A Collection African Studies Bibliographies and Archival Materials

Sculpture

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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.
• Adam, Maimuna. “Artist’s Statement.” n.paradoxa: International Feminist Art Journal 31 (2013): p. 56.
• "Afro-Portuguese Ivories," in Elephant: The Animal and Its Ivory in African Culture edited by Doran H. Ross, pp. 292-293. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1992.
• 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.
• Alamu, Akin. From Dreamland: Exhibition 1992. Lagos: Russian Cultural Centre, 1992.
• Arnoldi, Mary Jo and Kate Ezra. "Sama Ba: The Elephant in Bamana Art," in Elephant: The Animal and Its Ivory in African Culture edited by Doran H. Ross, pp. 99-111. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1992.
• Asedegbega, Augustine. Harvest of Unity: An Exhibition of Paintings and Sculptures. Lagos: Akin Ogunlesi, 1991.
• Barclays Young Artist Award, 1992. London: Serpentine Gallery, 1992.
• Barley, Nigel. Foreheads of the Dead: An Anthropological View of Kalabari Ancestral Screens. Washington, D. C. and London: Published for the National Museum of African Art by the Smithsonian Institution Press, 1988.
• Bassani, Ezio and William Fagg. Africa and the Renaissance: Art in Ivory. New York: Center for African Art, 1988. [Reviewed by Monni Adams, "Some Recent Publications of the Center for African Art, New York." Tribus (Stuttgart) 41 (1992): pp. 217-220.]
• Bedaux, Rogier M. A. and Jan Smits. "A Seventeenth-Century Ivory Figure in the Rijksmuseum voor Volkerkunde in Leiden." African Arts (Los Angeles) 25, no. 1 (Jan. 1992): pp. 76-77, 100.
• Ben-Amos, Paula Girshick. The Art of Benin. Revised Edition. Washington, D.C.: Smithsonian Institution Press, 1995.
• Bernier, Cleste-Marie and Judie Newman. Public Art, Memorials and Atlantic Slavery. London and New York: Routledge, 2009.
• Blackmun, Barbara Winston. "The Elephant and Its Ivory in Benin," in Elephant: The Animal and Its Ivory in African Culture edited by Doran H. Ross, pp. 163-183. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1992.
• Blier, Suzanne Preston. "Imaging Otherness in Ivory: African Portrayals of the Portuguese ca. 1492." Art Bulletin (New York) 75, no. 3 (September 1993): pp. 375-96.
• Blier, Suzanne Preston. "King Glele of Danhome, Part One: Divination Portraits of a Lion King and Man of Iron." African Arts (Los Angeles) 23, no. 4 (October 1991): pp. 42-53, 93-4.
• Blier, Suzanne Preston. "King Glele of Danhome, Part Two: Dynasty and Destiny." African Arts (Los Angeles) 24, no. 1 (January 1991): pp. 44-55, 101-2.
• Bonnell, Letty Wilson. Elephants and Hunters, Diviners and Oracles: Yoruba Carving in Bone and Ivory. Ph.D., University of Maryland, College Park, 2002.
• Bonnet, Charles and Dominique Valbelle. The Nubian Pharoahs: Black Kings on the Nile. Cairo and New York: The American University in Cairo Press, 2006. [Reviewed by Pascal James Imperato in African Studies Review 51, no. 1 (April 2008): 192-193.]
• "A Brass Pendant Mask/Un masque pendentif de métal," in Art royal du Bénin/Royal Art of Benin, pp. 43-46, 51. Art Tribal/Tribal Art, Special Issue. Geneva: Barbier-Mueller, 1992.
• "A Brass Ring with Decapitated Bodies/Un anneau de métal aux corps duppliciés," in Art royal du Bénin/Royal Art of Benin, pp. 47-51. Art Tribal/Tribal Art, Special Issue. Geneva: Barbier-Mueller, 1992.
• Brett-Smith, Sarah C. The Making of Bamana Sculpture: Creativity and Gender. RES monographs in anthropology and aesthetics. Cambridge, UK: Cambridge University Press, 1994.
