A Collection African Studies Bibliographies and Archival Materials

Artists and Patrons

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• Abimbola, Wande. "Lagbayi: The Itinerant Wood Carver of Ojowon," in The Yoruba Artist: New Theoretical Perspectives on African Arts edited by Abiodun, Rowland, Henry John Drewal, and John Pemberton III, pp. 137-142. Washington, DC: Smithsonian Institution Press, 1994.
• Abiodun, Rowland, Henry John Drewal, and John Pemberton III, eds. The Yoruba Artist: New Theoretical Perspectives on African Arts. Washington, DC: Smithsonian Institution Press, 1994.
• Aherne, Tavy D. Nakunte Diarra: Bògòlanfini Artist of the Beledougou. Bloomington, IN: Indiana University Art Museum, 1992.
• Aradeon, Susan B. "Al-Sahili: the historians' myth of architectural technology transfer from North Africa." Journal des africanistes 59, no. 1-2 (1989): pp. 99-131.
• Argenti, Nicolas. ‘People of the Chisel: Apprenticeship, youth, and elites in Oku (Cameroon).” American Ethnologist 29, no. 3 (Aug. 2002): pp. 497-533.
• The Artist Now: 26th Sept.-9th Oct., 1992. Lagos: SNA/Baffles Art Gallery, 1992.
• Ayorinde, Steve. "Ajaero, Jimi King in Los Angeles Art Connection." Guardian (Lagos) May 23, 1992.
• Babayemi, Solomon Oyewole. "The Oba (Traditional Ruler) as Patronof Arts and Crafts in Yorubaland." African Notes (Ibadan) 16, no. 1-2 (1992): pp. 1-5.
• Bassani, Ezio. "Il maestro del Warua." Quaderni Poro (Milan) 6 (1990): pp. 9-29.
• Bassani, Ezio. "The Warua Master." Quaderni Poro (Milan) 6 (1990): pp. 101-119.
• Behrens-Abouseif, Doris. "Muhandis, Shad, Mu’allim – Note on the Building Craft in the Mamluk Period." Der Islam 72, No. ii (1995): pp. 293-309.
• Berliner, Paul. "John Kunaka, Mbira Maker." African Arts (Los Angeles) 14, no. 1 (November 1980): pp. 61-7, 88.
• Berry, LaVerle Bennette. "Gondar Style Architecture and Its Royal Patrons," in Proceedings of the First International Conference on the History of Ethiopian Art: Sponsored by the Royal Asiatic Society: Held at the Warburg Institute of the University of London, October 21 and 22, 1986, pp. 123-130. London: The Pindar Press, 1989.
• Fischer, Eberhard and Hans Himmelheber. The Arts of the Dan in West Africa. Zürich: Museum Rietberg, 1984.
• Fischer, Eberhard and Jorg Böner. Dan artists: the sculptors Tame, Si, Tompieme and Son: their personalities and work. Zurich: Scheidegger and Spiess, 2014.
• Frank, Barbara E. "Caste Versus Craft: Transformations in Identity and Artistry among the Mande-speaking Peoples of West Africa," in Redefining the 'Artisan': Traditional Technicians in Changing Societies: Papers from the First Conference on Artists, Artisans and Traditional Technologies in Development, April 14-16, 1989 edited by Paul Greenough with Jackie Hogan, pp. 169-188. Iowa City: Center for International and Comparative Studies, University of Iowa, 1992.
• Genest, Serge. "Les 'forgerons' mafa du Cameroun septentrional: Entre le savoir et le pouvoir," in Dialoguer avec le léopard? edited by Bogumil Jewsiewicki and H. Moniot, pp. 309-326. Paris: L'Harmattan, 1988.
• Godby, Michael. "Art and Politics in a Changing South Africa: Bongi Dhlomo in Conversation with Michael Godby." African Arts (Los Angeles) 37, no. 4 (Winter 2004): pp. 62-67, 96.
• Grunne, Bernard de, ed. Mains de maîtres: à la découvertes des sculpteurs d’Afrique/Masterhands: Afrikaanse beeldhouwers in de kijker. Brussels: Espace Culturel BBL, 2001.
• Harter, Pierre. "Royal Commemorative Figures in the Cameroon Grasslands: Ateu Atsa, A Bangwa Artist." African Arts (Los Angeles) 23, no. 4 (October 1990): pp. 70-77, 96.
