Monographs on African Artists an Annotated Bibliography
Introduction
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Adams, Albert, 1929-2006

Adams, Albert, 1929-2006. Albert Adams: journey on a tightrope / edited by Marilyn Martin and Joe Dolby. Cape Town: Iziko South African National Gallery, 2008. 119pp. illus. (pt. color), bibl. refs. (p. 104). N7396.A42A4 2008 AFA. OCLC 239085461.

Albert Adams is missing from the South African art history book, but this retrospective rectifies that omission. Sadly, the artist died before the exhibition and catalog were realized, so they now stand as memorial and tribute. Artist Peter Clarke writes a moving remembrance of his boyhood friend. Adams studied at the Slade School of Art and spent most of the rest of his life abroad with occasional trips home. Best known for his prints and graphics, Adams also executed fine paintings. He favored portraits (and self-portraits) and figures, haunting and poignant, never sentimental. Apes and monkeys are metaphorical subjects that recur in his work. His last series of works (2006) dealt with the dark topic of Abu Ghraib.


Adéagbo, Georges, 1942-

Adéagbo, Georges, 1942- Georges Adéagbo: la rencontres…! Venise-Florence…! / curated by Chiara Bertola. Pistoiam Utaly: Gli ori, 2007. 157pp. illus. (color), bibl. refs. Text in English and Italian. N7399.D33A342 2008 AFA. OCLC 214232023.

In the 18th-century Venetian villa, home of the Querini family’s Fondazione Querini Stampalia, Georges Adéagbo created one of his site-specific installations. Amidst the grandeur of terrazzo floors, high-ceilings and marble wainscoating, Adéagbo scattered his objets trouvé from markets in Venice, Berlin and his hometown of Cotonou, as well as works commissioned by his favorite Benin artists. To this assemblage he adds his handwritten comments, labels if you will. Adéagbo is repositioning Venice to the periphery. His Benin moves to the center.


Adéagbo, Georges, 1942- The Mission and the Missionaries / edited by Octavio Zaya. Milan: Charta, 2012. 157pp. illus. (color), bibl. refs. Text in Spanish and English. N7399.D33 A342 2012 AFA. OCLC 806282545.

This book was published to accompany Georges Adéagbo’s exhibition at the Museo de Arte Contemporáneo de Castilla y Léon in Léon, Spain. It includes texts by Agustín Perez Rubio, Octavio Zaya and Kerstin Schankweiler. Perez Rubio, the museum’s director, provides an introduction to the show, while Zaya introduces Adéagbo in more depth. Kerstin Schankweiler writes on Beninese visual culture and art history. Adéagbo produces accumulations of objects, images and texts, where he combines pieces collected or made in his home city Cotonou with site-specific ones, such as (in this case) finds from Léon flea markets. Adéagbo works with the significance of place, not only in respect of the importance of his home and the other cities he travels to, but also the creation of a place when putting together installations. Openness and exchange is also important to Adéagbo. Objects, texts and images interact freely, without being sorted into distinct categories. This openness includes that between different places – pieces from Cotonou and Léon are mixed up in a complex conversation and not shown in opposition to one another. Adéagbo goes out in search of thrown-out objects every day and also works with crafters and painters in Benin to produce work for his installations.
Georges Adéagbo: Archäologie der Motivationen – Geschichte neu schreiben = Archaeology of motivations – rewriting history / edited by Silvia Eiblmayr. Ostfildern-Ruit, Germany: Hatje Cantz Verlag, 2001. 107pp. illus. (pt. color), bibliog. (pp. 106-107). Text in German and English. N7399.D33A34 2001 AFA. OCLC 49228805.

This book documents the first six years of Georges Adéagbo’s creative works, or his “methodological fields,” as they are referred to. Adéagbo, from Bénin, rewrites history in his assemblages that have neither center nor beginning and end. He illustrates a colonial history of relationships between western hegemony and Africa. Commentary on Adéagbo’s installations from 1994 to 2001 are offered by several scholars and critics along with an interview with the artist.

