A Collection African Studies Bibliographies and Archival Materials

Photography

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• Adjaye, David and Peter Allison. African metropolitan architecture. New York: Rizzoli, 2011.
• Behrend, Heike. "'Feeling Global': The Likoni Ferry Photographers of Mombasa, Kenya." African Arts 33, no. 3 (Autumn 2000): pp. 70-77, 96.
• Ben Jelloun, Tahar, Alain D'Hooghe, and Mohamed Sijelmassi. Le Désir du Maroc. Paris: Marval, 1999.
• Ben Jelloun, Tahar, Alain D'Hooghe, and Mohamed Sijelmassi. The Magic of Morocco. Paris: Vilo Publishing, 2000.
• "Bill Akwa Bétotè: 'Corps Instrumental.'" Balafon (Paris) 103 (April-May 1992): p. 14.

  Bleach, Gordon. "Between the Fine Print and a Hard Place: David Goldblatt's South African Artifacts." Nka: Journal of Contemporary African Art 9 (Fall-Winter 1998): pp. 52-57.

• Brielmaier, Isolde and Ed Marquand. Hector Acebes: Portraits in Africa, 1948-1953. [Reviewed by Allen F. Roberts in African Arts 37, no. 3 (Autumn 2004): pp. 87-89, 92.]
• Buckley, Liam Mark.  Studio Photography and the Aesthetics of Postcolonialism in the Gambia.  Ph.D., University of Virginia, 2003.
• Capshaw, Katharine. Civil Rights Childhood: Picturing Liberation in African American Photobooks. Minneapolis: University of Minnesota Press, 2014. [Reviewed by Darren Newbury in Visual Studies 31, no. 4 (2016): pp. 356-360.]
• Comeau, Paul-Emile. "Exhibition Review - Studio Cameroon: The Everyday Photography of Jacques Touselle." Global Rhythm 16, no. 2 (2007): p. 48.
• Crenn, Julie. “Michèle Magéma: Without Echo, There Is No Meeting.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 15-20.
• Essamba, Angèle Etoundi. “Artist’s Pages.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 42-46.
• Fardon, Richard. “The ethnologist and the missionaries: recording the 1908 Lela in Bali Nyonga,” in Getting Pictures Right: context and interpretation edited by Michael Albrecht. Topics in African studies 3. Köln: Köppe, 2004. [Book reviewed by Adam Joes in Journal of African History 47, no. 1 (2006): pp. 159-160; by David H. Anthony, III in Social Sciences and Missions 23, no. 2 (2010): pp. 307 – 308.]
• Gaillard, Eliane. "Jean Clédat et la photographie," in Etudes coptes X Douzième journée d'études (Lyon, 19021 mai 2005) edited by Anne Boud'hors and Catherine Louis, pp. 51-62. Cahiers de la bibliothèque copte 16. Paris: De Boccard, 2008.
• Geary, Christraud M. "Photographs as Material for African History: Some Methodological Considerations." History in Africa (Los Angeles) 13 (1986): pp. 89-116.
• Geary, Christraud M. Images from Bamum: German Colonial Photography at the Court of King Njoya, Cameroon, West Africa, 1902-1915. Washington, D.C.: Smithsonian Institution Press for the National Museum of African Art, 1988.
• Geary, Christraud M. "Impression of the African Past: Interpreting Ethnographic Photographs from Cameroon." Visual Anthropology (Chur, NY) 3, no. 2-3 (1990): pp. 289-315. [Review by Alison Petch available online in JASO: Journal of the Anthropological Society of Oxford 22, no. 2 (1991): pp. 194-195.]
• Geary, Christraud. In and Out of Focus: Images from Central Africa, 1885-1960. London: Philip Wilson Publishers, 2002. [Reviewed by Allen F. Roberts in African Arts (Los Angeles) 37, no. 3 (Autumn 2004): pp. 87-89, 92.]
