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Aida Muluneh: Reshaping our global image through photography

Published by News Room December 18th, 2008 in Art and Featured. 3 Comments

By Tadias Staff

Published: Thursday, December 18, 2008

New York (Tadias) - Desta, the Amharic word for happiness, is the name of a popular candy brand in Ethiopia. It’s also the acronym of choice for Photographer Aida Muluneh’s ambitious new project to reform the African continent’s long history with negative imagery.

Through photography, Muluneh has found a medium of transformation. Incorporating natural light from a crisp, dawn Ethiopian morning, or that of a sentimental sunny afternoon, Muluneh projects inspiration captured in moments of daily life - portraits of cab riders, priests, and street children in bustling Ethiopian cities and towns.

Her new organization, appropriately named DESTA for Africa, is a local NGO based in Addis Ababa. Muluneh (pictured above) hopes to encourage a new generation of African Photographers who are able to compete in the global media industry while reshaping the image of Africa reflecting their personal experiences.

“I have spent most of my artistic career promoting alternative images of Africa. DESTA For Africa was born out of my belief that we have to be accountable for how the world perceives us. Even though Africa is ever growing and rapidly changing, the images that we see in the mass media are not reflective of that, ” Muluneh says in a recent interview with Tadias Magazine.

“I feel that African artists have a responsibility to manage how the continent’s image is portrayed, and we can do that by actually providing the necessary education and resources to those who are interested in documenting their own realities.”

School is over for the day. These boys enjoy their time-off playing in their
neighborhood streets in Addis. (Photo by Aida Muluneh. Image featured on BBC)

BBC: A dignified Ethiopia - Aida Muluneh living in New York sent these images
depicting life in Ethiopia. She hopes these photos will show her country in a
different perspective.

Timkat (Epiphany) is the most colourful event in Ethiopia when churches parade
their Tabots (Replica of the. Ark of the Covenant) to a nearby body of water. Here
priests and deacons begin the religious procession from their individual churches and
walk, carrying flags, to Meskel Square where they all assemble.
(Photo by Aida Muluneh. This image was also featured on BBC).

The organization’s first batch of trainees is from Addis Ababa University, which lacks a permanent department of photography. ” We offer our workshop to undergraduates and graduates of the Addis Ababa School of Fine Arts and Design, with the aim to provide them with viable and self-sustainable opportunities in the photography industry,” Muluneh explains.

Yet the giving is reciprocal. Muluneh is learning from her students as they receive training. “My students are an example of what can happen when countries invest in cultural production, and support efforts to reshape Africa’s image. And they also give me strength and inspiration to continue on this mission,” she says.

Muluneh’s biggest stumbling block is lack of basic teaching resources. “You won’t believe how much of a difference it makes to have one photography book or art book,” she says. “I have been teaching with three cameras shared among 13 students, yet the students have been with me since February 2008 with the same enthusiasm and passion as on their first day.”

And what can the Diaspora do to help?

“We are continuously looking for photography books, cameras, film…the list goes on, but the first thing I would like to stress to the Ethiopian American community is the importance of cultural preservation, and managing cultural production, she says. “Culture determines not only how we experience daily life, but how we transmit vital information about our history, health, and general economic and political development.”

For those who are interested, Muluneh will be hosting a fundraiser and introduction of DFA at Almaz Restaurant tonight in Washington D.C. (The event took place on Thursday, December 18th, 2008). “We will be showcasing the works of the students and also selling prints to help continue our work in Ethiopia, and beyond,” she says. “For those who are not able to attend, it is possible to make donations through our website at www.destaforafrica.org.”

Here are few recent images from Muluneh’s students in Ethiopia.

Anyone interested in a partnership, or has information about corporate
sponsorships, should get in touch with DESTA Production
Manager, Selam Mulugeta (smulugeta@destaforafrica.org).

Assegid Gessesse’s mixed media prints

Published by Lifestyle Editor November 21st, 2008 in Art and Featured. 2 Comments

Above: Assegid Gessesse at Green Desk in Brooklyn’s
DUMBO neighborhood, Tuesday, November 18, 2008
(Tadias)

By Tadias Staff

Published: Friday, November 21, 2008

New York (Tadias) - The Green Desk Wall Space, in Brooklyn’s DUMBO neighborhood recently exhibited Assegid Gessesse’s spirited mixed media prints. “Working in a style that is both abstracted and photographic, Assegid, creates works of atmospheric beauty and emotional poignancy,” writes Gabriel Abraham, Production Designer and Art Director, in his short review of the artist’s work. “His work uses graphics, drawings, photographs and news clippings to create layers of images that evoke history, mythology, mystery and beauty along with conflict of dislocation and alienation.”

“I am a memory tourist,” Gessesse says referring to our favorite print entitled ‘Addis Abeba’ - a vivid collage reflecting architecture, the urban/rural dichotomy, and use of space.

Addis Abeba by Assegid Gessesse

“All the iconic images, including the Volkswagen, that are incorporated in that work are what I remember as a child. The woman represents the city. ‘Addis Abeba’ for me is a women. And the spelling is intentional, that’s the way I think Addis Abeba should be spelled. ”

Born in 1964 in Addis Abeba, Ethiopia, and trained in Canada as an Artist and Designer, Gessesse draws from both African and Western influences - a blend of classical, secessionist, and contemporary. He has exhibited his work extensively in North America and Africa, and was recently commissioned by the Open Society Institute’s East Africa branch to create a series of images under the theme “Freedom Now.” Gessesse currently resides in New York City.

Reviewing Gessesse’s current exhibit, Abraham notes: “By definition, ephemeral, the quality of Assegid’s prints recalls the fleeting nature of life, and most importantly, memory. His prints eloquently capture the transience of diaspora, recollections of the past, preserving only hints of a moment in time, while allowing all but the scene’s essence to fade into abstraction. Assegid gives a particularly touching commentary on the passing of time and life.”

If you missed the Brooklyn show, you have another chance to view or purchase the art work at Settepanni’s in Harlem (196 Lenox Ave at 120th street, 917.492.4806). The show will be on display for one more week.

Interview: A Green Photographer With His Lens on Ethiopia

Published by Lifestyle Editor September 1st, 2008 in Art and Featured. 4 Comments

By Tadias Staff

Published: Monday, September 1, 2008

New York (Tadias) - When Andarge Asfaw returned to his childhood home, Ethiopia, he had not been there for 27 years. What he experienced and photographed upon his initial return pushed him to get more involved in environmental work, and to use photography as his tool of choice.

Asfaw attended Cornell University and he is a graduate of Hallmark Institute of Photography. His work has been highlighted by Newsweek, Vanity Fair, Esquire and The Washington Post. And recently, his environmentally conscious work was featured by The Valley Advocate. Asfaw works as a professional photographer and currently lectures at the Washington School of Photography, the Art League School and the Metropolitan Center for the Visual Arts.

He spoke with Tadias about his photography career, his trip to Ethiopia and his new book, Ethiopia From The Heart (Cover image above).

