A Collection African Studies Bibliographies and Archival Materials

Contemporary Art

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• Adam, Maimuna. “Artist’s Statement.” n.paradoxa: International Feminist Art Journal 31 (2013): p. 56.
• Adegborioye, Kunle. From a Distance: An Exhibition of Paintings (Battersea District Library, London, July 21-August 1, 1992). London: Ranelagh Press, 1992.
• Adenaike, Tayo. Tayo Adenaike: Solem Notes in 30 Watercolors. New Orleans: Tayo Adenaike, 1992.
• Adjaye, Kwamena Essifile. "Art as Culture." West Africa (London) 3918 (Oct. 19-25, 1992): p. 1800.
• African Art Now - Urban Culture from Africa. Tokyo: the Africa Society of Japan, 1993.
• Africas: The Artist and the City: A Journey and an Exhibition. Barcelona: Centre de Cultura Contemporania de Barcelona, 2001.
• Africus: Johannesburg Biennale. Johannesburg: Transitional Metropolitan Council, 1995.
• Afuba, Chris. Tangled, the Dirge of Depleted Woods: Wood and Metal Sculpture: NDF, Lekki Conservation Centre, Lagos. Lagos: British Council and the Nigerian Conservation Society, 1992.
• Agathe, J. Wegzeichen: Kunst aux Ostafrika, 1974-1989/Signs: Art from East Africa, 1974-1989. Frankfurt am Main: Museum für Völkerkunde, 1990.
• Agboeze, Amaechi and Charlie Nwekeaku. "'Rebels' Who Echo Their Minds." Newswave (Enugu) (April 1, 1991): pp. 20-21.
• Ajayi, Wale. Color Waves: An Exhbition of Paintings and Drawings. Lagos: National Commission for Museums and Monuments, 1992.
• AKA '92: Annual Art Exhibition. Enugu: AKA Circle of Exhibiting Artists, 1992.
• Aka-Evy, Jean-Luc. "Considérations historiques sur les tendances actuelles de la sculpture congolaise moderne." Présence africaine (Paris) 167-168 (2003): pp. 195-205.
• Akakpo, Barbara. "Exhibition by Ademola Akintola." West Africa (London) 3885 (March 2-March 8, 1992): p. 393.
• Akolo, Jimo. National Council for Arts and Culture Presents an Exhibition of Paintings and Drawings by Prof. Jimo Akolo from 1st August, '92 at the National Gallery of Crafts and Design...Lagos. Lagos: National Council for Arts and Culture, 1992.
• Alamu, Akin. From Dreamland: Exhibition 1992. Lagos: Russian Cultural Centre, 1992.
• Ali, Atteqa. "A Room for All." Third Text 33, no. 6 (2019): pp. 709-726.
• Aliyu, Hassan, Chike Azuonye, and Jon Churchill. Hassan Aliyu, Chike Azuonye, Jon Churchill. London: 198 Gallery, 1992.
• Amoah, Adwoa. “Artist’s Statement.” n.paradoxa: International Feminist Art Journal 31 (2013): p. 55.
• Amselle, Jean-Loup. L'art de la friche: Essai sur l'art africain contemporain. Paris: Flammarion, 2005. [Reviewed by Tobias Wendl in Cahiers d'études africaines (Paris) 181 (2006): pp. ????.]
• Anikulapo, Jahman. "In the Deep Waters at Didi." Guardian (Lagos) (Sept. 26, 1992): p. 19.
• Arnold, Marion I. Women and art in South Africa. New York: St. Martin's Press, 1996.
• Arnold, Marion and Brenda Schmahmann, eds. Between Union and Liberation: Women Artists in South Africa, 1910-1994. Burlington, VT: Ashgate, 2005. [Reviewed online by Julie L. McGee on H-Net, available at http://www.h-net.org/reviews/showrev.cgi?path=209571143482345.]
• "Art." Revue noire 24 (March-April-May 1997):pp. 8-9.