Reviewed by Sylvester Okwunodu Ogbechie, "Impossible cities, improbably artists: encounters with Africa at the edges of memory," Art journal (New York) 63 (4) winter 2004, pages 137-140.


Adeyemi, Kunle, 1959-

Adeyemi, Kunle, 1959- New wine. Lagos, Nigeria: Kunle Adeyemi Studio, 2008. 138pp. illus. (pt. color), bibl. refs. (pp. 135-136). NE787.6.N5A34 2008 AFA. OCLC 709732786.

Lagos based artist Kunle Adeyemi explores Yoruba themes, symbols and motifs in his art work. A graduate of Yaba College of Technology, he also apprenticed with Bruce Onobrakpeya, and his work clearly shows the influence of the master printmaker. In this self-published book, Adeyemi writes about his choice of subject matter, use of colors, and techniques. He does oil painting, a variety of printing making techniques, and mixed media. A series of tributes by colleagues and critics conclude the volume.


Afewerk Tekle, 1932-

Afewerk Tekle. Afewerk Tekle / text by Richard Pankhurst. Addis Ababa: Artistic Printers of Ethiopia, 1987. 235pp. illus. (pt. color). Text in Amharic and English. ND1086.A25 1987 AFA. OCLC 19050800.

This visual retrospective of Ethiopian artist Afewerk Tekle, the first modern artist of Ethiopia, belongs to the genre of hagiography. Tekle set up a studio in Addis Ababa and began receiving official commissions in the 1950s following art training in England. It was during his years in England that he met Sylvia Pankhurst, who became his mentor. Richard Pankhurst, Sylvia's son, who writes the biographical text for this volume, knew Tekle when they were both young men. Chiefly illustrated, this volume reproduces works by Tekle and photographs of the artist at work and at many official ceremonies both in Ethiopia and abroad. He is noted for his stylized generic portrait paintings and for stain-glassed windows. He has also executed a monumental bronze equestrian figure of Ras Makonnen in Addis Ababa. His more recent work, since the 1974 revolution, adapts to the austere socialist climate in Ethiopia, and Tekle seems to have retained his eminence within the new Marxist regime.


Akpan, Sunday Jack, 1940-

Zementskulpturen aus Nigeria: Sunday Jack Akpan, Aniedi Okon Akpan; [exhibition, IFA Galerie, sponsored by Iwalewa-Haus, Bayreuth]. Stuttgart: Institut für Auslandsbeziehungen, 1988. 70pp. illus. (pt. color), bibliog. NB1099.N5Z53 1988 AFA. OCLC 20218034.

The startling realism and dramatic impact of the life-size painted cement sculptures of Sunday Jack Akpan and Aniedi Okon Akpan is magnified and intensified when one visits the artists' workshop in southeastern Nigeria and sees dozens of these animated human and animal figures assembled in the yard. The originality and inventiveness of their work is apparent, but it did not spring from nothing. The forms and images may be new, but Ibibio funerary and commemorative sculpture has a long history. The Akpans have merely expanded the repertoire with their unique contributions. The skilled craftsmanship with which they translate a two-dimensional photograph or portrait (from which they often work) into a three-dimensional work is itself a remarkable artistic achievement.

There are numerous photographs of the Akpans' sculptures and their workshop, plus thirty-three color plates, reproduced in the book. Two essays on the work of the Akpans by Thomas Deecke and Ronald Ruprecht comprise the main text. There is also an essay by Ronald Ruprecht on West African cement sculptural traditions.


Alexander, Jane, 1959-

Jane Alexander: Daimler-Chrysler Award for South African sculpture 2002. Ostfildern-Ruit: Hatje Canta ; New York: Distributed by Distributed Art Publishers, 2002. 133pp. chiefly illus. (pt. color), bibliog. (pp. 131-132).. NB1096.A43A4 2002 AFA. OCLC 50091449.

