Contemporary artist Nona Faustine documents self-portraits in historical sites, highlighting her reparative practice and exploring emotions related to photography and aesthetics.
Contemporary visual artist Nona Faustine’s White Shoes series stages and documents her reparative practice of taking self-portraits in sites around New York City where enslaved Africans lived, died, and are buried. Considering Faustine’s self-portrait series not only as photography but also as performance documentation invites theorizations of memorial practices (rather than monumental objects) and their affordances for liberatory aesthetic projects.
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Ariel Nereson (2025) studied this question.
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