Andarge Asfaw

Tadias: Let’s start with your career as a Photographer. How did you start?

A. Asfaw: My father was a serious amateur photographer. He gave me my first camera at the age of 12. I adored it. I always knew that I would become a photographer. When I left Ethiopia, I went to England, then the US, where I began my college studies. I continued on to complete my photography education at The Hallmark Institute of Photography. After graduating, I went to New York City and worked in a catalog house. This was an invaluable experience because I learned how to work efficiently since production deadlines were tight. From there, I relocated to Washington, DC and began working in a fast-paced design firm. Eventually, I started my own commercial photography studio in the 80’s, F/STOP STUDIO.

Tadias: What were your early experiences?

A. Asfaw: My father used to show slides of his own images on a large screen. His work showed landscapes and people. They were transporting and powerful. It was something I always looked forward to. Looking at snapshots in daylight cannot compare to a slideshow in the dark. The mood is more dramatic.

Running Through The Fields. © Andarge Asfaw

Awash National Park. © Andarge Asfaw

Tadias: The source of the passion?

A. Asfaw: I’ve always been a visual person. I don’t say it in words, I show it. Each time I photograph a subject, I’m looking to preserve it. Later after I see the work, I decide which of these photographs asks to be shared. This urge to photograph, calls me back again and again. This is my creative process.

Tadias: What prompted you to return to Ethiopia? Was there an alternate photography project that you had envisioned before returning?

A. Asfaw: I returned to Ethiopia in 1993. The purpose of my first trip back was to rediscover by myself and to photograph the land and the people as I remembered them from my childhood. I had not been there for 27 years. I have to say, the emotional impact was overwhelming. The country had been ravaged. A lot of the beauty and the magnificence that I remembered had vanished.

Ethiopian culture is rich in tradition. I am thankful that my parents were part of a generation that was strong and dignified. The opportunities and bounty that life offered me then, aren’t available to the youth of today. Even though Ethiopians are humble and respectful of each other, change has affected the whole culture.

Tadias: Please describe your travels in Ethiopia and highlight both the high points and lows of your journey and photographing experience.

A. Asfaw: I can’t say that it wasn’t rough working through all of my feelings of loss for places that were so much a part of my history. However, I returned to Ethiopia several times, not all for personal reasons. I was commissioned in some cases. Certain trips that I made were to help organizations that were fundraising. When you’ve been hired by a client, you approach photography openly. You don’t have the same raw feeling that you get when you’re creating personal work. I was productive during that time for those that I was serving. This was good for me. I grew in strength with each visit back and eventually clarified my goals and was healed. I set out to reveal the beauty of Ethiopia to the world.

Hamer Siblings. © Andarge Asfaw

Genet Mariam Church. © Andarge Asfaw

Tadias: You mention that your current book Ethiopia from the Heart reveals the environmental issues that are not usually covered in other photography projects on the region. How will your work bring more needed attention to these concerns?

A. Asfaw: Well, with interviews like these, this is a great start!

Through exhibiting and lecturing about “Ethiopia from the Heart”, I hope to build a community that will support my future efforts to facilitate environmental stewardship in Ethiopia and in everyone’s own backyard. The more recognition the book gets, the stronger the message becomes. Book sales fund tree-planting in Ethiopia through Greener Ethiopia and Trees for the Future.

Tadias: There are no words or descriptions to accompany the photographs in your book? Why did you opt for such a layout?

A. Asfaw: There seems to be a lot of energy around this topic. The title of each image can be found at the back of book. In this information age, we always want to know more - faster. Flipping to the back of the book is slower. What’s the rush? Fine-art is meant to be enjoyed. A lot of photography icons of the past did much of the same. The page layout for “Ethiopia from the Heart” was created by my photo editor and dear friend, Donna T. Jones. Her final decision to have the images unencumbered by text encouraged the fluidity of page movement and kept the design elegant. I loved the final product.

Tadias: You will be exhibiting your current work at the Hallmark Museum of Contemporary Photography in mid-September. Can you tell us a bit more about it?

A. Asfaw: The Hallmark Museum of Contemporary Photography in Turner Falls, Massachusetts, graciously invited me to exhibit my work from “Ethiopia from the Heart”, which explores the richness of Ethiopian landscape, culture and wildlife. There will be a book signing and illustrated artist talk on Saturday, September 13, 2008, beginning at 6:45PM. Book sales fund tree-planting projects in Ethiopia. The Non-Ethiopian community is receiving my work with open arms. I would love to see support from the Ethiopian Community up North at this opening.

Morning Rays in Tigray Village. © Andarge Asfaw

Tadias: What is the message that you want most to convey to the Ethiopian diaspora? Your photography fans? Environmentalists?

A. Asfaw: I refuse to believe that “we can’t fix what’s been broken”. It will take time and patience, but rejuvenation and change can and will happen in Ethiopia. On the cover of Ethiopia from the Heart, I chose a photograph of a straw flower. In Amharic, Ayderki, which means “everlasting”. That is my true message.

As for my photography followers, many thanks for your praise and encouragement. I especially thank my students for their enthusiasm. “Ethiopia from the Heart” conveys a message that photographers not only document history, they make it. Artists continue to expose the issues and get attention. And for our brothers and sisters in the environmental movement, partner with others to create a stronger network. You all are amazing.

Tadias: What is your next project?

A. Asfaw: Tough question for the diverse amount of subjects calling out to be photographed. But one thing is for sure, I’m not done with Ethiopia, yet. There is another book on the horizon.

—
Digital prints from Ethiopia From the Heart are on display through Sept. 21 at Gallery 85, Hallmark Museum of Contemporary Photography, 85 Ave. A, Turners Falls, Massachusetts, (413) 863-0009. Copies of the book are available at the museum as well as at www.ethiopiafromtheheart.com.

Berlin’s IFA Exhibition to Include Two Ethiopian Photographers

Published by News Room August 26th, 2008 in Art, Featured and News & Hot Shots. 3 Comments

By Tadias Staff
Above photo: By Aida Muluneh

Published: Tuesday, August 26, 2008

New York (Tadias) - Berlin’s Institute for Foreign Cultural Relations (IFA) , will host a photo exhibition which includes the works of two promising Ethiopian photographers - Aida Muluneh and Michael Tsegaye. The exhibit entitled ‘Bamako 2007′ touches on several themes including the landscape of the African continent, colonial heritage, HIV/AIDS, self-portraits, and wall paintings.

The exhibit will be open from October, 24th, 2008 to November 1st, 2009. Here is the bio of Aida Muluneh and Michael Tsegaye courtesy of IFA.

AIDA MULUNEH

In her photos Aida Muluneh captures Ethiopian lifestyles to oppose Western mainstream ideas. Our image of Ethiopia is still characterised by children starving during the famine of the ‘80s. On the contrary, she shows us a sober, stylish and elegant world, without ever approaching any sort of stereotyped images. Because of her own immigrant background, she is interested in issues concerning cultural origins and changes, in that feeling of rootlessness caused by immigrant life. In her truthful and respectful pictures, Aida Muluneh presents us the Ethiopian people in all their dignity.