• Asedegbega, Augustine. Harvest of Unity: An Exhibition of Paintings and Sculptures. Lagos: Akin Ogunlesi, 1991.
• Bailey, David A., Ian Baucom, and Sonia Boyce, eds. Shades of Black: Assembling Black Arts in 1980s Britain. Durham, NC: Duke University Press in association with Institute of International Visual Arts and African and Asian Visual Artists' Archive, 2005.
• Balogun, Sola. "African Culture Shines on Ekefrey's Pallete." Guardian (Lagos) (Jan. 16, 1993): p. 16.
• Barclays Young Artist Award, 1992. London: Serpentine Gallery, 1992.
• Bardaouil, Sam. Surrealism in Egypt: Modernism and the Art and Liberty Group. London: I. B. Tauris, 2017. [Review by Riad Kherdeen available online on H-Net, Aug. 2018.]
• Barthélémy Toguo: coexistence on the earth. Daegu, Korea: Wooson Gallery, 2013.
• Barthélémy Toguo: print shock. Cinisello Balsamo, Milan: Silvana; Gravelines: Museé du dessin et de l'estampe originale de Gravelines, 2013.
• Becker, Cynthia and Alex Zito. “Yelimane Fall: Senegalese Calligraphy in Action.” African Arts 47, no 2 (Summer 2014): 28-39.
• Becker, Cynthia Jeanne and Nadia Sabri. Looking Out, Looking In: Contemporary Artists from Morocco. Boston, MA: Boston University, 2019.
• Bedford, Emma, Sophie Perryer, et. al. 10 Years 100 Artists: Art in a Democratic South Africa. Cape Town: Bell-Roberts in association with Struik Publishers, 2004.
• Behrend, Heike. "'Feeling Global': The Likoni Ferry Photographers of Mombasa, Kenya." African Arts 33, no. 3 (Autumn 2000): pp. 70-77, 96.
• Beier, Ulli. Art in Nigeria: 1960. Cambridge (UK): Cambridge University Press in Coordination with the Information Division, Ministry of Home Affairs, Ibadan, Nigeria, 1960.
• Bell, Marilyn Douala Manga. “Continuous Invention: A Duty and a Necessity,” in Condition report: symposium on building art institutions in Africa edited by Koyo Kouoh, pp. 49-52, 132, 135. Ostfildern, Germany: Hatje Cantz; Dakar: Raw Material Company, 2013.
• Bettelheim, Judith, ed. Afrocuba: Works on Paper 1968-2003. San Francisco: San Francisco State University, 2005.
• Biasio, Elisabeth. Die verborgene Wirklichkeit: drei a¨thiopische Maler der Gegenwart, Zerihun Yetmgeta, Girmay Hiwet, Worku Goshu. Zu¨rich : Vo¨lkerkundemuseum der Universita¨t Zu¨rich, 1989.

  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.

• Bosland, Joost. "The Africa Paradox," in Four Generations: The Joyner/Giuffrida Collection of Abstract Art edited by Courtney J. Martin, pp. 303-309. New York: Gregory R. Miller, 2016.
• Bräunlein, Peter. "Obiora Udechukwu: Lyriker und Grafiker aus Nigeria." Ika: Zeitschrift für Kulturaustausch & Kulturkalender "Dritte Welt" (Hamburg) 41 (Feb. 1991): pp. 25-26.
• Campbell, Bolaji Victor. "The Trial of 'Traditional' Art: The Bird Symbolism in Contemporary Yoruba Painting," in Principles of "Traditional" African Art edited by Moyo Okediji, pp. 54-69. Ile-Ife: Bard Book, 1992.
• Castellote, Jess, ed. Contemporary Nigerian Art in Lagos Private Collections: New Trees in an Old Forest. Gloucestershire: Bookcraft Limited, 2012. [Reviewed by Frank Agbiyoa Ugiomoh, available online at https://www.h-net.org/reviews/showrev.php?id=36394.]
• Celebration of Life: An Exhibition of Paintings, Drawings, Sculptures at the Main Hall of the National Commission for Museum and Monuments, Onikan, Lagos. Lagos: First Finance & Trust, 1992.
