-mamaemnbspandnbspemtoukinbspboukiemstrong-MQUBj-cjf52 monthly 0.5 2020-05-17 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586270667068-23UXLKPYX48APQQI9SHI/image-asset.gif Essays - A Transcultural Characterization of Racial Freedom: Bush Mama and Touki Bouki Image from Bush Mama (1975) https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586021906726-1SLALSMKVPV1H6POF1EI/bushama.jpg Essays - A Transcultural Characterization of Racial Freedom: Bush Mama and Touki Bouki Still from Bush Mama (1975) https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586022003080-PEIWJJJZMGI5JHJHZUM0/image-asset.jpeg Essays - A Transcultural Characterization of Racial Freedom: Bush Mama and Touki Bouki Still from Bush Mama (1975) https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586022063679-WPGGHI65BBEUVAQVGXRE/image-asset.jpeg Essays - A Transcultural Characterization of Racial Freedom: Bush Mama and Touki Bouki Djibril Diop Mambéty during the filming of Touki Bouki (1973) https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586026316190-EF8WPL74E2K9WAS2WXNH/image-asset.png Essays - A Transcultural Characterization of Racial Freedom: Bush Mama and Touki Bouki Still from Xala (1973) https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586022160543-VO96M8LG8WOY4R04GN0L/image-asset.jpeg Essays - A Transcultural Characterization of Racial Freedom: Bush Mama and Touki Bouki Still from Touki Bouki (1973) https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586026366974-XJJ2ULKOBOLYKOBADBCQ/image-asset.jpeg Essays - A Transcultural Characterization of Racial Freedom: Bush Mama and Touki Bouki Still from Touki Bouki (1973) https://www.sunujournal.com/essays/rethinking-performance-as-archive-through-the-practice-of-elnbsphadjinbspsynbspandnbspissanbspsamb-wrjds monthly 0.5 2020-06-20 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586298017491-0T650SOAZ4SE1NYPF8XI/image-asset.png Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb - El Hadji Sy standing in front of the stage design he created for ‘Plehanov 7, les cendres de Pierre Lods’ (‘Plehanov 7, the Ashes of Pierre Lods’), 19 January 1990, Théâtre de Verdure du Centre Culturel Français de Dakar. Courtesy of Weltkulturen Museum, Frankfurt am Main; Collection Axt/Sy. https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586304282320-XXGABV0I8PGGV8SYW7IG/Issa+Samb+2016+by+Amy+Sall Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb - Issa Samb during an impromptu performance in his studio. Dakar, 2016. Photo by / Courtesy of Amy Sall https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586299870621-10WKWCDTP68DEOKTDGDK/Modou+Niang+1968+Woman+Pounding.jpeg Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586299812859-4X9A5QJWYFXS5GJJ2310/Fig.2_+El+hadji+Sy_La+Marche_oil+on+canvas_1978+%28reproduced+from+C.+Deliss+and+Y.+Mutumba%2C+eds.%2C+El+Hadji+Sy_+Painting%2C+Performance%2C+Politics%2C+Diaphanes%2C+2015%29.jpg Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586300269917-3VUMQVNGPH8EAXSM6PB0/Fig.3_+El+Hadji+Sy+painting+hanging+in+the+streets+of+Niaye+Thioker%2C+Dakar_film+still+_Prisma+Afrika__1992+%28reproduced+from+C.+Deliss+and+Y.+Mutumba%2C+eds.%2C+El+Hadji+Sy_+Painting%2C+Performance%2C+Politics%2C+Diaphanes%2C+2015%29.jpg Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb - El Hadji Sy painting hanging in the streets of Niaye Thioker, Dakar. Fig. 3. Film still from Prisma Afrika (1992); Reproduced from El Hadji Sy: Painting, Performance, Politics. Edited by C. Deliss and Y. Mutumba; Diaphanes, 2015 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586301078423-BBL5JKYTMOWDXYERXR4S/Screen+Shot+2020-04-07+at+7.10.45+PM.png Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586301027068-USQ17JH1CMTTRV61ATMW/Fig.5_+Issa+Samb+and+El+Hadji+Sy_SOS+Culture_Whitechapel+Gallery_London_photo+by+Cle%CC%81mentine+Deliss_1995+%28reproduced+from+C.+Deliss+and+Y.+Mutumba%2C+eds.