“Spirit of Sisterhood” from
the series “Ethiopian Light”,
2000 (Aida Muluneh)

Aida Muluneh was born in 1974 in Ethiopia. She left her home country at a young age and spent her childhood between Yemen and England. After several years in a boarding school in Cyprus, she settled in Canada in 1985. She received a BA in Film, Radio and Television from Howard University, Washington DC in 2001. Since then, she has been working as freelance photographer. She has also founded an organisation whose aim is to increase the opportunities for African artists in the diaspora. Her photos have been on display in many important international exhibitions. Today Aida Muluneh is working at “The Unhealing Wound”, a documentary about the Ethiopian war orphans who moved out to Cuba in 1979.

MICHAEL TSEGAYE

In the photo series “Ankober” the Ethiopian photographer Michael Tsegaye has captured an Ethiopia which still preserves its culture and traditions. The place in the fog looks mysterious and secretive. People dressed in a traditional way appear in the landscape. The photographer achieves a quiet harmony through the balance of light and shades of grey. Uncertain outlines and haziness create a distance which makes Michael Tsegaye’s photos appear melancholic.

Mystic from the series “Ankober”, 2006
(Michael Tsegaye)

Michael Tsegaye was born in 1975 in Addis Ababa, Ethiopia, where today he lives and works. He graduated in Painting from the Addis Ababa University School of Fine Arts and Design in 2002. Later, because of an allergy to oil paint, he had to gave up painting and started with photography. He has participated in several group as well as solo exhibitions.

Related: Hot Blog: The Untold Story of Ethiopians in Cuba (Tadias)
An interview with photographer Aida Muluneh, who is filming a
documentary about Ethiopians in Cuba.

Harlem Ethiopian Art Exhibition September 5

Published by News Room August 25th, 2008 in Art and Events. 0 Comments

Source: Helina Metaferia

Published: Monday, August 25, 2008

New York - Coinciding with the 200th year celebration of The Abyssinian Baptist Church in Harlem, comes a group show called “Celebrating Abyssinia to Harlem and Back,” hosted by Canvas Paper and Stone Gallery in Harlem.

The show is curated by Helina Metaferia and Averlyn Archer, who is the Gallery Director at Canvas Paper and Stone, featuring Ezra Wube, Meseret Desta, Mekbib Gebertsadik, Tesfaye Tessema and Helina Metaferia along with Ray Llanos. “Celebrating Abyssinia to Harlem and Back,” is a modern art group show appreciating the special relationship between Ethiopia and Harlem.

The Opening Reception will be held on Friday, September 5, from 6 until 9 PM. The exhibition will run from September 3 through September 27, 2008 in the Gallery at 2611 Frederick Douglass Blvd., Studio 2N in Harlem, New York 10030. Gallery hours are Tuesday through Saturday, from Noon until six and by appointment.

There is also a gallery talk scheduled for the end of the exhibition, featuring Dr. Getachew Metaferia, a professor of Political Science and International Relations at Morgan State University. He has written The Battle of Adwa- Reflections on Ethiopia’s Historic Victory Against European Colonialism and will speak to the topic of Ethiopian-United States ties across the Atlantic.

The relationship between Ethiopians and Harlemites began in 1808 when Ethiopian merchants and African Americans co-founded The Abyssinian Baptist Church in the City of New York, and has continued to the present, as Harlem is the home to thousands of Ethiopians. Their initial shared effort with The Abyssinian Baptist Church was in response to racially segregated seating in the churches. In the 1930’s, when Garveyism and the Italian-Ethiopian War were on the rise, African-Americans in Harlem took interest in Ethiopia’s independence. Pan-Africanist struggles and the religious-political notion of Ethioipianism bound Harlem residents to Ethiopia, and many African-Americans began to extend their support as Ethiopia struggled against fascist tyranny.

Contemporary Ethiopian art reflects the history of the nation, using bold colors, rich strokes, rhythmic symbols and patterns to express subjects ranging from the homeland and culture to prominent societal struggles. All of these traits are exhibited in the upcoming show, where each artist has his or her own special connection to Ethiopia, whether it be their descent or sense of nationalism. It is this connection to Ethiopia and the USA that unite the very diverse
artists, creating a fluid group show.

This show features five artists and a photographer. Ezra Wube was born and raised in Addis Ababa, the capital city of Ethiopia. He came to the United States at the age of 18. Currently, Ezra resides in Brooklyn, New York, working on his MFA at Hunter College. Ezra explores color and form composition, in examining the figure and themes.

International, award-winning artists Meseret Desta and Mekbib Gebertsadik find inspiration in the cultural richness of Ethiopia, their native homeland. Meseret spotlights women’s portraits while emphasizing the struggle and hardship of women of the world in antithesis to the vivid images of beautifully colored and textured open markets of Ethiopia. Mekbib focuses on “Africanism,” a style described by the artist as “contemporary African paintings reflecting
the core of the African life and culture.”

Tesfaye Tessema can claim many exhibits and private collectors. His work is wide ranging, from paintings, to prints, to computer manipulated photos. The commonality across all these media is
spirituality which is evident in his titles and in his work.

Helina Metaferia is a visual artist, healing artist, and community artist. Her paintings have been shown in galleries and museums such as The James E. Lewis Museum and Pheonix Gallery. She is the illustrator for the Children’s book We Dance the Earth’s Dance. Helina currently facilitate workshops in visual arts and meditation in community based programs.

Ray Llanos is a photographer, who accompanied The Abyssinian Baptist Church to Ethiopia, and captured their trip on film. His work has sent him across the United States and all around the world, to places including Trinidad and Tobago, Dominican Republic and Puerto Rico. Mostly specializing in Carnival festivals, Llanos has seen celebrations all over the world, capturing the energy of the moment while enabling his audience to feel those same emotions.

Canvas Paper and Stone Gallery is excited to present these artists to a community that has its own connections with Ethiopia and African Americans alike. The vibrant colors and beautiful textures reflect Ethiopia, its rich culture and landscape, as well as its relationship with Harlem. The Gallery is a contemporary fine art venue which focuses on emerging and established artists in all visual media. Among its objectives is informing and educating its client base, buyers, and collectors about contemporary visual art. It continues to lead the way in Harlem’s cultural arts renaissance by producing world-class art exhibitions. Past exhibits include work by TAFA, Deborah Willis, Ray Llanos, Eric Henderson, Diane Waller, Dianne Smith, Mary Heller, Francks Deceus, Charly Palmer and Aleathia Brown.

Learn more at canvaspaperandstone.com

Afewerk Tekle: His Brush is Stronger than the Machine Gun

Published by admin August 17th, 2008 in Art. 3 Comments

By Tseday Alehegn

Updated: August 17th, 2008

New York (Tadias) - Speaking about his life-long dedication to the fine arts, Maitre Afewerk Tekle instills in us the importance of using art to inspire people, to uplift nations and to create an optimistic view of life.