• Chazal, Malcolm de. L'ombre d'une île : Malcolm de Chazal. with Bernard Violet and Hervé Masson. Toulouse : L'Ether vague, 1994.
• Contemporary Ethiopian Artists at Fondo del Sol. Washington, D.C.: Fondo del Sol Visual Art and Media Center, 1984.
• Collier, Delinda. Repainting the Walls of Lunda: Information Colonialism and Angolan Art. Minneapolis: University of Minnesota Press, 2016. [Review by Drew Thompson available online at H-AfrArts]
• Continuity and Change: Three Generations of Ethiopian Artists. Gainesville, FL: Samuel P. Harn Museum of Art, University of Florida, 2007.
• Crenn, Julie. “Michèle Magéma: Without Echo, There Is No Meeting.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 15-20.
• "Cut Florae and Faunae." Bambolse (Kumase) 1, no. 2 (Feb. 19-21, 1992): pp. 19-21.
• D'Almeida, Fernando. "Le triomphe de la volonté." Bingo Nouveau (Paris) 408, no. 51 (1987).
• Davies, Desmond. "An Artist for All Seasons." New African (London) 302 (Nov. 1992): p. 33.
• Demerdash, Nancy. "The Quilts of Bisa Butler." The Textile Museum Journal, 2022.
• Desmottes, Michèle. "Barthélémy Toguo: L'art de cultiver." Magazine: Royal Air Maroc 195 (Jan.-Feb. 2016): pp. 51-54.
• Dike, Paul Chike and Patricia Oyelola. Aina Onabolu: Symbol of the National Studios of Art. Lagos: National Gallery of Art, 1999.
• "Djibouti." Revue noire 24 (March-April-May 1997): pp: 4-31.
• Domino, Christophe and André Magnin. L'art africain contemporain. Tableaux choisis. Paris, Éditions Scala, 2005. [Reviewed by Cédric Vincent in Cahiers d'études africaines (Paris) 185 (2007): ????.]
• "Doyen of Black Artists: Uzo Egonu, Nigerian Printmaker and Painter." West Africa (London) 3894 (May 4-10, 1992): p. 747.
• Dyangani Ose, Elvira. “The poetics of the infra-ordinary: the aesthetic of recognition in contemporary African art,” in Condition report: symposium on building art institutions in Africa edited by Koyo Kouoh, pp. 109-118, 132. Ostfildern, Germany: Hatje Cantz; Dakar: Raw Material Company, 2013.
• Dziewior, Yilmaz and Okwui Enwezor. Pascale Marthine Tayou: I love you! Bregenz: Kunsthaus Bregenz, 2014.
• El Nossery, Nevine. "Women, art, and revolution in the streets of Egypt," in Women's movements in post-"Arab Spring" North Africa edited by Fatima Sadiqi. Comparative feminist studies series. New York: Palgrave Macmillan, 2016.
• Essamba, Angèle Etoundi. “Artist’s Pages.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 42-46.
• Farkas, Solange. “From ferramentaria to Trance: Symbolism, Concept and Religiosity in the Work of Eneida Sanches.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 73-77.
• Filipovic, Elena. David Hammons: Bliz-aard Ball Sale. Cambridge, MA: MIT Press, 2017.
• Firstenberg, Lauri Michelle. Against the Archive: Toward Indeterminacy and the Internationalization of Contemporary Art. Ph.D., Harvard University, 2005.
• Firstenberg, Lauri Michelle. "A Stylist of Subjectivities: Interface in the Photography of Iké Udé." Third Text 13, no. 46 (Spring 1999): pp. 53-60.
• Fisseha, Girma. "The Ethiopian Avant-garde in the Thirties and 'Tejbet' Painting," 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. 221-235. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Forni, Silvia and Dominique Malaquais. "Village Matters, City Works: Ideas, Technologies, and Dialogues in the Work of Hervé Youmbi." Critical Interventions 12, no. 3 (2018): pp. 294-305.