• Harwig, Melinda K. Institutional Patronage and Social Commemoration in Theban Tomb Painting During the Reigns of Thutmose IV (1419-1410 B.C.) And Amenhotep III (1410-1382 B.C.). Ph.D., New York University, 2000.
• Himmelheber, Hans. Negerkünstler. Stuttgart: Strecker und Schröder, 1935. [Reviewed by Charles Ratton, review available online in Journal de la Société des Africanistes 5, no. 2 (1935): p. 259.]
• Hunwick, John O. "An Andalusian in Mali: A Contribution to the Biography of Abu Ishaq al-Sahili, c. 1290-1346." Unpublished paper, 1972.
• Jewsiewicki, Bogumil. "Peintres de cases, imagiers et savants populaires du Congo, 1900-1960: Un essai d'histoire de l'esthétique indigène." Cahiers d'études africaines 31, no. 123 (1991): pp. 307-326
• Johnson, Edwin. "Patronage of Contemporary Ethiopian Orthodox Painters," in Proceedings of the Sixth International Conference on the History of Ethiopian Art, Addis Ababa, 5-8 November 2002 edited by Birhanu Teferra and Richard Pankhurst, pp. 173-184. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Kennedy, Jean. "New Dynamics: The West African Coast," in New Currents, Ancient Rivers: Contemporary African Artists in a Generation of Change, pp. 87-94. Washington, DC: Smithsonian Institution Press, 1992.
• Kidane, Girma. "Four Traditional Ethiopian Painters and Their Life Histories," in Proceedings of the First International Conference on the History of Ethiopian Art: Sponsored by the Royal Asiatic Society: Held at the Warburg Institute of the University of London, October 21 and 22, 1986, pp. 72-77. London: The Pindar Press, 1989.
• Knöpfli, Hans. Crafts and technologies: some traditional craftsmen of the Western Grasslands of Cameroon. British Museum Occasional paper 107. London: British Museum, 1997.
• Knöpfli, Hans. Crafts and technologies: some traditional craftsmen of the Western Grasslands of Cameroon - vol. 2. Sculpture and symbolism: woodcarvers and blacksmiths. Basel: Basel Mission, 1999.
• Knöpfli, Hans. Crafts and technologies: some traditional craftsmen of the Western Grasslands of Cameroon - vol. 3. Baskets and calabashes, palms and people. Basel: Basel Mission, 2001.
• Knöpfli, Hans. Crafts and technologies: some traditional craftsmen of the Western Grasslands of Cameroon - vol. 4. Living in style: handicrafts, music and the fabric of social life. Basel: Basel Mission, 2002. [Reviewed by Raymond Silverman in Material Religion 2, no. 2 (2006): pp. 247-248.]
• Knöpfli, Hans. "Interviews mit zwei Schnitzern im Kameruner Grasland: Robert Toh und Moses Neba." Zeitschrift für Mission (Basel) 18, no. 3 (1992): pp. 146-155.
• Kourouma, Moussa. "Un africain nous parle de l'art de son peuple." Arts d'Afrique noire 46 (Summer 1983): pp. 31-34.
• Lima, A. G. Mesquitela. "L'artiste en Afrique noire'." Arts d'Afrique noire 25 (Spring 1978): pp. 14-20.
• Luzzatto, Paola Caboara. Susanne Wenger: Artista e Sacerdotessa. Florence: Firenze Atheneum, 2009. [Review by Peter Probst available online at H-Net.]
• Manga, Lionel. L’ivresse du papillon: le Cameroun aujourd’hui: ombres et lucioles dans le sillage des artistes. Servoz, France: Edimontagne, 2008.
• Martinelli, Bruno. "Agriculteurs métallurgistes et forgerons en Afrique Soudano-Sahélienne." Etudes Rurales (Paris) 125-126 (Jan-June 1992): pp. 25-41, 197, 199-200.
• Mason, Ruth.  “Telling Our Story.”  Na’amat Woman 19, no. 1 (Winter 2003): pp. 8-12.
• McNaughton, Patrick R. A Bird Dance near Saturday City: Sidi Ballo and the Art of West African Masquerade. Bloomington: Indiana University Press, 2008. [Reviewed online by Mary Jo Arnoldi on CAA Reviews, available to members of CAA at http://www.caareviews.org/reviews/1338.]
• Nasidi, Nadir A. "Some Biographical Notes on Artists of Sacred Sufi Painting in Kano, Nigeria." Journal of West African History 9, no. 2 (Fall 2023): pp. 1-20.