“What we do today must reflect today’s life for tomorrow’s generation and pave the way for the future generation,” he asserts with passion and reflection. He teaches us that “art is in every fabric of life.”

He was born in the town of Ankober in Ethiopia on October 22, 1932. Having grown up in an Ethiopia battling fascist Italian forces, Afewerk was acutely aware of the destruction of war and the need to rebuild his native home. Intent on acquiring skills that would allow him to contribute to Ethiopia’s restoration, the young Afewerk settled on pursuing his studies in mining engineering.

His family and friends, however, had already recognized his inner talent in the arts. Around town he was know for his drawings on walls using stones, and for possessing a curious and ever reflective mind. Despite his natural gravitation to the art world, at the age of 15 Afewerk was chosen to be sent abroad to England to commence his engineering studies.

Maitre Afewerk recalls being summoned by Emperor Haile Selassie to receive last-minute advice prior to his departure.

“To this day I cannot forget his words,” the Maitre says pensively. “The Emperor began by counseling us to study, study, and study.”

“He told us: you must work hard, and when you come back do not tell us what tall buildings you saw in Europe, or what wide streets they have, but make sure you return equipped with the skills and the mindset to rebuild Ethiopia.”

Maitre Afewerk confides that this sermon rang in his head each time he was tempted to seek the easy life, free from the responsibility of rebuilding his nation and uplifting his people.

As one of the earliest batch of African students admitted to exclusive boarding schools in England, Afewerk faced culture shock and the occasional strife caused by English bullies. Yet he remained steadfast in pursuing his studies. He especially excelled in courses such as mathematics, chemistry and history, but it was not long before his teachers discovered his inner talent for the arts.

With the encouragement of his mentor and his teachers, Afewerk decided to focus on refining his gift and enrolled at the Central School of Arts and Crafts in London. Upon completion of his studies he was accepted as the first African student at the prestigious Faculty of Fine Arts at Slade (University of London). At Slade, Afewerk focused on painting, sculpture and architecture.

Upon returning to Ethiopia, Maitre Afewerk traveled to every province, staying at each location for a period of up to three months, immersing himself in the study of his surroundings and absorbing Ethiopia’s historical and cultural diversity. He reflected on and pushed himself to become an Ethiopian artist with world recognition.

“I had to study Ethiopian culture,” the Maitre states, “because an important ingredient of a world artist is to have in your artwork the flavor of where you were born.”

He passionately adds, “My art will belong to the world but with African flavor.”

Above all, Maitre Afewerk worked diligently in the hopes of using his artwork as a social medium with which to highlight the history, struggles and beauty of his native home. Although he was educated abroad, he fought against what he called “the futile imitation of other artists’ works, Western or otherwise.’’

Left: Mother Ethiopia, 1963, 100×125cm Oil on Canvas. Middle: Lady from Wollo, 1991, 70×35cm,
Oil on Canvas. Right: Remenbrances: Detail of the Head, 75×125cm, Oil on Board

With the message of rebuilding Ethiopia still ringing in his ears, Maitre Afewerk quickly decided to relinquish the ministerial post assigned to him upon completion of his university studies, and opted instead to devote his full attention to painting and exhibiting his artwork both at home and abroad.

At age 22, Afewerk Tekle held his first significant one-man exhibition at the Municipality Hall in Addis Ababa in 1954. He followed up his success by conducting an extensive study tour of art in Italy, France, Spain, Portugal and Greece, paying particular attention to collections of Ethiopian illustrated manuscripts as well as acquiring skills in stained-glass artwork.

Returning home he was commissioned to create religious art for St. George’s Cathedral. He also worked on some of the first sculptures depicting Ethiopian national heroes. His designs and inspirations were soon printed on stamps and national costumes. Most notably, he conceptualized and designed the elaborate stainedglass window artwork in Africa Hall at the headquarters of the United Nations Economic Commission for Africa.

Left: The Artist Working on the head of H.E Tedla Bairu, the first Chief Executive of Eritrea, 1967.
Middle: The finished Sculpture & the Model of the same in Stone, 1967. Right: Head of a Jamaican
girl, Bronze, 1953

Left: Ras Makonen, Harrar, 1959. Middle: “Defender of his faith” (project for statue) Abuna Petros
square A.A., 1967. Right: “Young Defender of his country” (Project for youth square A.A. , 1959)

With the income and savings he acquired by selling his artwork Afewerk designed his own 22-room house, studio and gallery, which he nicknamed ‘Villa Alpha’.

General view of ‘Villa Alpha’ from outside

By 1964 Maitre Afewerk had held his second successful exhibition, thereafter followed by his first exhibition abroad in Russia, the U.S.A. and Senegal. Touring African nations at a time when Africa was under the yoke of colonialism, Afewerk Tekle used his paintbrush to fight for the dignity and honor of African people.

Focusing on the struggles ensnaring black people, he shared his quest for liberation and equality, naming his artwork with titles such as Backbones of the African Continent, Africa’s Heritage, and African Unity.

“Your brush can be quite stronger than the machine gun,” he says. “I wanted to show how you can write Africa through your artwork, what it means to have liberty, to have your fellow humans completely equal.”

The theme of African independence and the interrelationship of African cultures are indelibly etched in Maitre Afewerk’s paintings.

Afewerk Tekle at Stanford University on March 7,
2004. (Photo: Tadias Archive)

Many art critics have tried, time and time again, to label and categorize his work as having either European or African influence, and sometimes even both. However, he tells us that “you should be free and liberated in your thoughts and style. Your art should speak to you in your hidden language.”

Maitre Afewerk notes that 10% of his work is considered religious art while at least 50% echoes Ethiopian influence. But there is room for him to explore and develop his own style that speaks to his inner muse.

Today, Maitre Afewerk’s art is known and celebrated throughout the world, and indeed he has achieved his dream of becoming an Ethiopian artist with world recognition. He has uplifted Ethiopia, and at the same time his art has been infused into the daily life of his community and fellow citizens.

Walking or driving around Addis few years ago, it was difficult to miss his art projects depicting today’s heroes such as Haile Gebresellasie. At the bottom corner of the painting there is an Amharic phrase that says it all: Yitchalal! (It’s Possible!).

“At the end of the day, my message is quite simple,” he says. “I am not a pessimist, I want people to look at my art and find hope. I want people to feel good about Ethiopia, about Africa, to feel the delicate rays of the sun. And most of all, I want them to think: Yitchalal!

—
Photos of art work from maitreafewerktekle.com. Learn more about the artist at the same website.

About the Author:
Tseday Alehegn is the Editor-in-Chief of Tadias Magazine. Tseday is a graduate of Stanford University (both B.A. & M.A.). In addition to her responsibilities at Tadias, she is also a Doctoral student at Columbia University.