World-class sculptor Jane Alexander won this 2002 DaimlerChrysler Award for South African Sculpture. From the year she finished college in 1982, her work has stood out, visually, viscerally, in-your-face, painful, poignant. The “Butcher Boys” (1985-1986), half-man, half-animal mutants, are representative of her corpus in the “mute storytelling manner.” Addressing the world around her, Alexander ultimately connects with universal and global themes of the human condition.

Akiko Miki, one of the DaimlerChrysler jury, shares personal views on the character and strength of Alexander’s art.

Reviewed by Ivor Powell in Art South Africa (Cape Town) 1 (1) spring 2002, page 61.


Jane Alexander: surveys (from the Cape of Good Hope) / edited by Pep Subirós. New York: Museum for African Art; Barcelona: Actar, 2011. 189pp. illus. (pt. color), bibliog. (pp. 188-189) NB1096.A44A4 2011 AFA. OCLC 713189779.

Jane Alexander’s human-animal hybrids evoke many responses from viewers, which is precisely what the artist wants. She is reluctant to explain her work so as not to close off this introspection. Her work addresses both local South African issues, social political environmental, and universal human ones, usually on the dark side. Disturbing, visceral, and fearful, her installations and photomontage never fail to lock in your gaze.

Contents: In Africa and beyond: reflections on Jane Alexander's mutant universe / Pep Subirós --Postcolonial grotesque: Jane Alexander's poetic monsters / Kobena Mercer -- Harbinger of night: Jane Alexander's posthumanism / Lize van Robbroeck --Me and Mrs. A. / Simon Njami --Lost marsh: scandalous presence / Ashraf Jamal --Survey: Cape of Good Hope, 2005-09 / Jane Alexander -- Notes on African adventures and other details / Jane Alexander -- Bom boys, 1998 -- African adventure, 1999-2002 -- The sacrifices of God are a troubled spirit, 2004 -- DANGER GEVAAR INGOZI, 2004 -- Harbinger with barge and imperial landscape (North Sea), 2006 --Courtroom 21 (in the absence of Judge W)/Courtroom 21/Title withdrawn/Verity, faith and justice, 2006 -- Security/ Segurança, 2006 (São Paulo) ; Security/ Säkerhet, 2007 (Göteborg) ; Security, 2009 (Johannesburg) -- Security with traffic (influx control), 2007 --On being human, 2009 -- Infantry, 2008-10 -- Attendant, 2008-10 -- Truth seeking, memory and art, 1995 / Sander Gilman -- By the end of today you're going to need us, 1996 / Ashraf Jamal -- The Bom boys: an engagement, 1999/2010 / Lucy Alexander -- Animal bodies/absent bodies: disfigurement in art after Soweto, 2003 / John Peffer --The enigma of the rainbow nation, 2004 / Okwui Enwezor -- Canons apart and apartheid canons, 2007 / Julie McKee -- Inside and outside of history, 2007 / Ivor Powell -- Ontological fluidity, 2009 / Ingo Gildenhard -- A Christian perspective on being human, 2009 / Michael Sadgrove.


Alexander, Keith, 1946-1998

Robbins, David. Keith Alexander: the artist in retrospect. Johannesburg: Jonathan Bell, 2000. 236pp. illus. (color). ND1096.6.R53A432 AFA. OCLC 47208911.

Keith Alexander, born in Zimbabwe but relocated to South Africa, began his artistic career as a sculptor but switched to painting. He became known for his haunting and brilliant hyper-realistic and surrealistic canvasses, particularly those inspired by desert landscapes. Unpopulated, stark landscapes, architectural ruins, overgrown and deserted, beached ships, deep shadows and mists contrasting with sun-blinding light characterize Alexander’s paintings. 116 color reproductions of his paintings are included. Alexander’s career was propelled and managed by his wife Elizabeth, who first proposed travel to the Namib Desert, which marked a major turning point in his work. Later they traveled to Madagascar. Both died of cancer with six months of each other in 1997 and 1998. The story of his poignant and in many ways sad life is ably told by David Robbins, writer and journalist.