• Oguibe, Olu. Uzo Egonu: An African Artist in the West. London: Kala Press, 1995. [Reviewed online by Okwunodu Ogbechie on H-Net, available at http://www.h-net.org/reviews/showrev.cgi?path=14688858516219.]
• Ojo, Samson A. Mohammed Addi Kore: A Migrant Craftsman from Ndjamena. B.A. thesis, Dept. of Creative Arts, University of Maiduguri, 1987.
• Page, Donna. Artists and Patrons in Traditional African Cultures: African Sculpture from the Gary Schulze Collection. New York: QCC Art Gallery Press, 2005.
• Pare, Isaac. "Un artiste camerounais peu connu: Ibrahim Njoya." Abbia 6 (Aug. 1964): pp. 172-185.
• Pankhurst, Richard. "Four Little-known Eighteenth Century Ethiopian Artists," in Proceedings of the Sixth International Conference on the History of Ethiopian Art, Addis Ababa, 5-8 November 2002 edited by Birhanu Teferra and Richard Pankhurst, pp. 140-151. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Perrois, Louis. “Les rois sculpteurs au Cameroun,” in Ni anonyme ni impersonnel: 3e colloque européen sur les arts d’Afrique noire, pp. ????. Collection Arts d’Afrique Noir 3. Arnouville: Collection Arts d’Afrique Noir, 1999.
• Susan J. "Ritual Specialists: Ambiguity and Power in Tuareg Society." Man (London) 27, no. 1 (1992): pp. 105-128.
• Roy, Christopher D. "Continuity and Change in the Art of Mande Blacksmiths in the Valley of the Black Volta," in Redefining the 'Artisan': Traditional Technicians in Changing Societies: Papers from the First Conference on Artists, Artisans and Traditional Technologies in Development, April 14-16, 1989 edited by Paul Greenough with Jackie Hogan, pp. 205-217. Iowa City: Center for International and Comparative Studies, University of Iowa, 1992.
• Ruggles, D. Fairchild. "Visible and Invisible Bodies: The Architectural Patronage of Shajar al-Durr." Muqarnas 32 (2015): pp. 63-77.
• Sa’ad, Hamman Tukur. "Role of individual creativity in traditional African art: the gwani (genius) amongst master builders of Hausaland.” Nigeria magazine 53, no. 4 (1985): pp. 3-16.
• Singletary, Richard Albert. Bruce Onobrakpeya: The Ethnic, National, International, and Modernistic Impulses in the Works of a Contemporary African Artist. Ph.D., Virginia Commonwealth University, 1999.
• Ströter-Bender, Jutta. "The Transformation of Ogun Power: The Art of Rufus Ogundele," in The Yoruba Artist: New Theoretical Perspectives on African Arts edited by Abiodun, Rowland, Henry John Drewal, and John Pemberton III, pp. 217-223. Washington, DC: Smithsonian Institution Press, 1994.
• Walker, Roslyn Adele. "Anonymous Has a Name: Olowe of Ise," in The Yoruba Artist: New Theoretical Perspectives on African Arts edited by Abiodun, Rowland, Henry John Drewal, and John Pemberton III, pp. 91-106. Washington, DC: Smithsonian Institution Press, 1994.
• Van Beek, Walter E. A. "The Dirty Smith: Smell as a Social Frontier Among the Kapsiki/Higi of North Cameroon and North-Eastern Nigeria." Africa (London) 62, no. 1 (1992): pp. 38-58.
• Vogel, Susan Mullin. "The Buli Master, and Other Hands." Art in America 68, no. 5 (May 1980): pp. 132-142.
• Wallace, Michele. "Afterward: 'Why Are There No Great Black Artists?' The Problem of Visuality in African-American Culture," in Black Popular Culture edited by Gina Dent, pp. 333-346. Seattle: Bay, 1992.
• Willett, Frank and John Picton. "On the Identification of Individual Carvers: A Study of Ancestor Shrine Carvings from Owo, Nigeria." Man N.S. 2, no. 1 (March 1967): pp. 62-70.
• Yai, Olabiyi Babalola. "In Praise of Metonymy: The Concepts of 'Tradition' and 'Creativity' in the Transmission of Yoruba Artistry over Time and Space," in The Yoruba Artist: New Theoretical Perspectives on African Arts edited by Abiodun, Rowland, Henry John Drewal, and John Pemberton III, pp. 107-115. Washington, DC: Smithsonian Institution Press, 1994.