Published by Steidl. Foreword by Jean-Marc Patras. Text by Hans Ulrich Obrist.
SIXSIXSIX consists of 666 large-format Polaroid self-portraits by Cameroon-born, Paris-based photographer Samuel Fosso (born 1962). Shot against the same rich, colored backdrop, these striking photographs depart from Fosso's earlier self-portraits through their understated, stripped-back approach.
Published by Steidl/The Walther Collection, New York. Edited with text and interview by Okwui Enwezor. Foreword by Artur Walther, Jean-Marc Patras. Text by Quentin Bajac, Yves Chatap, Elvira Dyangani Ose, Chika Okeke-Agulu, Oluremi C. Onabanjo, Terry Smith, Claire Staebler, James Thomas.
A New York Times Book Review 2020 holiday gift guide pick
Autoportrait is the first comprehensive survey of the multifaceted oeuvre of Nigerian photographer Samuel Fosso (born 1962). Since the mid-1970s, Fosso has focused on self-portraiture and performance, envisioning variations of identity in the postcolonial era. From Fosso’s early black-and-white self-portraits from the 1970s to his recent exercises in self-presentation, highlights include the vibrant series Tati (1997), in which he playfully inhabits African and African American characters and archetypes; and the magisterial portraits of African Spirits (2008), where he poses as icons of the pan-African liberation and Civil Rights movements, such as Angela Davis, Martin Luther King, Jr., Patrice Lumumba and Nelson Mandela.
This landmark monograph demonstrates Fosso’s unique departure from the traditions of West African studio photography, established in the 1950s and ’60s by modern masters Seydou Keïta and Malick Sidibé. By charting his conceptual practice of self-portraiture, and sustained engagement with notions of sexuality, gender and self-representation, this book reveals an unprecedented photographic project.
Samuel Fosso (born 1962) is one of Africa's preeminent photographers. The artist began taking self-portraits to send to his mother in Nigeria, when he was made a refugee by the Biafran War. His initial intention was to show he was alive and well, but Fosso soon came to incarnate an inventive range of characters from an African chief to a Japanese marine.