Marilyn Nance: Last Day in Lagos

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Product Details

$45.00  $41.85
New York Consolidated
Publish Date
6.0 X 8.0 X 1.0 inches | 1.55 pounds

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About the Author

Oluremi C. Onabanjo is an associate curator in the Department of Photography at the Museum of Modern Art, New York. The former director of exhibitions and collections for the Walther Collection, New York, Onabanjo has organized exhibitions across Africa, Europe, and North America, and managed one of the most significant private collections of photography in the world. In 2017, she cocurated Recent Histories: Contemporary African Photography and Video Art and edited its accompanying publication, which was shortlisted in 2018 for an ICP Infinity Award in Critical Writing and Research. Onabanjo lectures internationally on photography and curatorial practice, and her writing appears in Aperture, The New Yorker, The PhotoBook Review, Tate Etc., as well as publications by the Art Institute of Chicago; Museum of Modern Art, New York; Rhode Island School of Design, Museum of Art, Providence; and the Studio Museum in Harlem, New York; among others. A 2020 Andy Warhol Foundation Arts Writers grantee, Onabanjo is the editor of the forthcoming photobook Marilyn Nance: Last Day in Lagos (2022). She is a PhD candidate in art history at Columbia University, New York, and holds degrees in visual, material, and museum anthropology from Oxford University, England, and African studies from Columbia University, New York.

Julie Mehretu is a world renowned painter who lives and works in New York. In exploring palimpsests of history, from geological time to a modern day phenomenology of the social, Mehretu's works engage us in a dynamic visual articulation of contemporary experience, a depiction of social behavior and the psychogeography of space. She is the recipient of The MacArthur Award (2005) and the US Department of State Medal of Arts Award (2015).


Offer a glimpse of the radical possibilities of Pan-African unity.-- "Wall Street Journal"
Hers is the deepest individual image archive to have emerged from FESTAC '77 -- a major contribution on those grounds alone, but also a long-overdue focus on the early work of an important Black photographer who herself has only recently earned proper institutional notice.--Siddhartha Mitter "New York Times: Arts"
Last Day in Lagos, then, is a festival of its own, a feast for the creative imagination that introduces today's generation to their artistic ancestors.--Anakwa Dwamena "Aperture"
It's a joy to see Marilyn's work on Festac '77 come to life in Last Day in Lagos. It goes beyond simply being a photographic archive, and cements itself as an important cultural document for years to come.--Joey Levenson "It's Nice That"
An incomparable photographic essay on a landmark event.--Eugene Holley Jr. "Publishers Weekly"
Nance's immersive archive, woven together with writing from various contributors contextualizing the work, make this culturally significant festival accessible to a wide swath of readers.--Kim Bubello "TIME"
Each image is saturated in human connection; each photograph stirs a memory. And even across the distance of space and time, the world depicted in these pages thrums with closeness, or a need for it.--Caleb Azumah Nelson "The New York Times Book Review"
In part thanks to its collagelike form, it captures the range of intellectual discussions and political debates that normally get glossed over in favor of a single narrative of Pan-African grandeur...the intimate publication has a similarly polyphonous effect as Chimurenga's, immersing the reader in Nance's archive as though it were an unfinished sentence, an elaborate thought trailing off.--Tiana Reid "New York Review of Books"
A thorough account of sociopolitical significance, beauty, and joy of the gathering.--Allison Schaller "Vanity Fair"
Nance's photography scrambles the nameless and the notable, mirroring the spirit of a festival that levelled boundaries even as it celebrated difference.--Julian Lucas "New Yorker"