• Brett-Smith, Sarah C. The Silence of the Women: Bamana Mud Cloths. Milan: 5 Continents Editions, 2014.
• Cameron, Elisabeth L. Isn't S/he a Doll? Play and Ritual in African Sculpture. Los Angeles: Regents of the University of California, 1996.
• 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.
• Chaffin, Alain. "Art Kota." Arts d'Afrique noire 5 (Spring 1973): pp. 12-43.
• Chaffin, Alain. "Complément d'information sur 'Art Kota'." Arts d'Afrique noire 5 (Spring 1973): pp. 42-43.
• Cole, Herbert M. "The Igbo: Prestige Ivory and Elephant Spirit Power," in Elephant: The Animal and Its Ivory in African Culture edited by Doran H. Ross, pp. 210-225. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1992.
• Crenn, Julie. “Michèle Magéma: Without Echo, There Is No Meeting.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 15-20.
• Drewal, Henry John. "Image and Indeterminacy: Elephants and Ivory Among the Yoruba," in Elephant: The Animal and Its Ivory in African Culture edited by Doran H. Ross, pp. 186-207. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1992.
• Einstein, Carl. Negerplastik. Munich: Kurt Wolff, 1920.
• Einstein, Carl. La sculpture africaine. Trad. Thérèse and Raymond Burgard. Documents d'art. Paris: Les éditions de G. Crès, 1922.
• Essomba, Joseph-Marie. L'Art traditionnel au Cameroun: statues et masques. Suresnes (France): Jean Dupuch, 1982.
• Falgayrettes-Leveau, Christiane. "Du Gabon au Congo," in Chefs d'œuvre d'Afrique dans les collections du Musée Dapper, pp. 46-101. Paris: Editions Dapper, 2015.
• 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.
• Ferretti, Fred. Afo-a-kom: Sacred Art of Cameroon. New York: Third Press, 1975.
• Filipovic, Elena. David Hammons: Bliz-aard Ball Sale. Cambridge, MA: MIT Press, 2017.
• Fine, Jonathan David MacLachlan. The Throne from the Grassfields: History, Gifts, and Authenticity in the Bamum Kingdom, 1880-1929. Ph.D. dissertation, Princeton University, 2020.
• Geary, Christraud M. "Bamum Thrones and Stools." African Arts 14, no. 4 (Aug. 1981): pp. 32-43, 87-88.
• Geary, Christraud M. "Bamum Two-Figure Thrones: Additional Evidence." African Arts 16, no. 4 (Aug. 1983): pp. 46-53, 86-87.
• Geary, Christraud M. "Elephants, Ivory and Chiefs: The Elephant and the Arts of the Cameroon Grassfields," in Elephant: The Animal and Its Ivory in African Culture edited by Doran H. Ross, pp. 228-257. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1992.
• 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.
• Grunne, Bernard de. "La sculpture classique tellem: Essai d'analyse stylistique." Arts d'Afrique noire 88 (Winter 1993): pp. 19-29.
• Harter, Pierre. "Le Crane humain en Afrique." Arts d'Afrique noire 2 (1972): pp. 4-11.
• Herreman, Frank. "Etude d'un Kafigeledio." Arts d'Afrique noire 44 (Winter 1982): pp. 17-19.
• Herwitz, Daniel. "Negotiating Offence of Fallist Proportion: Cecil Rhodes and the Removal of University of Cape Town’s Statue." Third Text 36, no. 6 (Nov. 2022): pp. 631-650.
• 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.
• Hottot, Robert. "Fétiches téké." Arts d'Afrique noire 1 (1971): pp. 17-33.
• Ivory: An International History and Illustrated Survey. New York: Harry N. Abrams, Inc. (1987): pp. 170-199.
• "An Ivory Workshop in Liberia," in Elephant: The Animal and Its Ivory in African Culture edited by Doran H. Ross, pp. 364-365. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1992.