Ali Omar Ermes, 1945-

Ermes, Ali Omar, 1945- Art Advisory Associates present Ali Omar Ermes in context /edited by Charlie Pocock. London: Art Advisory Associates, 2003. 41pp. illus. (color), portrait. NK3633.A2 E76 2003 AFA. OCLC 57667679.

Ali Omar Ermes left his homeland, Libya, to study in England. He graduated with a diploma in design from the Plymouth School. Upon returning to Libya, he engaged in painting, writing and consulting. He then moved back to England where, living in exile, he continues his involvement in art and writing. As his resumé (pp. 40-44) indicates, his works include numerous publications, as well as many group and solo exhibitions.

The artist’s works consists of dazzling painted Arabic letters dancing against various backgrounds of swirling colors over which drift fine lines of Arabic poetry. His brush strokes and compositions give these paintings a wonderful musicality. At the core of Ermes’s artistic philosophy is a belief in the continuity and interdependence of all traditions and thoughts, which, flowing through the stream of time, are guided by a kinship of individual freedom and humanity.

Essays by Riad Allah, Venetia Porter, and Dale Agee provide useful commentary on his artistic philosophy and the cultural significance of his work.


Almighty God, 1950-

Almighty God: opere = works 1979-2007 / curated by Duccio K. Marignoli, Enrico Mascelloni, Sarenco. Cinisello Balsamo, Milan: Silvana, 2007. 119pp. illus. (color), bibl. refs. Text in Italian and English. ND1099.G533A462 2007 AFA. OCLC 181732068.

Almighty God, the artist, does not claim to be God. Rather he gives thanks to Almighty God for his personal salvation. Asked about this, he says he is a preacher and a painter. Full stop. Almighty God, born Kwame Akoto, began his apprenticeship painting signboards and lorries, but then he found religion. He also found expatriate buyers for his paintings and diversified his thematic repertoire. He now runs a thriving art enterprise located in a large outdoor studio on a busy roundabout in Kuamsi. His portraits and paintings are often didactic and moralistic, sometimes surrealistic and typically inscribed with titles and admonitions (e.g., “A man who dresses as a woman deserves the reprobation of God.”). In this catalog is a broad and diverse selection of his paintings. Includes essays by Duccio K. Marignoli, Enrico Mascelloni, and Sarenco.


Amer, Ghada, 1963-

Amer, Ghada. Ghada Amer / a cura du Damilo Eccher. Milano: Electa, 2007. 255pp. chiefly color illus., bibliog. (pp. 244-250). Text in English and Italian. N7385.A43A4 2007 AFA. OCLC 145723580.

Ghada Amer's art explores female identity through the media of cutting and embroidery, sewing and threading. She transforms action painting, a masculine art form, into "action threading" with subtle repetitions and layering. Her work speaks to the global transmission of images and icons of popular culture, including erotic ones.

This is the catalog of a solo exhibition of Ghada Amer, held at the MACRO, Museo d'arte contemporanea Roma, Rome, Italy, May 25-September 30, 2007. Contents include: Autoricamo = Selfembroidery / by Germano Celant -- Ghada Amer / by Danilo Eccher -- Liquid girls / by Teresa Macrì -- Navigare in territorio "marcato", ovvero come vivere per sempre felici e contenti = Navtgating marked territory; or, how to live happily ever after / by Elizabeth Janus -- Biografia / by Costanza Paissan.


Reilly, Maura. Ghana Amer. New York: Gregory R. Miller, 2010. 312pp. illus. (color), bibliog. (pp. 301-305). N7385.A44R45 2010 AFA. OCLC 549145576.