• Geary, Christraud M. "'On the Savannah': Marie Pauline Thorbecke's Images from Cameroon, West Africa (1911-12)." Art Journal (New York) 49, no. 2 (Summer 1990): pp. 150-158.
• Geary, Christraud M. "The past in the present: photographic portraiture and the evocation of multiple histories in the Bamum Kingdom of Cameroon," in Portraiture and photography in Africa edited by John Peffer and Elisabeth Lynn Cameron. African expressive cultures. Bloomington, IN: Indiana University Press, 2013.
• Geary, Christraud M. "Photographie als kunsthistorische Quelle: das nja-Fest der Bamum (Kamerun) im späten 19. und frühen 20. Jahrhundert," in Der Sinn des Schönen: Ästhetik, Soziologie und Geschichte der afrikanischen Kunst, pp. 113-177. München: Trickster, 1990.
• Geary, Christraud M. “Portraiture, authorship, and the inscription of history: photographic practice in the Bamum Kingdom, Cameroon (1902-1980),” in Getting Pictures Right: context and interpretation edited by Michael Albrecht. Topics in African studies 3. Köln: Köppe, 2004. [Book reviewed by Adam Joes in Journal of African History 47, no. 1 (2006): pp. 159-160; by David H. Anthony, III in Social Sciences and Missions 23, no. 2 (2010): pp. 307 – 308.]
• Godby, Michael. "After Apartheid: 10 South African Documentary Photographers." African Arts (Los Angeles) 37, no. 4 (Winter 2004): pp. 36-41, 94.
• Graffenried, Michael von, Juri Steiner, and Albertine Bourget. Michael von Graffenried: eye on Africa: Fotografien aus Kamerun/photographies du Cameroun/photographs from Cameroon. Basel, Switzerland: Schwabe, 2009.
• Grantham, Tosha. Darkroom: Photography and New Media in South Africa Since 1950. Richmond, VA: Virginia Museum of Fine Arts, 2009.
• Gullestad, Marianne. Picturing Pity: Pitfalls and Pleasures in Cross-cultural Communication: Image and Word in a North Cameroon Mission. New York: Berghahn Books, 2007. [Reviewed by Juerg Schneider in African Affairs 108, no. 432 (2009): pp. 496-497; by Laura S. Lorenz in Visual Studies 24, no. 1 (2009): pp. 86-87.]
• Guyer, Nanina. "Picturing Secrecy? The Visualization of “Secret Societies” in Historical Photographs from Sierra Leone, Liberia and Cameroon." Visual Anthropology 27, no. 4 (2014): pp. 410-414.
• Hammel, Tanja. "Research, Exhibitions and African History." H-Net Reviews in the Humanities and Social Sciences (2014): pp. 1-4.
• Hamouda, Naziha. "Two Portraits of Auresian Women," in Anthropology and Photography 1860-1920 edited by Elizabeth Edwards, pp. 206-10. New Haven, CT: Yale University Press, 1992.
• Haney, Erin. “If these walls could talk: exploring the dynamic archive through Ghanaian portraiture,” in Getting Pictures Right: context and interpretation edited by Michael Albrecht. Topics in African studies 3. Köln: Köppe, 2004. [Book reviewed by Adam Joes in Journal of African History 47, no. 1 (2006): pp. 159-160; by David H. Anthony, III in Social Sciences and Missions 23, no. 2 (2010): pp. 307 – 308.]
• Jaar, Alfredo. Let There Be Light: The Rwanda Project, 1994-1998. Barcelona: ACTAR, 1998.
• Jaar, Alfredo. Alfredo Jaar: Lament of the Images. Cambridge, MA: List Visual Arts Center, Massachusetts Institute of Technology, 1999.
• Jackson, Ayana. “Artist’s Pages.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 33-36.
• Jenkins, Paul. “Camera evangelistica -- camera lucida? Trans-border experiences with historical photographs from a mission archive,” in Getting Pictures Right: context and interpretation edited by Michael Albrecht. Topics in African studies 3. Köln: Köppe, 2004. [Book reviewed by Adam Joes in Journal of African History 47, no. 1 (2006): pp. 159-160; by David H. Anthony, III in Social Sciences and Missions 23, no. 2 (2010): pp. 307 – 308.]