• Juel-Jensen, Bent. "The Evolution of the Ethiopian Cross," in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 17-27. London: Jed Press, 1993.
• Kahan, Leonard, Donna Page, and Pascal James Imperato, eds. Surfaces: Color, Substances, and Ritual Applications on African Sculpture. Bloomington, IN: Indiana University Press, 2009. [Reviewed online by Kristine Juncker on CAA Reviews, available to members of CAA at http://www.caareviews.org/reviews/1442.]
• Kidane, Girma. Contemporary Art in Ethiopia, 1977. Addis Ababa: Berhanena Selam Printing Press, 1977.
• Kirkman, James S. and B. M. Pagan. “An Ivory Trumpet from Sofala, Mozambique." Ethnomusicology 1 (1967): pp. 368-74.
• 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.
• Layiwola, Peju. “From Footnote to Main Text: Re/Framing Women Artists from Nigeria.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 78-87.
• Lebeuf, Jean-Paul. "Poupées et bâtons fali." Journal de la Société des Africanistes 11 (1941): pp. 226-227.
• Lebeuf, Jean-Paul. "Signification de la céramique Sao (Tchad)." Comptes rendus des séances de l'Académie des Inscriptions et Belles-Lettres 104 (1960): pp. 394-405.
• Lehuard, Raoul. "Sculptures angolaise: Mémorial de cultures." Arts d'Afrique noire 90 (Summer 1994): pp. 11-15.
• Lehuard, Raoul. "Sièges africains.'" Arts d'Afrique noire 92 (Winter 1994): pp. 42-43.
• Leurquin-Tefnin, Anne. "Eshu l'insaisissable." Arts d'Afrique noire 36 (Winter 1980): pp. 26-37.
• Leveau, Michel. "La découverte des figures de reliquaire dites Kota," in Chefs d'œuvre d'Afrique dans les collections du Musée Dapper, pp. 18-45. Paris: Editions Dapper, 2015.
• MacGaffey, Wyatt and John M. Janzen. "Nkisi Figures of the Bakongo." African Arts 7, no. 3 (Spring 1974): pp. 87-89.
• Marschall, Sabine. "Gestures of Compensation: Post-Apartheid Monuments and Memorials." Transformation (Durban) 55 (2004): pp. 78-95.
• Marschall, Sabine. "Targeting Statues: Monument 'Vandalism' as an Expression of Sociopolitical Protest in South Africa." African Studies Review 60, no. 3 (Dec. 2017): pp. 203-219.
• Maurer, Evan M. and Niangi Batulukisi. Spirits Embodied: Art of the Congo; Selections from the Helmut F. Stern Collection. Minneapolis: Minneapolis Institute of Arts in association with University of Minnesota Press, 1998. [Reviewed online by Wyatt MacGaffey on CAA Reviews, available to members of CAA at http://www.caareviews.org/reviews/53.]
• McKesson, John A. "Evolution du style des Byeri fang." Arts d'Afrique noire 88 (Winter 1993): pp. 35-41.
• McLeod, Malcolm and John Mack. Ethnic Sculpture. London: British Museum Publications, 1985. [Reviewed by Jeremy Coote, review available in JASO: Journal of the Anthropological Society of Oxford 16, no. 3 (1985): pp. 247-248; also see authors' Letter to the Editor and Reviewer's Response JASO: Journal of the Anthropological Society of Oxford 17, no. 1 (1986): pp. pp. 80-82.]
• 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.
• Obi, Amanze. "Fleeting Moments of Fantasy." Guardian (Lagos) (Sept. 27, 1992): p. B7.
• 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, Rita. "The Bull and the Bicycle: A New Genre of Popular Memorial Art in the Ethiopian Rift Valley" in Aspects of Ethiopian Art: From Ancient Axum to the 20th Century. edited by Paul B. Henze, pp. 114-119. London: Jed Press, 1993.
• Perrois, Louis. "L'art kota-mahongwe." Arts d'Afrique noire 20 (Winter 1976): pp. 15-37.