Ethiopian Ceramicists: Mamo Tessema & Sofia T. Gobena

Published by admin August 14th, 2008 in Art and News & Hot Shots. 9 Comments

Above: “Porcelain bowl,” teapot, and vase, ceramic.
By Tessema, Mamo (Photo credit - National Archives,
Contemporary African Art from the Harmon Foundation, select
list number 236).

By Lydia Gobena

Conversations Between Generations

Updated: August 14th, 2008

New York (Tadias) - Pottery has traditionally played a functional role in Ethiopian society, and ceramists have generally been seen in a less than favorable light. In fact, in certain areas, ceramics was even associated with witchcraft. Ato Mamo Tessema impacted Ethiopians’ perceptions of ceramics and ceramicist. His work became seen and continues to be seen as an art form rather than a product with a utilitarian function. Ato Mamo’s artwork and career as the founder and curator of the National Museum of Ethiopia has also had a lasting legacy on Ethiopian artists, including Sofia Temesgien Gobena.

This article will discuss Ato Mamo’s influence on changing the perception of ceramists and ceramic art in Ethiopia, as well as his influence on the career of his cousin Sofia T. Gobena, who passed away in 2003. This article will further discuss how Sofia’s family is seeking to promote the notion of ceramics as an art form in Ethiopia.

Mamo Tessema

Mamo Tessema. Photo by Harold Dorwin

Mamo Tessema was born on August 24, 1935 in Nekemet, Wollega, Ethiopia. He graduated from Teacher’s Training School at His Imperial Majesty’s Handicraft School in Addis Ababa. After studying in Ethiopia, he went to the U.S., where he attended the Alfred University, and the New York College of Ceramics. He received his Bachelor’s of Fine Arts and Masters of Fine Arts from Alfred. At Alfred, Ato Mamo’s studies were not limited to ceramic design, he also studied wood carving, painting, sculpture, welding, graphics, lithography, photography, furniture design, and history of art, among other things. Thus, Ato Mamo’s studies provided him with a well-rounded background in art, which is reflected by his artwork.

Above Left: “Warrior,” welded steel sculpture by Mamo Tessema (Photo credit -
National Archives, Contemporary African Art from the Harmon Foundation, select list
number 239).

Above Right: “Welded Bird,” welded steel sculpture by Mamo Tessema
(Photo credit - National Archives,Contemporary African Art from the Harmon
Foundation, select list number 240).

Ato Mamo’s work has been exhibited in a number of locations including at the: Alfred Guild at the State College of Ceramics; 1961 UNESCO exhibit; Temple Emanu-El in Yonkers, New York; Washington Heights branch of the New York Public Library; Hampton Institute and Commercial Museum in Philadelphia. The latter five exhibitions were done through the assistance and/or sponsorship of Harmon Foundation, which during its existence from 1922 to 1967, played an instrumental role in promoting the awareness of African art in the U.S. Ato Mamo has also exhibited his work in other countries, including in Ethiopia.

“The Capture,” woodcut. By Tessema, Mamo (Photo credit - National
Archives,Contemporary African Art from the Harmon Foundation, select
list number 237.

After returning from studying in the U.S., Ato Mamo became well-known as a ceramist. This resulted in Ethiopians beginning to appreciate ceramics as an art form. To this day, when Ethiopians think of ceramics as an art form, Ato Mamo immediately comes to mind.

Ato Mamo also taught at the Handicraft School after his return to Ethiopia. Ato Mamo further embarked on the ambitious and worthy project of establishing the Ethiopian National Museum, the first museum in the country. Among the purposes of the Museum were to demonstrate the illustrious art and culture of Ethiopia to visitors, and to educate Ethiopian children about their rich history. As the founder and curator of the museum, Ato Mamo traveled throughout the globe, presenting Ethiopian artifacts to the world.

It can be said that his influence is felt by many now, when one travels through the bustling art scene in Ethiopia. There seems to be a greater appreciation of artwork as new private galleries are opened. Ato Mamo saw the importance of Ethiopian art and history, and the need to archive it. For this Ethiopians should be grateful.

Sofia T. Gobena

Sofia at her Masters of Arts Show

Sofia Temesgien Gobena was born in Addis Ababa, Ethiopia, on August 18, 1964. She came to the United States of America in July 1972 with her parents, Abebetch B. and Temesgien Gobena. She received her Bachelor of Arts degree in Psychology from Antioch College in Ohio, and a Master of Arts in ceramics and glass from the University of Wisconsin at Madison. She also completed her work for her Master of Fine Arts at the University of Wisconsin. Sofia unexpectedly passed away at the age of 38, though in her short life she was a prolific creator. Here are but few samples of her work.

Photos: The Sofia T. Gobena Foundation for Promotion of Education in Ceramics and Fine
Arts

To learn about ceramics in Ethiopia, Sofia visited one of the traditional ceramics producing stations. Sofia’s art professors and colleagues described her artistic abilities as transcendent and the kind of talent that comes around perhaps once a decade.

During Sofia’s visit to a traditional ceramics station
in Ethiopia.

Although Sofia’s life was brief, she was a prodigious artist, leaving behind numerous paintings, sculptures, glasswork, and ceramic pieces that are testaments to the beauty of her creative spirit. While some of this work had previously been seen during her Master of Arts show that was held in Madison, Wisconsin, her artwork received greater exposure at an art show that was held on June 18-20, 2004, in Washington, D.C. at the WorldSpace Corporation. The art show was put together by her family, with the assistance of Mamo Tessema.

More samples of Sofia’s work (Photos: The Sofia T. Gobena Foundation)

Sofia’s influences in ceramics were the well-known U.S. ceramicists Peter Voulkos and Daniel Rhodes. Mamo Tessema was also an important influence in Sofia’s art. The Sofia T. Gobena Foundation was established in Sofia’s memory. The purpose of the foundation is to distribute funds to educational institutions in the United States and abroad that support and encourage the promotion of ceramic arts. Contributions have already been made to the Addis Ababa University Art Department to develop a ceramics department.

In sum, Mamo Tessema’s art work and legacy as the founder of the Ethiopian National Museum has had a significant influence on Ethiopia and artists. One such artist was Sofi a T. Gobena, in whose name a foundation was established to promote the ceramic arts.

—
About the Author:
Lydia Gobena, sister of Sofia T. Gobena and a cousin to Ato Mamo Tessema, is a trademark attorney and partner at Fross Zelnick Lehrman & Zissu, one of the top intellectual property law firms in the world. She is also a jewelry artist based in New York City.

Embracing Ethiopia: NYT Photographer Chester Higgins

Published by admin August 13th, 2008 in Art and News & Hot Shots. 2 Comments

Publisher’s Note:

New York (Tadias) Chester Higgins, Jr. is one of the most significant photographers of his generation. He has been a staff photographer at The New York Times since 1975. One of the most indelible images of Emperor Haile Selassie was captured by him in 1973 at Addis Ababa airport during the tenth anniversary of the Organization of African Unity (OAU), now called the African Union (AU).