• Jenkins, Paul. "Portraits of Akan and Cameroonian Grassfield Kings and Chiefs in the Basel Mission Archive," in The Power of Doubt: Essays in Honor of David Henige edited by Paul Stuart Landau, pp. 113-146. Madison, WI: Parallel Press; University of Wisconsin-Madison Libraries, 2011. li>Jumabhoy, Zehra. “Betwixt and In-Between: Reading Zarina Bhimji.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 88-95.
• Kaplan, Flora S. "Some Uses of Photography in Recovering Cultural History at the Royal Court of Benin, Nigeria." Visual Anthropology (Chur, NY) 3, no. 2-3 (1990): pp. 317-341. [Review by Alison Petch available online in JASO: Journal of the Anthropological Society of Oxford 22, no. 2 (1991): pp. 194-195.]
• Kayari, Mohamed Abdallah. "Djibouti 1929-vit a` Djibouti," in L'Afrique par elle-me^me: un sie`cle de photographie africaine edited by Anne-Marie Bouttiaux, pp. 170-173. Tervuren: Muse´e royal de l'Afrique centrale; Paris : Editions Revue noire, 2003.
• Keller, Candace M. Imaging Culture: Photography in Mali, West Africa. Bloomington, IN: Indiana University Press, 2021. [Reviewed by Diana Wylie, available online on H-Net Reviews (April 2022).]
• Kringelbach, Hélène Neveu. "Exhibition Review - Studio Cameroon: The Everyday Photography of Jacques Touselle." African Arts 42, no. 3 (2009): pp. 85-86.
• Lamoni, Giulia. “African Masks, Family Photographs and Open Suitcases: Rosana Paulino, Mónica de Miranda and Maimuna Adam.” n.paradoxa: International Feminist Art Journal 31 (2013): Pp. 5-14.
• Lintig, Bettina von. "Photographs from French Guinea and Cameroon by Rudolf and/or Helene Oldenburg." Tribal Art 90 (Winter 2018): pp. 106-119.
• Makhubu, Nomusa. "Screening the Fantastic: Citizenship and Postcolonial Theoconomies in African Video-film and Photography." African Identities 15, no. 2 (2017): pp. 208-227.
• Marc, Stephen. The Black Trans-Atlantic Experience: Street Life and Culture in Ghana, Jamaica, England, and the United States. Chicago: Department of Photography, 1992.
• McKeown, Katie. "Studio Photo Jacques: A Professional Legacy in Western Cameroon." History of Photography 34, no. 2 (2010): pp. 181-192.
• Morton, Christopher A. and Darren Newbury, eds. The African photographic archive: research and curatorial strategies . London: Bloomsbury Academic, 2015. [Book reviewed by Liam Buckley in Visual Studies 32, no. 2 (2017): pp. 195-197.]
• Muholi, Zanele. “Artist’s Pages.” n.paradoxa: International Feminist Art Journal 31 (2013): p. 37.
• Nelson, Steven. "Transgressive Transcendence in the Photographs of Rotimi Fani-Kayode." Art Journal 64, no. 1 (Spring 2005): pp. 4-19.
• Nsah, Solomon Kekeisen. "The Cameroon Press Photo Archive (CPPA) Buea in Crisis 1955-2016." Vestiges: Traces of Record 3, no. 1 (June 2017): pp. 65-81.
• Ntombela, Nontobeko. “Silent Toyi-Toyis in the Work of Donna Kukama.” n.paradoxa: International Feminist Art Journal 31 (2013): 23-31.
• Pankhurst, Richard and Denis Gerard. Ethiopia Photographed: Historic Photographs of the Country and Its People Taken Between 1867 and 1935. London: Kegan Paul International, 1996.
• Peffer, John. Art and the End of Apartheid. Minneapolis: University of Minnesota Press, 2009. [Reviewed online by Shannen Hill on CAA Reviews, available to members of CAA at http://www.caareviews.org/reviews/1453.]