• Gérard, Denis and Rita Pankhurst. "The Life and Art of Desso Hordofa: A Contemporary, Self-Taught Sculptor," 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. 236-263. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Gerschultz, Jessica. Decorative Arts of the Tunisian École: Fabrications of Modernism, Gender, and Power. Refiguring Modernism. University Park: Pennsylvania State University Press, 2019. (Review by Anne Marie E. Butler available online at H-Net Reviews).
• Gioni, Massimiliano, ed. Chris Ofili: Night and Day. New York, NY: Skira Rizzoli, 2014.
• Giorghis, Elizabeth W. "Art in a Changing World: Trends in Contemporary African Art and Diaspora Ethiopian Art," 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. 279-310. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Giorghis, Elizabeth W. Modernist art in Ethiopia. Athens, OH: Ohio University Press, 2019.
• Grantham, Tosha. Darkroom: Photography and New Media in South Africa Since 1950. Richmond, VA: Virginia Museum of Fine Arts, 2009.
• "Les graveurs de poto-poto: Résumé de la Conférence du professeur Rolf Italiaander (décembre 1960, Société des Africanistes)" Journal de la Société des Africanistes 30, no. 2 (1960): pp. 229-231.
• Haavan, John. "the Sculpture Garden of the Department of Fine Arts, Ahmadu Bello University, Zaria." Art History Newsletter (Zaria) 2, no. 1 (Dec. 1992): p. 6.
• Hanussek, Christian. "Cameroon: An Emerging Art Scene." Nka Journal of Contemporary African Art (Ithaca) 13/14 (Spring/Summer 2001): pp. 100-105.
• Harney, Elizabeth. Ethiopian Passages: Contemporary Art from the Diaspora. London: Philip Wilson Publishers, 2003. [Reviewed by Peri M. Klemm in African Art 37, no. 3 (Autumn 2007): pp. 8-11, 86.]
• Harney, Elizabeth. In Senghor's Shadow: Art, Politics, and the Avant-Garde in Senegal, 1960-1995. Objects/Histories: Critical Perspectives on Art, Material Culture, and Representation. Durham, NC: Duke University Press, 2004. [Reviewed by Ginette Curry in African Studies Review (New Brunswick) 48, no. 3 (Dec. 2005): pp. 198-199; Mark D. DeLancey in The International Journal of African Historical Studies (Boston) 38, no. 3 (2005): pp. 569-571; online by John Peffer on H-Net, available at http://www.h-net.org/reviews/showrev.cgi?path=302031160692984.]
• Harris, Michael D. "Beyond Aesthetics: Visual Activism in Ile-Ife," in The Yoruba Artist: New Theoretical Perspectives on African Arts edited by Abiodun, Rowland, Henry John Drewal, and John Pemberton III, pp. 201-215. Washington, DC: Smithsonian Institution Press, 1994.
• Hassan, Salah M. Gendered Visions: The Art of Contemporary Africana Women Artists. Trenton, NJ: Africa World Press, 1997.
• Herreman, Frank, Mark D'Amato, et. al. Liberated Voices: Contemporary Art from South Africa. New York: Museum for African Art; Munich and New York: Prestel, 2000.
• Hess, Janet and Nii O. Quarcoopome "Spectacular Nation: Nkrumahist Art and Resistance Iconography in the GhanaianIndependence Era." African Arts 39, no. 1 (Spring 2006): pp. 16-25, 91-92.
• "Iba N'Diaye: Musée Dynamique, Dakar 1977." African Arts (Los Angeles) 10, no. 3 (1977): pp. 72-73.
• Idahor, Taiye. “Artist’s Statement.” n.paradoxa: International Feminist Art Journal 31 (2013): p. 53.
• L'Ile Maurice vue par les artistes, 1800-1900: Mauritius Seen by the Artists 1800-1900.Port Louis, Mauritius: Editions de la Table ovale, 1980.
• Jackson, Ayana. “Artist’s Pages.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 33-36.