%2C+El+Hadji+Sy_+Painting%2C+Performance%2C+Politics%2C+Diaphanes%2C+2015%29.jpg Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586303134011-5CDN3W6B41SFG67HV8OS/Screen+Shot+2020-04-07+at+7.45.11+PM.png Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586303141684-GACCHK0WWIPM9BBTMUYH/Fig.7_+Installation+by+El+Hadji+Sy+in+Seven+Stories+about+Modern+Art+in+Africa_Malmo%CC%88+Konsthall_photo+by+Cle%CC%81mentine+Deliss_1996.jpg Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586303309188-HHKPJKDGZ0SG8JKOLNA8/Fig.8_+El+Hadji+Sy+performance_Goodman+Gallery_Johannesburg_photo+by+Clementine+Deliss_1995+%28reproduced+from+C.+Deliss+and+Y.+Mutumba%2C+eds.%2C+El+Hadji+Sy_+Painting%2C+Performance%2C+Politics%2C+Diaphanes%2C+2015%29.jpg Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb - El Hadji Sy performance at Goodman Gallery, Johannesburg, South Africa. Photo by Clementine Deliss, 1995 Fig 8. Reproduced from El Hadji Sy: Painting, Performance, Politics. Edited by C. Deliss and Y. Mutumba; Diaphanes, 2015 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586303731214-ETRO6PR5VRQEKD0J2682/Screen+Shot+2020-04-07+at+7.54.55+PM.png Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586303730802-ELR95ANT1916M57R52DQ/Screen+Shot+2020-04-07+at+7.54.28+PM.png Essays - Rethinking Performance As Archive Through The Practice of El Hadji Sy and Issa Samb https://www.sunujournal.com/essays/nastio-mosquito-and-the-collaborative-model-in-contemporary-art-y793f-2pb5t monthly 0.5 2020-05-06 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586282470036-XR3WJA7MPWMJAH351LLV/Fig1.+2015-Daily+Lovemaking-+Na%CC%81stio+mosquito-exhibition+view+IKON-photo+by+Stuart+Whipps+22.jpg Essays - Nástio Mosquito and the Collaborative Model in Contemporary Art Figure 1. NASTIVICIOUS, Ending Bad People is Ambiguity The Strength, the Courage & the Audacity is in Trusting the Universe! Have Faith, a Violet Spirit, be an Eagle, never loose Hope Be Coherent & U will find (the) Tangibility of Life, 2015. Wallpaper, dimensions variable, Courtesy Nastivicious ©; Exhibition view Daily Lovemaking (2015), IKON Gallery, Birmingham; Photo by Stuart Whipps © https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586282783194-5WD3XBIY61TNAIINYJSF/Fig2.+2010-My+African+Mind-Bofa+Da+Cara-5.png Essays - Nástio Mosquito and the Collaborative Model in Contemporary Art Figure 2. BOFA DA CARA, My African Mind, 2010, video, 6’11’’, Courtesy Bofa Da Cara © https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586282910410-Y2BEC8C3CUE8RNQVS7B1/Fig3.+2014-Na%CC%81stio+Answers+Ryan-Nastivicious-9.png Essays - Nástio Mosquito and the Collaborative Model in Contemporary Art Figure 3. NASTIVICIOUS, Nástio Answers Ryan, 2014, Video, 19’22”, Courtesy Nastivicious © https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586283023813-Y6ZV2PX99USSZQHRSL5Q/Fig4.+2015-Daily+Lovemaking-+Na%CC%81stio+mosquito-exhibition+view+IKON-photo+by+Stuart+Whipps+6.jpg Essays - Nástio Mosquito and the Collaborative Model in Contemporary Art Figure 4. Nástio Mosquito, Nástia's Manifesto, 2008, Video, 4’10.” Courtesy Nástio Mosquito ©; Exhibition view Daily Lovemaking (2015), IKON Gallery, Birmingham; Photo by Stuart Whipps © https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586284569468-6LOCI3Q0ZEPVYYCEPAGP/Fig5.+2013-Tuning+in+to+Africa-Na%CC%81stio+Mosquito+and+Megumi+Matsubara-6.jpeg Essays - Nástio Mosquito and the Collaborative Model in Contemporary Art Figures 5 Nástio Mosquito and Megumi Matsubara, Tuning In To Africa, 2013. Live Performance, Courtesy Nástio Mosquito © and Megumi Matsubara © https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586284811073-TAJXO1JQ5ZJTN3MDKM4A/Fig6.+2013-Tuning+in+to+Africa-Na%CC%81stio+Mosquito+and+Megumi+Matsubara-7.jpeg Essays - Nástio Mosquito and the Collaborative Model in Contemporary Art Figure 6. Nástio Mosquito and Megumi Matsubara, Tuning In To Africa, 2013. Live Performance, Courtesy Nástio Mosquito © and Megumi Matsubara © https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586284749074-9YMT2S9X5FYTVVE27XN9/Fig7.