His photographs have appeared in ArtNews, The New York Times Magazine, Look, Life, Newsweek, Fortune, Ebony, Tadias, Essence, Black Enterprise, GEO, The Village Voice, The New Yorker and Archaeology.

Higgins’ body of work is a fluid, sensitive and in-depth diary of his explorations of the human Diaspora; they reflect his concern with his own humanity. Through his portraits and studies of living rituals, traditional ceremonies, and ancient civilizations, his viewers gain rare insight into cultural behavior — a window to another place and time.

In this piece for Tadias Magazine (Embracing Ethiopia), Higgins shares with us some stunning photographs of Ethiopia, as well as the story of his journey to this ancient nation.

Embracing Ethiopia
By CHESTER HIGGINS

Updated: August 13th, 2008

Long before I set foot in Ethiopia, the name itself summoned images of Biblical proportion for me and, I believe, for many other African Americans as well. In the Bible, ‘Ethiopia’ is a place of refuge, an amazing mystical land.

Then with the advent of Marcus Garvey and African nationalists, who rallied against the Italian invasion of Ethiopia during the Second World War, Ethiopia became a symbol of resistance to Colonialism. In the 1960s, when Emperor Haile Selassie appeared on national TV during a state visit to the US, millions more African American imaginations burned with the knowledge of an independent African people.

Not until the 1970s did the image and concept of Ethiopia, inspired by the reggae music of Bob Marley, gain extraordinary prominence in the minds of a young generation of African Americans. The Rastafarian Movement’s efforts to re-define the sanctity of Ethiopia and re-cast Emperor Selassie in a sacred light caught the imagination of young people as they swayed to reggae music. A new light had come out of Africa, but the beam started in the diaspora, this time in Jamaica.

In 1969 I had the good fortune to make a portrait of the renowned Harlem historian and teacher Dr. John Henrik Clarke. He was deeply committed to Africa and African people. My young mind was a parched field, and the many hours I spent with him, asking questions and hearing his answers, fertilized and watered that dry soil. Through him, my knowledge and understanding of Ethiopia grew. Dr. Clarke had this effect on thousands of Harlem residents and on students at Hunter College and Cornell University.

In 1973, on my first journey to Ethiopia, I attended the tenth anniversary conference of the Organization of African Unity (OAU), now called the African Union (AU). That year the conference was held in Addis Ababa. I came to photograph African heads of state; I wanted to share with African Americans my view of rulers responsible for African people.

Above: Emperor Haile Selassie (1973).
Photo by Chester Higgins.

For me the most significant ruler, the most interesting leader, turned out to be Emperor Haile Selassie. In my new book, Echo of the Spirit: A Photographer’s Journey (Doubleday 2004), I write: “…As I waited at the Addis Ababa airport for a glimpse of arriving dignitaries, my attention was pulled from the action around the arriving airplanes to a group of men making their way across the tarmac. I could sense the power of one man in particular before I could even see him.” Although he was of such small stature that he was dwarfed by the others alongside him, something about his aura so profoundly moved me that I lowered the camera so I could see him with both eyes. Only after he passed me did I learn that I had been in the presence of His Majesty Haile Selassie, the Emperor of Ethiopia.

Returning from that trip, I began to seek out Ethiopian students at Ethiopian restaurants and conferences to discuss my experience, encountering a mixed reception and political discontent. The students were receptive to my interest in their country, although none shared my enthusiasm for the emperor. Through the many students I have met over the years, I have discovered informative books and begun attending the Horn of Africa Conference, held annually at the City College of New York.

In July 1992, I returned to Ethiopia with my son Damani as my photography assistant. As I wrote in my book Feeling the Spirit: Searching the World for the People of Africa (1994), “The memory of being in his [Emperor Haile Selassie I] presence has remained an inspiration in my personal life. Damani, who has locked his hair, shares my love of His Majesty and reggae, the music of the Rastafarians who worship Selassie.”

So far I have been to Ethiopia about a dozen times. On each visit, I use my camera to make a record of contemporary and ancient Ethiopia. Spending weeks at a time, I have traveled in the North to the cities of Mekele, Gondar, Lalibela, Aksum, Bahir Dar, Dessie and Yeha. In the South, I have recorded sites and ceremonies in Nazareth, Debra Ziet, Awassa, Tiya and Tutafella.

Above: Fasilides Castle. Photo by Chester Higgins.

Ethiopia is indeed home to the earliest humans. In the National Museum in Addis are the bones of Dinquinesh, or Lucy, dating back almost 4 million years. In Aksum, I have seen the monumental mains of tombs and obelisks from earliest kingdoms. Also in Aksum, in 1000 BCE, Makeda, Queen of Sheba, turned away from the old faith of the Nile River cultures — the worship of the Sun that climaxed as the ancient Egyptian religion — and embraced the faith of the Hebrews. Here, too, Emperor Ezana converted to Christianity in 324 CE. The richness of the historic and photographic appeal of Ethiopia is revealed for me especially in the ancient monolithic stone churches of Lalibela and the more ancient Moon Temple in Yeha.

Above: Yeha Temple. Photo by Chester Higgins.

Above: Axum Tomb. Photo by Chester Higgins.

Today, Ethiopian people stand tall and proud, their feet planted securely on the land of their fathers and under the sky of their mothers. Ethiopians work hard, believe hard, and are driven hard to persevere by the vicissitudes of nature and life.

It has been a pleasure getting to know Ethiopia and her people.

–
Learn more about Chester Higgins at:chesterhiggins.com

The Long Road Home: Photographer Andarge’s Quest to Raise Awareness About Ethiopia’s Deforestation

Published by admin July 30th, 2008 in Art and News & Hot Shots. 1 Comment

The Long Road Home (Valley Advocate)

Photographer Andarge Asfaw is raising awareness of Ethiopia’s deforestation with his photography book, Ethiopia From the Heart.

By Kendra Thurlow

Thursday, July 31, 2008

Born in Addis Ababa, Ethiopia, photographer Andarge Asfaw has lived in the U.S. for almost 40 years. He came here as a young teenager, attending high school in Ithaca, N.Y., then Cornell University and the Hallmark Institute of Photography. After Asfaw completed his studies, he planned to return home to Ethiopia, so his birth country could benefit from his education abroad. That plan was thwarted in 1974: a Soviet-backed military junta deposed Emperor Haile Selassie and established a communist state.

“At the time we had no choice of going back,” said Asfaw in a recent interview with the Advocate. “The generation that came from Ethiopia at the time, we were pretty much expected [after getting an education] to go back and provide service. But once the government changed, everything changed.”

Asfaw’s photography career blossomed as he settled into life in the United States and strove to “live the American Dream.” For over 25 years, Asfaw has maintained, with longtime business partner Donna Jones, F/Stop Studio, a Washington D.C.-based commercial photography studio. His work has been featured in Newsweek, Vanity Fair, Esquire and the Washington Post; he teaches at the Washington School of Photography, the Art League School and the Metropolitan Center for the Visual Arts.