Ghada Amer is strongly influenced by the French feminist Hélène Cixous, who demanded that women speak for themselves - - écriture féminine -- in defiance of male oppression. Amer’s œuvre for the last two decades resonates in response to this feminist clarion call. In an interview in this volume Amer elaborates on how this feminist theory manifests itself in her work. The monograph presents chronologically Amer’s paintings, drawings, and prints, from the early 1990s to 2010. The artist has also created a series of outdoor installations called “Garden,” and her sculptures transform her two-dimensional embroidery and threaded work into three-dimensions. This multi-faceted artist does performance and videos and since 2000 has collaborated with Reza Farkhondeh. Well-illustrated monograph documenting this mid-career artist.


Amoda, Olu, 1959-

Amoda, Olu. Cequel 1a: sculptures, drawings and installations. Lagos, Nigeria: [s.n.], 2012. 224pp. illus. (some color). N7399.N53 A52 2012 AFA. OCLC 823117866.

Olu Amoda likes the concept of “repurposing.” He transforms all manner of ordinary metal objects and scrap into imaginative sculptures – nails, keys, screw drivers, etc. He also fabricates highly decorative metal compound gates. Son of a goldsmith from the Niger Delta, Amoda is comfortable handling and working with metal. More recently he has developed a new process which he calls “plasma cut on stainless steel.” This blends printmaking techniques of cutting with acid into a metal plate and painting with colored powder. The resulting two-dimensional works are remarkably delicate.

Along with many illustrations of the “plasma cuts” and earlier work of Amoda’s, this catalog includes essays by dele jegede, Tam Fiofori, Nkiru Nzegwu, Ode Okore and an interview with the artist by Adebisi Aderonke Arije.


Amoda, Olu. Olu Amoda: objects of art, November 17 thru 27, 2005. Lagos: Oracle Books, 2005. 132pp. illus., portraits. NB1099.N53A462 2005 AFA. OCLC 225504437.

Olu Amoda is one of Nigeria’s better known metal sculptors. Welded steel, bolted assemblage and metal scraps are the substance of his oeuvre. From tiny objects to monumental sculptures, Amoda’s works can be surprising delicate (given the hard, cold material), whimsical even satirical. Actually, often satirical. Although this exhibition is of works from 2003-2005, the catalog takes a retrospective look at Amoda’s career. He studied art at Auchi Polytechnic and teaches at Yaba College of Technology.


Anatsui, El, 1944-

Anatsui, El, 1944- Chokokuka Eru Anatsui no Afurika [Fateful journey, Africa in the works of El Anatsui] / edited, Kawaguchi Yukiya. Tokyo: Yomiuri Shinbunsha: Bijutsukan Renraku Kyogikai, 2010. 233pp. illus. (color), bibliog. (pp. 222-229). Text in Japanese and English. NB1099.N53A372 2010 AFA.

The third of El Anatsui’s retrospective exhibitions in 2010 was held in Japan, clearly a testimony to his global reach and appeal. Most of the art on view is from the artist’s collection, including the revealing preparatory sketches. Beautifully photographed, the works selected focus as much on his woodworks as on the more famous metal sculptures.

The catalog essays provide a deep context to the art and cultural artifacts that inspire and influence Anatsui - - Kente cloth, adinkra, wood mortars, akua’ba, ibeji, and, of course, the tin cans, bottle caps, and other detritus. Essays are by Yukiya Kawaguchi, Sylvester Okwunodu Ogbechie, Tsutomu Mizusawa, Shozo Akutsu, Charles Gore, Hisashi Matsumoto, Shoichira Takezawa, Bisi Silva and Chris Spring.