• Peffer, John and Elisabeth Lynn Cameron, eds. Portraiture and Photography in Africa. Bloomington, IN: Indiana University Press, 2013.
• Pierrakos, Magdalen. "In the Tradition of Women Redefining the World: Notes on Al Sol, photographs from Mexico, Cameroon, and Nicaragua by Stella Johnson." Women's Review of Books 26, no. 1 (2009): p. 21.
• Ramos, Afonso Dias. "Imageless in Angola – Appropriating Photography." OBJECT: Graduate Research and Reviews in History of Art and Visual Culture 17 (2015): pp. 77-99.
• Rocca, Anna. “In Search of Beauty in Space: Interview with Lalla Essaydi,” in Special issue: Women from the Maghreb edited by Christa Jones and Anissa Talahite-Moodley. Dalhousie French Studies 103 (2015): pp. 119-127.
• Rocca, Anna. “La spiritualité incarnée: Lalla Essaydi et les femmes du Maroc,” in Spiritualités musulmanes au féminin dans la littérature et les représentations visuelles edited by Catherine Perry. Paris: L’Harmattan, 2017.
• Rocca, Anna. “Zineb Sedira: The Art of Putting Memory Into Action.” Women in French Studies (2015): pp. 103-116.
• Rosenthal, Mark, ed. William Kentridge: Five Themes. San Francisco: San Francisco Museum of Modern Art; West Palm Beach: Norton Museum of Art; New Haven: Yale University Press, 2009. [Reviewed online by Terri Cohn on CAA Reviews, available to members of CAA at http://www.caareviews.org/reviews/1331.]
• Scherer, Joanna Cohan, ed. Picturing Cultures: Historical Photographs in Anthropological Inquiry. Special Issue of Visual Anthropology 3, no. 2-3 (1990). [Reviewed by Alison Petch, review available online in JASO: Journal of the Anthropological Society of Oxford 22, no. 2 (1991): pp. 194-195.]
• Schneider, Jürg. "Views of continuity and change: the Press Photo Archives in Buea, Cameroon." Visual Studies 33, no. 1 (March 2018): pp. 28-40.
• Thompson, Cheryl. “Contesting the Aunt Jemima Trademark Through Feminist Art: Why Is She Still Smiling?” n.paradoxa: International Feminist Art Journal 31 (2013): 65-72.
• Thompson, Krista A. Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice. Durham: Duke University Press, 2015.
• Triki, Rachida. “Contemporary Women Artists in Tunisia.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 47-52
• Vokes, Richard, ed. Photography in Africa: Ethnographic Perspectives. Woodbridge and New York, NY: James Currey, 2012. [Reviewed by Urte Undine Frömming in Africa 83, no. 4 (Nov. 2013): pp. 697-700.]
• Webb, Virginia-Lee. "the Photographs of Paul Gebauer." African Arts 20, no. 2 (February 1987): pp. 46-51, 82.
• Zaccaria, Massimo. Photography and African Studies: A Bibliography. Pavia: Department of Political and Social Studies in the University of Pavia, 2001.
• Zeitlyn, David. "A dying art? Archiving photographs in Cameroon." Anthropology Today 25, no. 4 (2009): pp. 23-26.
• Zeitlyn, David. "Photo History by Numbers: Charting the Rise and Fall of Commercial Photography in Cameroon." Visual Anthropology 32, no. 3-4 (2019): pp. 309-342.
• Zeitlyn, David. "Redeeming some Cameroonian Photographs: Reflections on Photographs and Representations," in The African photographic archive: research and curatorial strategies edited by Christopher A. Morton and Darren Newbury. London: Bloomsbury Academic, 2015. [Book reviewed by Liam Buckley in Visual Studies 32, no. 2 (2017): pp. 195-197.]
• Ziebinska-Lewandowska, Karolina. David Goldblatt: Structures of Dominion and Democracy. Paris: Centre Pompidou, 2018.