+2013-My+European+Mind-Bofa+Da+Cara-1.jpg Essays - Nástio Mosquito and the Collaborative Model in Contemporary Art Figure 7. BOFA DA CARA, My European Mind, 2013, video, 7’45’’, Courtesy Bofa Da Cara © https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586284854176-I3MZ39VJ5IRHBYZI4BGX/Fig8.2015-Daily+Lovemaking-+Na%CC%81stio+mosquito-exhibition+view+IKON-photo+by+Stuart+Whipps+11.jpg Essays - Nástio Mosquito and the Collaborative Model in Contemporary Art Figure 8. Nástio Mosquito in collaboration with Vic Pereiró, Fuck Africa (Remix), 2015. Video, 3’09”, Courtesy Nástio Mosquito ©; Exhibition view Daily Lovemaking (2015), IKON Gallery, Birmingham; Photo by Stuart Whipps © https://www.sunujournal.com/essays/post-colonial-fabrics-in-contemporary-african-art monthly 0.5 2020-05-08 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586294346509-SNV9NWYML23E6WVCDZ6R/image-asset.gif Essays - Post-colonial Fabrics in Contemporary African Art Dutch wax print. 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As part of the exhibition Harvest of Thorns, 2013. Courtesy of Goodman Gallery https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586219530988-UOZKDA01AYSNMC30AAML/image-asset.jpeg Essays - Post-colonial Fabrics in Contemporary African Art - Every Moment Counts (Ecstatic Antibodies)(1989) by Rotimi Fani-Kayode https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586219631745-GN9CT6VKNOHV9GOG9ZVG/Renee+Cox_Yo+Mama%27s+Pieta_1996.jpg Essays - Post-colonial Fabrics in Contemporary African Art - Yo Mama's Pieta (1996) by Renee Cox https://www.sunujournal.com/essays/power-shots-ernest-cole-and-the-role-of-apartheid-era-photography monthly 0.5 2020-05-09 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586111747205-D0AKD5KCPEJMW7B7UAYH/nn11518568-teaser-xxl.jpg Essays - Power Shots: Ernest Cole and The Role of Apartheid-era Photography © The Ernest Cole Family Trust https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586111554427-9N1480AF0EIX2H8ZE9BA/image-asset.jpeg Essays - Power Shots: Ernest Cole and The Role of Apartheid-era Photography © The Ernest Cole Family Trust https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586108447602-G4PFQN8FCJ1I5M73QKZO/image-asset.jpeg Essays - Power Shots: Ernest Cole and The Role of Apartheid-era Photography Ernest Cole. “Handcuffed blacks were arrested for being in white area illegally.” © The Ernest Cole Family Trust https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586111836578-7DKM7GQ3LJH5NYF6ECBU/image-asset.jpeg Essays - Power Shots: Ernest Cole and The Role of Apartheid-era Photography © The Ernest Cole Family Trust https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586112510512-FNA22N9Q8SSNRJ9TU7ZL/image-asset.jpeg Essays - Power Shots: Ernest Cole and The Role of Apartheid-era Photography © The Ernest Cole Family Trust https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586111255553-NJP6ZDNLX7ZK22I2PU1S/image-asset.jpeg Essays - Power Shots: Ernest Cole and The Role of Apartheid-era Photography Ernest Cole. “Servants are not forbidden to love. Woman holding child said, “I love this child, though she’ll grow up to treat me like her mother does. Now she is innocent.” © The Ernest Cole Family Trust https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586111934247-8CLURM6LWJRHCLYKZKWP/image-asset.jpeg Essays - Power Shots: Ernest Cole and The Role of Apartheid-era Photography Ernest Cole, Mamelodi, 1965. “Earnest boy squats on haunches and strains to follow lesson in heat of packed classroom.” © The Ernest Cole Family Trust https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586110902970-J14S4FNR3AMOVAJZ30R7/image-asset.jpeg Essays - Power Shots: Ernest Cole and The Role of Apartheid-era Photography Ernest Cole, Self Portait, 1967 © The Ernest Cole Family Trust