Meph: women, black and tenacious. Here’s how a magazine is born

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It’s called “Mfon: Women Photographers of the African Diaspora,” is not a book, but a semi-annual commemorative magazine with the ambition of becoming the collective voice of women photographers with African origin and now I explain you why it would be a case to contribute to its birth.
Let’s imagine a Senegalese photographer, the name? Mmekutmfon ‘Mfon’ Essien, a life photographing her reality to become famous for having exhibited his works at the Biennale in Dakar, Senegal. Honors and mentions have come from the most important magazines in the United States and all over the world. Yet at the height of her career disappears devoured by breast cancer the day before her “The Amazon’s New Clothes” reportage was exhibited at the Brooklyn Museum of Art at the exhibition “Committed to the Image: Contemporary Black Photographers”.
At the death of such a great artist, there was a need to lose much work and visual impact so strong. So the documentary Laylah Amatullah Barrayn, visual artist Adama Delphine Fawundu and Emmy’s winning producer and Mfon’s vice editor, Crystal Whaley, have decided to found Mfon: Women Photographers of the African Diaspora. The aim is to “create the awareness of the impact that photographers of the African diaspora have in the world,” as the founders explain on the magazine’s site. But not only, the will is to “Promote a voice that is internationally representative of African-born photographers”.
In short, the idea is to create a powerful collective of women photographers, journalists and scholars to build their practices through the solid representation of their voices in the field of photography.
So far it seems to be a successful intent, at least in the intentions, because the inaugural number of Mfon will include 100 women photographers,from 13 to 91 years, who have crossed the Diaspora. This iconic edition will feature an introduction by Dr. Deborah Willis, MacArthur Fellow and chair of the Department of Photography and Imaging at the New York University’s Tisch Arts School. It will include conversations and essays written by scholars, journalists and artists. The next numbers of Mfon will feature photographic essays of four or five photographers with in-depth interviews and essays that will allow contextualization of the works.
In addition, a Grant Grant Mfon Legacy will be set up, which will be awarded to emerging African-born photographers.
To contribute to the realization of this dream you could pre-order the magazine with a contribution of $ 30. Only $ 30 to change the history of photography. (WEB SITE)

Stili di vita a Lagos, Lagos, Nigeria, 2010
(Lola Akinmade Åkerström)

Autoritratto, 2009
(Hélène Amouzou)

Incantata, Raven Bar, San Francisco, California, 2015
(Angélica Ekeke)

Danielle Babou, Abidjan, Costa d’Avorio, 2014
(Émilie Régnier)

Fratelli, 2014
(Yodith Dammlash)

Dettaglio di Coney Island, Seggiolini volanti, Coney Island, Brooklyn, NY, 1972
(Ming Smith, Courtesy of Steven Kasher Gallery)

Little Ethiopia negli Stati Uniti, Falls Church, in Virginia, 2016
(Hilina Abebe)

La stanza di Jagger, Lagos, Nigeria, 2016
(Jenevieve Aken)

Grata a Lei, Kingston, Jamaica, 2010
(Sabriya Simon)

Dalla serie “Caméleon”, Senegal, 2015-2016
(Fatoumata Diabaté)

Fedelmente, Lalibela, Ethiopia, 2016
(Eyerusalem Jiregna)

Giuba, the New Nation, Giuda, Sudan del Sud, 2014
(Eman Helal)

Dalla serie “Invisibile: il rifugio, la strada”, New York City, 2006
(Samantha Box)

Le ragazze che filavano l’oro
(Nydia Blas)

Morsi, L’inzio e la fine, Cairo, 2013
(Eman Helal)

Dalla serie attualmente in produzione “Bits of Borno”, Maiduguri, Nigeria, 2015
(Fati AbuBakar)

 

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