Imaging the Gap: Dissensus and Belonging in Thandile Zwelibanzi's Still Existence

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dc.contributor.advisorHill, Shannenen_US
dc.contributor.authorWilliams, Jessica Rachelleen_US
dc.contributor.departmentArt History and Archaeologyen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.date.accessioned2013-06-28T06:58:07Z
dc.date.available2013-06-28T06:58:07Z
dc.date.issued2013en_US
dc.description.abstractIn his 2010 series, Still Existence, South African photographer Thandile Zwelibanzi images illegal African immigrants as they informally sell sweets and cigarettes on the streets of Johannesburg. In his documentation of the political arguments of these foreigners for their inclusion in the consensus of the nation, Zwelibanzi lends a medium to these individuals through which they can obtain aesthetic (and therefore political) agency. If, in Still Existence, the public sphere of Johannesburg's streets serve as the "dissensual stage" upon which foreign traders exert their claims of belonging and contest their right to work, then it is the process of their subjectivization and their argument for their belonging that are ultimately imaged in these portraits.en_US
dc.identifier.urihttp://hdl.handle.net/1903/14128
dc.subject.pqcontrolledArt historyen_US
dc.subject.pqcontrolledAfrican studiesen_US
dc.subject.pquncontrolledBelongingen_US
dc.subject.pquncontrolledForeigneren_US
dc.subject.pquncontrolledIllegalen_US
dc.subject.pquncontrolledPhotographyen_US
dc.subject.pquncontrolledSouth Africaen_US
dc.subject.pquncontrolledTradeen_US
dc.titleImaging the Gap: Dissensus and Belonging in Thandile Zwelibanzi's Still Existenceen_US
dc.typeThesisen_US

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