• Jari, Jacob. Three From Zaria: An Exhibition of Paintings and Drawings. Lagos: Goethe-Institut, German Cultural Centre, April 4-16, 1992.
• Jari, Jacob. Zaria Unites: An Exhibition of Paintings and Sculptures. Lagos: Goethe-Institut, German Cultural Center, 1992.
• Jegede, Dele, ed. Images of the Nigerian Nation. Foreward by Dele Jegede. Introduction by Ola Oloidi. Lagos: Society of Nigerian Artists, 1992.
• 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.
• Johnston, Hannah. "Hannah Johnston on Julie Mehretu," in Four Generations: The Joyner/Giuffrida Collection of Abstract Art edited by Courtney J. Martin, pp. 196-201. New York: Gregory R. Miller, 2016.
• Jumabhoy, Zehra. “Betwixt and In-Between: Reading Zarina Bhimji.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 88-95.
• Kaplan, Steven and Chaim Rosen. "Created in their Own Image: A Comment on Beta Israel Figurines." Cahiers d'études africaines 36, no. 141-142 (1996): pp. 171-182.
• Karnouk, Liliane. Modern Egyptian Art: 1910-2003. New York: The American University in Cairo Press, 2005.
• Karnouk, Liliane. Modern Egyptian Art: The Emergence of a National Style. Forward by P. J. Vatikiotis. Cairo: The American University in Cairo Press, 1988.
• Kasfir, Sidney Littlefield. Contemporary African Art. London: Thames & Hudson, 1999. [Reviewed online by Dele Jegede on CAA Reviews, available to members of CAA at http://www.caareviews.org/reviews/201.]
• Kerman, Monique. “Cut to the Chase: The Work of Mary Evans.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 58-64.
• Kidane, Girma. Contemporary Art in Ethiopia, 1977. Addis Ababa: Berhanena Selam Printing Press, 1977.
• Kindred, Wendy. "Skunder and Modern Ethiopian Art" in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 126-133. London: Jed Press, 1993.
• Koloane, David. "South African Art in the Global Context." Présence africaine (Paris) 167-168 (2003): pp. 119-126.
• Korngold, Michel and Aïda' Sy-Wonyu. Mémoire d’hier, mémoire de demain: art tribal et peinture contemporaine, Douala - 2014. Douala: Institut français du Cameroun, 2014.
• Labi, Kwame Amoah. "Afro-Ghanaian Influences in Ghanaian Paintings." Journal of Art Historiography 9 (Dec. 2013): pp. 1-23.
• 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.
• Langen, Silvia and Fiona Elliott. "Symbols or remembrance in the desert: art meets eternal human myths: Architectural sculptures on the Plaine de Marha, Morocco," in Outdoor art: extraordinary sculpture parks and art in nature. Munich: Prestel, 2015.
• Lasserre, Isabell. "Le forum des artistes." Balafon (Abidjan) 93 (1990): pp. 48-54, 58-59.
• The Last Pictures Show 2011: peinture, sculpture, photos. Paris: Galerie Vendome, 2011.
• Layiwola, Peju. “From Footnote to Main Text: Re/Framing Women Artists from Nigeria.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 78-87.
• Layiwola, Peju and Jean Borgatti. "Indigo Reimagined with Peju Layiwola." The Textile Museum Journal, 2022.
• Lehuard, Raoul. "L'art nègre chez Picasso vu par Iba N'Diaye, peintre africain." Arts d'Afrique noire (Arnouville) 58 (Summer 1986): pp. 9-21.
• Living with Art: The Westmoreland Collection: An Exhibition of Contemporary Art & Objects, Lagos, 1992. Lagos: Westmoreland Collection, 1992.
• Living with Art II: The Masters: The Williams Lacy Swing Collection, Residence of the Ambassador of the United States, Ikoyi, Lagos, Nigeria, November 25-29, 1992. Lagos: Inalegwu Okwa Exhibition, 1992.
• Luzzatto, Paola Caboara. Susanne Wenger: Artista e Sacerdotessa. Florence: Firenze Atheneum, 2009. [Review by Peter Probst available online at H-Net.]
