University Museums galleries are closed for summer break. We will reopen for fall semester on September 9, 2015, with NEW late hours on *Wednesdays.

Download our most recent (Spring 2015) Exhibitions and Programs Bulletin here (PDF). A new Bulletin will be available in August 2015.

*Wed - 12:00-8:00 pm
Thur-Sun 12:00-5:00 pm
Closed during University breaks and holidays

Main Phone:



30 North College Ave.
Newark, DE 19716


Parking for the Mechanical Hall Gallery is in Trabant University Center Garage located between Delaware Avenue and Main St.

302-831-8037 (Information)
302-831-8088 (Museum)



255 Academy St.
Newark, DE 19716


Parking for the Mineralogical Museum is in Perkins Garage located on Academy Street.

302-831-6557 (Curator)
302-831-8037 (Information)
302-831-4940 (Museum)



18 East Main St.
Newark, DE 19716


Parking for the Old College Gallery is in Trabant University Center Garage located between Delaware Avenue and Main St.

302-831-8037 (Information)
302-831-6589 (Museum)


ACCESS TO THE DIGITAL ART COLLECTION is provided through UD's Morris Library and ArtStor via the Shared Shelf Institutional Collections, accessible on campus and for off site researchers upon request. Information on gaining access through Morris Library can be found here.



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Fatimah Tuggar, Voguish Vista, 2012. Computer montage; inkjet on vinyl, 50 x 72 in.
© Fatimah Tuggar, BintaZarah Studios

Fatimah Tuggar, Cake People, 2001. Computer montage; inkjet on vinyl, 58 x 48 in.
© Fatimah Tuggar, BintaZarah Studios

Fatimah Tuggar, Working Woman, 1997. Computer montage; inkjet on vinyl, 50 x 48 in.
© Fatimah Tuggar, BintaZarah Studios

Fatimah Tuggar: In/Visible Seams

February 6 – May 12, 2013

In/Visible Seams brings together a selection of works by artist Fatimah Tuggar, best known for her large-scale ink-jet on vinyl prints, assemblages and video collages. Developed through processes that include photography, image capture, cut and paste, superimposition, and digital manipulation, Tuggar’s work offers distinct combinations of wit and irony, compassion and critique. Showcasing the artist’s beguiling, often unsettled temporal, spatial, and geographic conjunctions, Fatimah Tuggar: In/Visible Seams includes eighteen computer montages from 1995 to 2012, her renowned video collage, Fusion Cuisine (2000), and the assemblage Tum Tum & Tabarma (1998).

Sourcing a global range of imagery, including her own photographs, and mining archival as well as contemporary media, Tuggar’s fusion images and videos are not fictions per se but rather surreal combines of diverse realities made starker by their juxtaposition. “Borrowing from the realms of advertising, popular entertainment, folklore, and the experiential, I use technology as medium, subject and metaphor,” notes the artist, aiming “to produce artworks that engage how we adapt, modify and are modified by, the implements and systems that define our environments.”1

In Fusion Cuisine, post-WWII American commercials promoting new, automated kitchen appliances and in-home designs are intermixed with contemporary footage from northern Nigeria of women carrying out various domestic tasks. This video collage of moving images, sound and animation invites viewers to question whether Western prosperity, industrial design and invention have in fact advanced women’s emancipation. Perceptual and visual disjunctures likewise trouble the surface of Cake People, a computer montage from 2001. While viewing ostensibly a life-size “snap” of a teenager celebrating her sixteenth birthday, we are drawn into and trapped by the associative values assigned to “tradition,” “modern,” “Western,” and “African” embedded in Tuggar’s cakes and cake pan.

Collage and montage strike beyond surface representation; what appears to be visual incongruity is more acutely the byproduct of social, historical, racial and gendered constructions. Economies of seeing and visual tropes of place, nation, gender, and ethnicity all play a role as Tuggar strives to “challenge the segregated borders of aesthetic and cultural perceptions and to facilitate diverse ways of knowing and making.”2

Tuggar has long been interested in the potential of modification, the reuse of one thing for another: in much of her early work, she endeavored to reposition the image of the black female through a process of re- and de-familiarization, challenging dogmas and preconceived notions of Africa and black women in both the private and public spheres. This strategy of deconstructing aspects of the image to challenge conventional perceptions and attachments to static ways of looking remains seminal to her work. Her evocation of seemingly irreconcilable “realities” has been compared with work by early twentieth-century Dada and Surrealist artists as well as postwar British pop artists—Richard Hamilton of the Independent Group, in particular; Tuggar herself acknowledges an early attraction to the often loaded and politically contentious photomontages by the German artist John Heartfield (1891-1968).  In/Visible Seams draws attention to her use of overlapping visual codes and their manufactured and fractured meanings as the artist deconstructs their authoritative place in representational significance.

Created for the Harlem Postcards project of the Studio Museum in Harlem, Voguish Vista (2012) is a composite image, incorporating photographs taken by Tuggar in Harlem and other found imagery. The merging of American Apparel, a global retailer, and Daisy Fashion Design, a local merchant that “brings African design to NYC,” challenges interpretations of location and fashion as reliable signifiers. Overlaying the storefront window, visible as though a reflection, is an image capturing the Occupy Wall Street movement. Harbingers of the reflected slogan, “the 99% will not be silenced,” the five female figures in Voguish Vista serve as standard-bearers of fashion and global interdependency—one wears an “African” print dress patterned with a portrait of Barack Obama and the American flag.