Despite Asfaw’s success in the U.S., the thought of seeing Ethiopia’s breathtaking countryside again was never far from Asfaw’s mind. “As a photographer, I think it’s always your dream to go back and do something about where you came from,” said Asfaw. “I remember such a beautiful country, with animals running around, and people down south running around naked& When I was young and driving with my dad in the countryside, you’d have to watch out for deer, leopards, zebras, giraffes—and the monkeys owned the road.”

In 1994, the first year since the 1974 coup that Ethiopia held multi-party elections, Asfaw returned to his home country. What he found, however, barely resembled the country he had left almost 29 years earlier.

“I arrived to find an unfamiliar Ethiopia,” Asfaw wrote in Tadias, an online magazine for the Ethiopian-American community. “The trees had disappeared. Wildlife that had crossed the roads not far from the region where I grew up was absent… Unemployment, relocation, political differences and health concerns had reshaped the lives of the population. Devastated, I didn’t know where to begin documenting my dreams.” Read More.

Museum Acquires Ethiopian Book

Published by admin July 29th, 2008 in Art and News & Hot Shots. 1 Comment

Getty Museum adds rare Ethiopian book (Los Angeles Times)

By Suzanne Muchnic
Los Angeles Times Staff Writer

July 30, 2008

The J. Paul Getty Museum has added a rare Ethiopian Gospel book to its collection of illuminated manuscripts. Created around 1504-05 with five full-page paintings and many ornamental touches, it is one of the few such volumes to have survived wars and a Muslim purge of early Christian imagery in Ethiopia.

Purchased at an undisclosed price from a private collection in France, the new acquisition will go on view Aug. 12 in “Faces of Power and Piety,” an exhibition of portraiture in illuminated manuscripts at the Getty Center.

“This is a wonderful addition to the collection, visually and culturally,” said Thomas Kren, the Getty’s curator of manuscripts. “It’s a great and beautiful object. And it belongs to the classic tradition of Gospel books, one of the greatest vehicles for Christian art. Within that context, it’s a completely distinctive variation.”

The book — which measures 13 5/8 by 10 1/4 inches — contains full-page illuminations of the Virgin and Child and evangelists Matthew, Mark, Luke and John. The portraits are painted in a bold style that Kren described as “almost modern.” Ethiopian illuminators favored blocks of vivid color and strong patterns, including zigzag motifs on textiles and clothing. In the Getty’s example, architectural borders enhance an eight-page concordance, or index, of Gospel stories; abstract designs frame other sections. Read More.

Skoto Gallery exhibits Sumayyah Samaha

Published by admin May 19th, 2008 in Art. 0 Comments

By Maymanah Farhat

Published: Monday, May 19, 2008

New York - Skoto Gallery will present Darkness Ushers Dawn, an exhibition of recent mixed media paintings and drawings by the Lebanese-born artist Sumayyah Samaha. This will be her first solo show at the gallery. (The reception is on Thursday, May 29th, 6-8pm and the artist will be present).

Atmospheric and emotive, Sumayyah Samaha’s paintings are at once expressive and internal. Saturated color and overlying textures demonstrate a command of medium, giving a multidimensional feel to the work. Although abstract, the artist’s compositions often allude to figurative elements, particularly those found in nature. This is most visible in Samaha’s work of the late 90s in which the Catskill Mountains and the dramatic landscapes of her native Lebanon serve as inspiration. In these oil paintings, vibrant reds, rich browns and, deep blues and purples give way to imposing mountainous forms that overpower moody and tumultuous skies. Suggestive of an earth that is in constant dialogue with the cosmos, these compositions overpower the viewer with colorist interpretations of the forces of nature. In a previous series, these interpretations appeared in more evident forms such as flowers or human figures.

Above: The Blues, 2007, watercolor, mixed media on paper, 22.5×17.5 inches

Also included in the exhibition are several works on paper that reveal another aspect of the artist’s oeuvre. In recent years Samaha has been creating work that communicates the catastrophic nature of current Middle Eastern political conflicts. After traveling to Lebanon in 2001 and witnessing the disintegrating state of political affairs in the region, she was overcome by an intensifying sense of urgency. Upon returning to New York, she began to explore different ways of articulating the delicate nature of lives held under siege. It is at this point that her work began to change, as she explored the affect of war and occupation on civilian life. Using a variety of media—including watercolor, ceramic, charcoal, monoprints and thread—Samaha strived to capture the adversities of violence. Fragile, solemn and pensive—although executed with bold hues and vigorous brushstrokes—this series engrosses viewers in a perpetual state of devastation, as we are unable to escape the profound nature of the work. Her most recent series—a departure from such mournful examples—speaks of a new stage, one distinguished by pulsating eruptions of color in which volcanic textures create depth and dimension. Such progression has inspired the title of her latest solo exhibition, Darkness Ushers Dawn.

This recent series of oil paintings has Samaha returning to her signature vivid palette. In these works we find the vertical division of the canvas, indicating an epicenter from which explosions of energy are expelled. An innate tension is evident—perhaps resonating from the previous political series—as brilliant blue, red and orange oceans crash into darker, earth-toned hues of black, brown and grey. Although it is a near-violent collision, the dramatic meeting of light and dark, these works are optimistic and speak of life and motion.

Sumayyah Samaha was born in Shweir, Lebanon in 1939. She received a MFA from the University of Pittsburgh in 1965. Samaha has been exhibiting her work since the late 1970s and has held twelve solo exhibitions in New York—where she is based—in addition to being featured throughout the United States, Europe and the Middle East. As co-founder of 22 Wooster Gallery in 1978 and an active member of the gallery for ten years, she was instrumental in creating an independent space for artists in the New York art scene. She is recognized as one of the leading Arab artists in the country.

—-
Maymanah Farhat is an art historian based in New York City.

NYC Art Show: Wosene Kosrof ’s WordPlay

Published by admin April 30th, 2008 in Art and Featured. 5 Comments

By Tadias Staff

Wednesday, April 30, 2008

New York (Tadias) - For over two decades, Ethiopian-born artist Wosene Worke Kosrof has experimented with the aesthetic potential of language, using written Amharic as the major compositional element in his bold colored and textured works.

According to the artist’s website, in his paintings, the calligraphic forms of Amharic are broken apart, abstracted, and reconfigured to create a new visual language that draws upon the artist’s Ethiopian heritage while incorporating his experiences as an expatriate living in the United States.

Photo: wosene.com

The Contemporary African Art Gallery in New York has been showing Kosrof’s work long enough to remember his early exploration in transforming these symbols into contemporary fine art.

Word Play presents an evolved body of work that shows how Wosene employs these language characters as discrete script-images that move beyond his Ethiopian cultural boundaries to an international language.

The gallery, owned and operated by Bill Karg & Reese Fayde, has extensive inventory and collection, which include works by the legendary Ethiopian artist the late Skunder Boghossian, among other notable African artists.