• Magnin, André and Jacques Soulillou, eds. Contemporary Art of Africa. New York: Harry N. Abrams, 1996. [Reviewed online by Dele Jegede on H-Net, available at http://www.h-net.org/reviews/showrev.cgi?path=23969875569366.]
• Malaquais, Dominique. Hervé Youmbi: plasticien. Montreuil: Éd. de l'Oeil, 2011.
• Malinda, Ato. “Artist’s Statement.” n.paradoxa: International Feminist Art Journal 31 (2013): p. 54.
• Manga, Lionel. L’ivresse du papillon: le Cameroun aujourd’hui: ombres et lucioles dans le sillage des artistes. Servoz, France: Edimontagne, 2008.
• Maraini, Toni. "L'inquiétante séduction ou la situation de la figuration dans l'art contemporain des pays du monde islamique," in Le monde islamique et l’image, special issue of Horizons Maghrébins - Le droit à la mémoire 44 (2001): pp. 28-37.
• Maraini, Toni. "Quand artistes et poètes créaient leurs moyens de communication," in Médias au Maghreb et en milieu migratoire, special issue of Horizons Maghrébins - Le droit à la mémoire 62 (2010): pp. 163-175.
• Maraini, Toni. "Qui a peur de l'art ?" : éléments pour un débat sur la critique d'art au Maroc," in Itinérances: Art contemporain marocain: La question de la critique d'art, special issue of Horizons Maghrébins - Le droit à la mémoire 33-34 (1997): pp. 50-62
• Marschall, Sabine. "Gestures of Compensation: Post-Apartheid Monuments and Memorials." Transformation (Durban) 55 (2004): pp. 78-95.
• Mason, John. "Yoruba-American Art: New Rivers to Explore," in The Yoruba Artist: New Theoretical Perspectives on African Arts edited by Abiodun, Rowland, Henry John Drewal, and John Pemberton III, pp. 241-250. Washington, DC: Smithsonian Institution Press, 1994.
• Mellors, John and Anne Parsons. "Manuscript and Book Production in South Gondar in the Twenty First Century," 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. 185-199. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Mohulatsi, Mapule. "Black Aesthetics and Deep Water: Fish-People, Mermaid Art and Slave Memory in South Africa." Journal of African Cultural Studies 35, no. 1 (March 2023): pp. 121-133.
• Muholi, Zanele. “Artist’s Pages.” n.paradoxa: International Feminist Art Journal 31 (2013): p. 37.
• Nagy, Rebecca Martin and Achamyeleh Debela. "Adbar and Angel: Evocations of Spiritual Forces in Contemporary Ethiopian Art," 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. 264-278. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Niane, Idy Carras, Vieux Savané and Boubacar Boris Diop. Sét Sétal: La seconde génération des barricades. Dakar: Sud éditions-Collection Ruptures, 1991.
• Nibbeling, Xandra and Kamiel Verschuren. Making Douala: 2007-2013. Rotterdam: ICU art projects, 2012.
• Niederstadt, Leah. "Framing Images: The Evolution of a Narrative Format in Ethiopian Popular Painting," 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. 311-322. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Al Nimr, Dalia. "Art of Protest." AUCToday: The American University in Cairo 21, no. 1 (Fall 2012): pp. 36-39.
• Nolte, Jacqueline. "The Drawings of Bongi Bengu." African Arts (Los Angeles) 33, no. 2 (Summer 2000): pp. 46-59, 91-92.
• Ntombela, Nontobeko. “Silent Toyi-Toyis in the Work of Donna Kukama.” n.paradoxa: International Feminist Art Journal 31 (2013): 23-31.
• Nucci, Francesca. "De lo que las obras de arte hablan y no hablan: pinturas contemporáneas en Mauritania." Ankulegi: Gizarte Anthropology Aldizkaria (Donostia-San Sebastian) 18 (2014): pp. 65-82.