https://www.sunujournal.com/essays/strongthe-sudanese-gaze-visual-memory-in-post-independence-sudanstrong monthly 0.5 2020-05-06 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586222856648-N7NU0QFCSCRTJAZKONTB/MYY-13-03.jpg Essays - The Sudanese Gaze: Visual Memory in Post-Independence Sudan Mohamed Yahia Issa, “Untitled.” Courtesy of ELNOUR / Claude Iverne https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586052427219-JTKQVUO73MA166O7VOC5/malick_sidibe_magnin_a_1724+7.jpg Essays - The Sudanese Gaze: Visual Memory in Post-Independence Sudan Malick Sidibe, “Sans Titre” (Untitled), ca. 1960. Courtesy of Magnin-A https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586027655875-T6U1TGZ5KPJSMAMDFF4W/image-asset.jpeg Essays - The Sudanese Gaze: Visual Memory in Post-Independence Sudan Malick Sidibe, “Sans Titre” (Untitled). Courtesy of Magnin-A https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586027365590-0DQHDLIN8C9U8098YJXV/image-asset.jpeg Essays - The Sudanese Gaze: Visual Memory in Post-Independence Sudan Fouad Hamza Tibin, “Untitled”, Courtesy of ELNOUR / Claude Iverne https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586027433717-XRAN87TIC1Z2LMIO0LSE/image-asset.jpeg Essays - The Sudanese Gaze: Visual Memory in Post-Independence Sudan Fouad Hamza Tibin, “Untitled”, Courtesy of ELNOUR / Claude Iverne https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1588770411639-4TOQXMC2NSI04JKVJJDH/ABB-SOC-004.jpg Essays - The Sudanese Gaze: Visual Memory in Post-Independence Sudan Abbas Habib Alla Abdellateef Abdalla, “Untitled.” Courtesy of ELNOUR / Claude Iverne https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1588771246886-DKBXPUDTO0OISR5JTFX2/ABB-POR-002b.jpg Essays - The Sudanese Gaze: Visual Memory in Post-Independence Sudan Abbas Habib Alla Abdellateef Abdalla, “Untitled.” Courtesy of ELNOUR / Claude Iverne https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1588771304572-P6MRLMPIW9RBKR7609Y3/ABB-SEL-03-NB.jpg Essays - The Sudanese Gaze: Visual Memory in Post-Independence Sudan Abbas Habib Alla Abdellateef Abdalla, “Untitled.” (Self-portrait) Courtesy of ELNOUR / Claude Iverne https://www.sunujournal.com/conversations daily 0.75 2020-05-08 https://www.sunujournal.com/conversations/sunu-conversations-with-sarah-stacke monthly 0.5 2020-05-08 https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586358840407-O51DRGEP6JW2Y8EZ0HX6/121223-Nshindi-004%2Cmedium_large.1407106637.jpg Conversations - SUNU Conversation With: Sarah Stacke - Emmanuel Nshindi and Nicole Nshindi on their wedding day. From a Nshindi family photo album. Photographer unknown. Kinshasa, D.R.C., c. 1975. Courtesy of Sarah Stacke https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586357993801-H7W8FKM043SE4SX7RE06/121215-Katembera-014%2Cmedium_large.1406909982.jpg Conversations - SUNU Conversation With: Sarah Stacke - Before marriage. Quintin Katembera and Janette Katembera. From a Katembera family photo album. Photographer unknown. Bukavu, D.R.C., September 1978. 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Photographer unknown. 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Courtesy of the artist https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586220257715-ES2FE34WE2IWDYHXTZVU/image-asset.png Conversations - SUNU Conversation With: Ian Mwesiga In Awe of A Married Couple (2017), 180 x 150 cm, Oil on canvas. Courtesy of the artist. https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586220430591-UJRFW30IY0OVWI86ZT4L/image-asset.png Conversations - SUNU Conversation With: Ian Mwesiga Salon Kafunda (2017), 140 x 208 cm, Oil on canvas. Courtesy of the artist https://images.squarespace-cdn.com/content/v1/5e879bc7025a167d6f270949/1586220941032-CP65R57XZ7FO2SYD7ZDO/image-asset.png Conversations - SUNU Conversation With: Ian Mwesiga Black Man In A White Suit (2017), 180 x 150 cm, Oil on canvas. 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