Visually alluring and content-rich, Tuggar’s images encourage multiple readings, offering, in the artist’s words, the “chance to retell history and restructure hegemonic conditions” as well as to invite conversations about the make-up and process of image construction.3 Ultimately, the reorientation of perception, visual and otherwise, is what Tuggar’s art asks each viewer to undertake.

Born in 1967 in Kaduna, Nigeria, Fatimah Tuggar attended the Blackheath School of Art in London, received her BFA from the Kansas City Art Institute and her MFA from Yale University. She is a graduate of the Whitney Museum of American Art Independent Study Program, and currently on the faculty of the University of Memphis. Among Tuggar’s honors are the Civitella Ranieri Fellowship, 2002; the Andrew W. Mellon Research Fellowship, awarded by the John Hope Franklin Humanities Institute, 2008; and grants from the Rema Hort Mann Foundation, New York, 1999. Her work has been exhibited widely in over twenty-five countries, most recently in the USA in The Fertile Crescent: Gender, Art and Society, Rutgers University, 2012; The Record: Contemporary Art and Vinyl, Nasher Museum of Art, Duke University, 2010 and On-Screen: Global Intimacy, Krannert Art Museum, University of Illinois, Urbana-Champaign, 2009.

-- Julie L. McGee, Curator of African American Art

1 Artist’s statement, 2012.
2 Fatimah Tuggar interview with Julie L. McGee, November 2012.
3 Fatimah Tuggar interview with Julie L. McGee, November 2012.

Related Programs:
Sunday, February 24, 3pm ~ Paul R. Jones Annual Lecture *
Sonya Clark, “From Hair to There”
Delaware Center for the Contemporary Arts (DCCA), Wilmington, DE, (302) 656-6466,
Distinguished Artist Lecture Series *
Smith Hall Room 130, University of Delaware, Newark, DE
Time: All lectures in this series begin at 5pm.

  • Tuesday, February 26 ~ Sonya Clark
    Woven of found materials, the work of contemporary fiber artist Sonya Clark is intertwined with an accumulated history that speaks to cultural heritage, racial identity, and gender politics. She is the recipient of a Pollock-Krasner Fellowship and is Chair of Craft/Materials Studies at Virginia Commonwealth University.
  • Tuesday, March 5 ~ Fatimah Tuggar
    Fatimah Tuggar is a Nigerian-born photographer who creates alluring digital photomontages that juxtapose scenes from African and American daily life. Her works comment on potentially sensitive themes such as ethnicity, technology and post-colonial culture, although the artist chooses not to extend a didactic message, but rather to elucidate cultural nuances that go beyond obvious cross-cultural comparison. The earnest yet vibrant colors of the photo-collages enhance the deadpan effect of her technically savvy works. Tuggar completed her MFA at Yale University in 1992. Since then she has exhibited internationally at venues such as the Moscow Biennale of Contemporary Art (2005), Palais des Beaux-Arts, Brussels (2003), Centre Georges Pompidou (2005), Paris and the Bamako Biennalle, Mali (2003), to name a few. She has received numerous grants from distinguished institutions such as The Rema Mann Hort Foundation, New York, the Civitella Ranieri Fellowship, and the The Wheeler Foundation, Brooklyn.
    Mechanical Hall Gallery will open at 4pm on this date. Following the lecture in Smith Hall, a reception will be held at Mechanical Hall Gallery, 6 – 7pm.
    Lecture and reception are open to the public free of charge. For registration:, (302) 831-8037.
  • Tuesday, March 19 ~ Maren Hassinger
    A native of Los Angeles, Maren Hassinger is a multimedia artist who creates sculpture, installation, performance, and video art. Before moving to Baltimore, Maryland, where she currently resides, Hassinger received a BA from Bennington College and an MFA from the University of California, Los Angeles. Her work represents a desire for discovery, which is seen in her careful experimentation with artistic materials, but also in her invocation of the natural in most of her work.
  • Tuesday, April 9 ~ Ramón L. López Colón
    My work attempts to create a visual dialogue between modernist painting aesthetics and the iconographic construction of colonialism in Puerto Rico.
    As a consequence of being raised in the town of Guánica (est. 1508), the events that defined the erratic political history of Puerto Rico were vividly evoked throughout my childhood by monuments and celebrations set in the bay of my seaside hometown: the incursion of Spanish Conquistador Juan Ponce de Leon in 1508, the piedra (rock) that commemorates the invasion of Puerto Rico by General Miles in 1898 and the annual protest of the Partido Nacionalista Puertorriqueño (Puerto Rico's Nationalist Party) against the US government in Puerto Rico are amongst the most remarkable memories of that time.

*Sponsored by the College of Arts and Sciences Paul R. Jones Initiative, The President's Diversity Initiative, the University Museums and the Department of Art.
Thursday, March 14, 5:30pm ~ Department of Art History Wayne Craven Lecture
“Can This Patient Be Saved? Schism and Generational Shift in the Field of African Art History”
by Sidney Kasfir, Professor Emerita of Art History, Emory University
Location: Memorial Hall Room 127
All events are free and open to the public. RSVPs, registration, information and hours: or 302-831-8037.
For more on these events and initiatives please see:

  • University of Delaware   •   Newark, DE 19716   •   USA
    Phone: (302) 831-2792   •   © 2011