• Nucci, Francesca. El mundo del arte contemporáneo en Mauritania:encuentros y desencuentros entre los artistas locales, la sociedad mauritanay las comunidades extranjeras. Ph.D. thesis, University of Barcelona, 2013.
• Nwanze, Sam. "Directional Image of Visual Arts." National Concord (Lagos) (June 18, 1992): p. 5; (June 25, 1992): p. 5; (July 9, 1992): p. 5.
• Obi, Amanze. "Fleeting Moments of Fantasy." Guardian (Lagos) (Sept. 27, 1992): p. B7.
• Offoedu-Okeke, Onyema. Artists of Nigeria. Milan: 5 Continents Press, 2012.

  Oguibe, Olu. "Beyond Visual Pleasures: A Brief Reflection on the Work of Contemporary African Women Artists," in Gendered Visions: The Art of Contemporary Africana Women Artists edited by Salah M. Hassan, pp. 63-72. Trenton, NJ: Africa World Press, 1997.

• Okeke-Agulu, Chika. "A Narrowing of Art." Daily Times (Lagos) (Oct. 31, 1992): p. 17.
• Okeke-Agulu, Chika. "Nigerian Women Artists: Amazons of a New Order." Classique (Lagos) (Oct. 5, 1992).
• Okeke-Agulu, Chika. Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria. Durham, NC: Duke University Press, 2014. [Reviewed by Monica Blackmun Visonà in The Art Bulletin 98, no. 2 (June 2016): pp. 272-274; by Fred Smith available online at H-AfrArts.]
• Opoku, Zohra and Silvia Forni. "Zohra Opoku's Poetic Image Making." The Textile Museum Journal, 2022.
• Ose, Elvira Dyangani. "Elvira Dyangani Ose on Robin Rhode," in Four Generations: The Joyner/Giuffrida Collection of Abstract Art edited by Courtney J. Martin, pp. 310-313. New York: Gregory R. Miller, 2016.
• Ould Mohamed Lemine, Idoumou. "De Oualata à la peinture contemporaine: Naissance d'un art." in Tendances de la peinture contemporaine au Maghreb edited by Moulim El Aroussi, et al., pp. 49-54. Milan: Imprimerie Monolito, 1990.
• Ould Mohamed Lemine, Idoumou. "La Peinture en Mauritanie." Al Mawkib Al Thaqafi 9-10 (Jan./Feb.-Mar./April 1997): pp. 18-22.
• Pankhurst, Alula. "The Rift Valley Decorated Oromo Memorial Monuments: Development, Transformations, and Artistic Representations," 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. 323-340. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2003.
• Pankhurst, Richard. "Ethiopian Figurines from Mugar Monastery in Shawa." African Arts 37, no. 3 (Autumn 2004): pp. 42-47, 90.
• "Panorama: Peintres, sculpteurs - painters, sculptors, Dakar, Sénégal." Revue noire (Paris) 7 (Dec. 1992-Feb. 1993): pp. 17-25.
• 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.
• Pensa, Iolanda, Marta Pucciarelli, and Marilyn Douala Bell. Public art in Africa: art et transformations urbaines à Douala/art and urban transformations in Douala. Genève: MetisPresses, 2017.
• Pivin, Jean Loup. Aboudramane. Paris: Galerie Praz-Delavallade, 1992.
• Pivin, Jean Loup. “Sét Sétal: The Story of the Word that Kills/Histoire d'une parole qui tue.” Revue noire (Paris) 7 (Dec. 1992-Feb. 1993): pp. 4-6.
• Roberts, Allen F. "Icons from the end of days: Visual hagiography among Layennes of Senegal." World Art 3, no. 2 (2013): pp. 235-258.
• Roberts, Allen F. and Mary Nooter Roberts. "'Papisto Boy' (Portfolio)." African Arts (Los Angeles) 33, no. 2 (Summer 2000): pp. 72-79, 92.
• Roberts, Allen F. and Mary Nooter Roberts. A Saint in the City: Sufi Arts of Urban Senegal. Los Angeles, CA: UCLA Fowler Museum of Cultural History, 2003.
• 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.]
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