Anatsui, El, 1944- El Anatsui: zebra crossing. New York: Jack Shainman Editions, 2009. 174pp. illus. (color), bibl. refs. N7399.G53A532 2009 AFA. OCLC 497880948

The year 2005 marked a turning point in the career of Ghanaian artist El Anatsui. Although an established artist prior to 2005, the success of his joint exhibition (at Skoto Gallery and Contemporary African Art Gallery) and the boost by Holland Cotter’s review in the New York times catapulted him across the barrier. Jack Shainman quickly scooped him up. This catalog for a 2010 exhibition at Shainman’s gallery features mainly the metal “tapestries” with a nod toward earlier work. Short essays by Elizabeth Harney and Odili Donald Odita are included.


Anatsui, El, 1944- El Anatsui: when I last wrote to you about Africa / edited by Lisa M. Binder. New York: Museum for African Art, 2010. 170pp. illus. (chiefly color). NB1099.G53A52 2010 AFA. OCLC 669825718.

2010 was an annus mirabilis for El Analsui with three major retrospective exhibitions. This one is published in conjunction with the exhibition organized by the Museum for African Art, New York. Participating venues: Institute for Contemporary Culture at the Royal Ontario Museum, Museum for African Art, New York, University of Michigan Museum of Art, North Carolina Museum of Art, and Denver Art Museum. This catalog takes an in-depth look at his complete oeuvre, particularly his earlier less well known wood and ceramic sculptures. What is particularly valuable are the rarely seen sketches and preparatory drawings, prints and paintings.

Contents: Introduction / by Lisa M. Binder -- El Anatsui: the early work / by Olu Oguibe -- Mark-making and El Anatsui's reinvention of sculpture / by Chika Okeke-Agulu -- The shifting shapes of things to come / by Robert Storr -- Discovering El Anatsui / by Kwame Anthony Appiah -- Plates -- Artist's biography and exhibition history.


El Anatsui: a sculpted history of Africa / by John Picton with Gerard Houghton, Yukiya Kawaguchi, Elisabeth Lalouschek, Simon Njami, and Elizabeth Péri-Willis. London: Saffron Books, an imprint of Eastern Art Publishing, 1998. 96pp. illus. (pt. color), bibliog. (pp. 93-94). qNB1099.G53A533 1998 AFA. OCLC 41206158.

El Anatsui has come into his own and to international recognition during the 1990s, although he had been an active and productive artist for more than two decades before surfacing on artistic radar screens from New York to London, Venice, Rio de Janeiro, and Tokyo. He is now represented by the pioneering October Gallery in London, which mounted an exhibition of his work in 1998. This book was published for that exhibition. Anatsui's primary medium is wood, though he has done some brilliantly creative ceramic sculptures, notably the "Broken Pots" series. His wood sculpture is characterized by burnt and gouged surfaces, intermittently painted, but mainly raw, rough-edged wood grain surfaces.

His metaphor is the searing destructive nature of colonial history. He sees African history in the texture and grain of the wood, in color, and in migrations and movement. A truly original and innovative artist is El Anatsui.

For this catalog six essays and reflections on the life and work of Anatsui are offered from a diverse set of critics and commentators: John Picton, Gerard Houghton, Yukiya Kawaguchi, Elisabeth Lalouschek, Simon Njami, and Elizabeth Péri-Willis.

Reviewed by Krydz Ikwuemesi, “Under Western eyes,” Glendora books supplement (Lagos) nos. 3-4, 1998, pages 32-36; by Ozioma Onuzulike in USO: Nigerian journal of art (Lagos) 4 (1-2) January 2002-December 2005, pages 193-196; by Sylvester Okwunodu Ogbechie in African arts (Los Angeles) 32 (3) autumn 1999, pages 91-92.


Fold, crumple, crush: the art of El Anatsui [videorecording] / a film by Susan Vogel. Brooklyn, NY: Icarus Films, 2011. 1 videodisc (53 minutes).

