Malian, 1935–2016
Working in his Bamako portrait studio from the 1960s onward, Sidibé documented the sense of self-discovery that emerged in Mali following independence. Reversing the traditional portrait, Malick Sidibé’s "Vues de Dos," or "Back Views", offer a surprisingly intimate portrayal of Malian society. With their voluptuous figures and languid postures, these women exude calm confidence and alluring sensuality. Their bodies, wrapped in strikingly patterned fabrics, are presented as sites of desire, yet Sidibé’s sensitive compositions move away from mere objectification and toward a more collaborative representation. Facing away, glancing back, or absorbed in their own thoughts, Sidibé’s subjects seem to invite the viewer to engage, to reach out, to question.
A la Bagnade au fleuve Niger [On the Beach of River Niger]
Avec Mon Sac, Bagues et Bracelets [With my Purse, Rings, and Bracelets]
Dansez le Twist [Dance the Twist!]
Lancina Sanogo l'Amis de Mody – Vues de Dos [Lancina Sanogo, the friend of Mody seen from the rear]
Les Amis [Friends]
Les Deux Amies [The Two Friends]
Nuit de Noël (Happy Club) [Christmas Eve]
Regardez-Moi [Look at Me!]
Un Ye-Ye en position [A Ye-Ye posing]
Vues de dos (Back View)
Vues de dos (Back View)
Vues de dos (Back View)
Vues de dos (Back View)
Vues de dos (Back View)
Vues de dos (Back View)
Vues de dos (Back View)
Vues de dos (Back View)
Vues de dos (Back View)
Vues de dos (Back View)