Wosene, 2003. (wosene.com)

Kosrof’s works have been collected by institutions as varied as the United Nations, the Volkerkunde Museum in Zurich, Switzerland and The National Museum of African Art at the Smithsonian, as well as many other domestic institutions and private art lovers.

–
Opening reception is scheduled for Thursday May 1, 2008, 6:00-9:00pm.
330 West 108th St. #6 (at Riverside Drive.) New York, NY 10025
Phone: (212) 749-8848 or (212) 662-8799. More at www.contempafricanart.com

Ethiopia through the lenses

Published by liben October 23rd, 2007 in Art. 8 Comments

By Photographer Emily Taylor

As long as I can remember, I have always been intrigued by lands and cultures that are far from my home in America.

Exploring these colorful continents began long before my twenties. As a child, I went many places without never leaving the country. I envisioned walking circles around England’s Stonehenge, climbing trees along with the panda bears in China, and dancing among the tribes in the South American Amazon Rainforest.

My childhood adventures around the world took place within the pages of books and
magazines. Intriguing as these places were, one stood out and captivated me: Africa.

My real travels began in 1999. Throughout Europe I experienced England, France, and Italy as well as in Latin America, Costa Rica and Puerto Rico. Each place I visited helped me to grow both personally and also as a photographer. After much anticipation, in the summer of 2006 the opportunity I had been waiting for arose.

I left my home in Virginia to travel to Africa. My first visit, land of the ancient pyramids and the famous Nile River was Egypt. After spending a few weeks traveling around the country I stepped on a plane with my good friend and left Cairo flying south following the Nile and into the country of Ethiopia.

With only the words from books and conversations with Ethiopian friends in America I entered a land notoriously known for famine and poverty. The Ethiopia I found was far different. From the thriving nightlife in Addis, to the ancient religious landmarks in the north, to the colorful wildlife and tribes in the south, the real Ethiopia challenges the traditional western image.

Beautiful Accacia trees give much needed shade to a small village in the South Omo Valley. Photo by Emily Taylor.

Although I was merely a visitor to this land, I felt at home and relaxed. I wanted to capture everything and arguably saw more through the lens of my camera than I did with my naked eyes. Of the many things I saw and experienced within Ethiopia, there was one thing that stood out the most: the people. The Ethiopian people are a diverse group with many different languages and traditions. Although there is much diversity among Ethiopians, I found there was one common characteristic: an immeasurable amount of human spirit. Each person I had the opportunity to spend time with extended to me the utmost respect and the same warm welcome.

Driving north of Addis, my camera rested on the window of the car, capturing this quick but beautiful encounter.

Visiting markets in Ethiopia was my favorite way to capture such color people as this young Banna tribe member.

Education is a highly sought after and cherished resource in the lives of Ethiopian children.

As a photographer, I felt it was my responsibility to capture this unique culture with sincerity and care. I returned to America with many stories and thousands of images to share with my family and friends. After weeks of constantly talking about my trip I felt something more could be done. In the fall of 2006 I began giving multimedia presentations for universities, community
centers, and churches. Since then, my mission to educate Americans about Ethiopia has progressed rapidly and continues daily.

The significance of faith in modern-day Ethiopia is portrayed here, by a priest of the ancient rock-hewn churches in Lalibela

Stemming from both the overwhelming encouragement and support from Americans and Ethiopians alike, coupled with my passion to broaden the minds of the western world, Project Image Ethiopia was born. The media project not only serves as a tool for cultural awareness and education, but also as a celebration of a beautiful country that has been misrepresented for
years. In the coming year I hope to return to Ethiopia where I can continue my work as a photographer and as the project’s team leader.

Two Ethiopian friends share their conversation with me on a street corner near The National Museum in Addis.

Taking a moment away from his herd a young boy standing peacefully for a photograph.

Although I have learned a great deal about Ethiopian culture, I am excited about the opportunity to experience even more so as to be able to assist in educating and enlightening Americans. My goal for Project Image Ethiopia is to provide information on both the people and the land of Ethiopia through print and broadcast media.

I traveled and was fortunate enough to be able to experience some of the world’s greatest places through media as a child. Now I would like to return my good fortune and provide the media to take America on a walk across the beautiful East African country of Ethiopia.

Learn more about Project Image Ethiopia at ProjectImageEthiopia.org

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Painting between Addis Ababa and Paris

Published by admin September 15th, 2007 in Art and Featured. 3 Comments

Spotlight on Artist Fikru G/Mariam

Born in 1973, Fikru G/Mariam has been practicing art ever since his parents enrolled him at the Addis Ababa School of Fine Arts children’s program at the age of eleven.

In 1986, he takes part in the children’s competition organized by the International Children’s Painting Exhibition in Beijing, wins a reward and what was at the beginning just a hobby became a real passion.

In 1995, he graduates from the School of Fine Arts and decides to dedicate his life to full-time painting. At that time, most of his works were concentrated on religious and traditional african themes.

Fikru in his Paris Studio - 2005

After traveling in the Harrar region and in Northern Ethiopia, Fikru finds new sources of inspiration, especially in Harari women. According to him, those women are “highly decorative in the way they dress and do their craft” (The Reporter, 03/10/1999).

The Dream - 120×120 cm - Oil on canvas - 2004. Upcoming shows - 2007: solo exhibition National Museum, Addis Ababa, Ethiopia. 2007: May 1-30: solo exhibition, Galerie François 1er, Aubigny sur Nère (18700), France. Opening on May 5th at 5pm. 2008: summer: Galerie Alternance Guy Lignier, Hardelot, France.

Blue dream 100×81 cm Oil on canvas 2004. Painting by Fikru G/Mariam (Addis Ababa & Paris).

Over time, his style has diversified: some depict stylized, elongated African masks, richly decorated.

Between 1995 and 2003, he has exhibited 13 times in Addis Abeba, the last one was at the National Museum of Addis Abeba in February 2003. Fikru also showed his works abroad. In 1999, he exhibited for one month in Dublin (Ireland) and between 2002 and 2005 he exhibited 9 times in Paris and in different parts of France. In 2003, he participated in a group exhibition in Maryland (USA) and in November 2004 he will exhibit in Washington DC. In 2005, he exhibited at the Salon d’Automne in Paris.

Now, Fikru shares his time between Addis Abeba and Paris. His works are displayed in many private collections in Ethiopia, France, Ireland, Spain, Germany, England, United States, Canada, Cap Verde, South Africa, Italy, and the Netherlands. Leran More about Fikru .

Related Stories:

London - In pictures: Ethiopia’s forgotten archive (BBC)

An exhibition of previously unseen photographs from Ethiopia between 1963 and 1982 is opening in London as the country marks its millennium celebrations. They were taken by Shemelis Desta who was the official court photographer for Emperor Haile Selassie. See More Photos, Click Here

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Events Journal: Ethiopian Girls Gotta Run NYC art show

Published by admin September 6th, 2007 in Art. 2 Comments

Publisher’s Note: Dr. Patricia E. Ortman, a retir