• Ravenhill, Philip L. "Of Pachiderms and Power: Ivory and the Elephant in the Art of Central Côte d'Ivoire," in Elephant: The Animal and Its Ivory in African Culture edited by Doran H. Ross, pp. 114-133. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1992.
• Röschenthaler, Ute M. “The Ejagham Interpretation of a Sculpture of Mami Wata,” in Sacred Waters: Arts for Mami Wata and Other Divinities in Africa and the Diaspora edited by Henry John Drewal. Bloomington: Indiana University Press, 2008.
• Ross, Doran H., ed. Elephant: The Animal and Its Ivory in African Culture. Los Angeles, CA: UCLA Fowler Museum of Cultural History, 1992.
• Ross, Doran H. Gold of the Akan from the Glassell Collection. Houston, TX: Houston Museum of Fine Arts, 2002. [Reviewed online by Robert T. Soppelsa on CAA Reviews, available to members of CAA at http://www.caareviews.org/reviews/666.]
• Scholz, Piotr. "Bemerkungen zur Ikonologie der sog: 'Vier apokalyptischen Wesen' an dem Steinaltar der Dreifaltigkeitskapelle zu Lalibela," 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. 23-29. London: The Pindar Press, 1989.
• Shelton, Anthony. "The Chameleon Body: Power, Mutilation and Sexuality," in Fetishism: Visualising Power and Desire edited by Anthony Shelton, pp. 10-51. London: Lund Humphries Publishers, 1995.
• Silverman, Raymond A. "A Portrait 'Mask' of President Nnamdi Azikiwe (Research Note)." African Arts (Los Angeles) 23, no. 4 (October 1990): pp. 78, 96.
• Sydow, E. von. Handbuch der Westafrikanischen Plastik. Berlin: Reimer, 1931.
• Thompson, Robert Farris and Joseph Cornet. The Four Moments of the Sun: Kongo Art in Two Worlds. Washington, D.C.: National Gallery of Art, 1981.
• Tribal Art Classics: V. Brussels: Adrian Schlag, 2009.
• Triki, Rachida. “Contemporary Women Artists in Tunisia.” n.paradoxa: International Feminist Art Journal 31 (2013): pp. 47-52
• Urbain-Faublée, Marcelle. L'art malgache. Pays d’outre-mer; colonies, empires, pays autonomes 5. série art et littérature 2. Paris: Presses universitaires de France, 1963. [Review by Decary, Raymond available online in Journal de la Société des Africanistes 33, no. 2 (1963): pp. 326-327.
• Visona, Monica Blackmun. "Portraiture Among the Lagoon Peoples of Cote d'Ivoire." African Arts (Los Angeles) 23, no. 4 (October 1990): pp. 54-61, 94-5.
• Warnier, Jean-Pierre. "Cameroun, Nigeria," in Chefs d'œuvre d'Afrique dans les collections du Musée Dapper, pp. 140-157. Paris: Editions Dapper, 2015.
• Wilcox, Rosalind Gregor. "Elephants, Ivory, and Art: Duala Objects of Persuasion," in Elephant: The Animal and Its Ivory in African Culture edited by Doran H. Ross, pp. 260-273. Los Angeles: Fowler Museum of Cultural History, University of California, Los Angeles, 1992.
• Wilcox, Rosalind Gregor. The Maritime Arts of the Duala of Cameroon: Images of Power and Identity. Ph.D. Thesis, University of California, Los Angeles, 1994.
• Volavkova, Zdenka. "Nkisi Figures of the Lower Congo." African Arts 5, no. 2 (Winter 1972): pp. 52-59, 84.
• Volavkova, Zdenka. "Once Again on the Kongo Nkisi Figures." African Arts 7, no. 3 (Spring 1974): pp. 89-90.
• Widman, Ragnar. "Le culte du 'niombo' des Bwendé." Arts d'Afrique noire 2 (1972): pp. 13-41.
• Zeitlyn, David. "Mambila Figurines and Masquerades: Problems of Interpretation." African Arts 27, no. 4 (Autumn 1994): pp. 38-47, 94.