A powerful portrait of Africa's most widely acclaimed contemporary artist. An insider's view of the artist's practice, the ingenious steps and thousands of hours of labor that convert used bottle tops into huge, opulent wall hangings. Behind the charming, easy-going artist we meet a man mysterious even to his dearest friends. The film circles around Anatsui--we see the celebrated artist at the Venice Biennale, in his home town, inside his studio in Nsukka directing a score of assistants.-- publisher's notice.

Reviewed by Toni Pressley-Sanon in African studies review (Piscataway, NJ) 57 (1) April 2014, pages 252-253.


Vogel, Susan Mullin. El Anatsui: art and life. Munich: Prestel, 2012. 175pp. illus. (chiefly color), bibliog. NB1099.G53 A538 2012 AFA. OCLC 798093592.

This book is a thorough look at El Anatsui’s career at age 68 by which time he was well-known internationally for his bottle cap and other metal hangings and installations. Based on many interviews with Anatsui and colleagues on three continents, Vogel offers a complete picture – his early life in Ghana, his long establishment at the University of Nigeria, Nsukka, his less familiar wood and ceramic sculptures, and his global presence. Heavily illustrated.

Contents: Reaching Venice from Nsukka -- Life. Starting in Ghana, living in Nigeria; Traveling, searching, beyond Africa; Discovering metal sheets; Working in Nsukka; Entering the global art world -- Art. Concept and practic; Bottle-top hangings as an art form; Art now: breaking apart, breaking free -- Chronology -- Exhibition history.


Attia, Kader, 1970-

Attia, Kader, 1970- Kader Attia: Musée d’art contemporain, Lyon, Le Magasin, Centre national d’art contemporain, Grenoble. Zurich: JRP/Ringier, 2006. 112pp. illus. (chiefly color), bibl. refs. (pp. 104-105). Text in French and English. N6853.A8313 A4 2006 AFA. OCLC 82672607.

Kader Attia, born 1970 in France to Algerian parents, has a dual identity, moving back and forth from Paris to rural Algeria while growing up. He studied art in Paris and Barcelona. Best known for his installations and photography, his work addresses themes of immigration, identity, xenophobia, religion, consumerism, child abuse, and urban violence and poverty. His subject matter ranges from whirling dervishes, cross-dressing dancers, transvestites, disco balls, Chinese fortune cookies, and vending machines to a darker world of police truncheons, handcuffs, drills, old refrigerators, and umbrella spokes. His engagement in social criticism uses installations, sculpture, photography, video and drawing.

The main catalog essay is by Tami Katz-Freiman. The artist’s very insightful interview is with Jean-Louis Pradel. In it he discusses many of his installations, including "Wall paintings," "The fridges," and "Correspondence.". The catalog is published on the occasion of the his solo exhibition in Lyon, Musée d'art contemporain, June 15 to August 13, 2006, and Grenoble, Magasin, Centre national d'art contemporain, October 21, 2006 to January 7, 2007.


Attia, Kader, 1970- The repair: from Occident to extra-Occidental cultures / with texts by Manthia Diawara, Jacinto Lageira, Kitty Scott; editor, Axel Lapp. Berlin: Green Box, 2014. 175 pp. illus. N6853.A8313 A4 AFA. OCLC 891566038.

The repair embodies Kadia Attia’s reflections on the broken bodies in the world of humans and objects. Mending them fails to erase the effects of the trauma they sustained or to restore their original identities. Instead, mending these bodies merely produces hybrid entities that are fetishized and aestheticized. Nor does repair compensate for what had been lost; it only leaves scares, stiches, and other traces that make the broken body familiar again. Attia’s artistic philosophy reflects personal responses to the forces of alienation and uprootedness, including religion, colonialism and modern material consumerism.

The repair includes a conversation with the artist by Kitty Scott and comments by Manthia Diawara and Jacinto Lageira that shed light on the aesthetic approach of Attia Kader. Biodata is included.


Aussi, Jaffary, 1960-2008

Shiraishi, Kenji and Fumiko Yamamoto. Tingatinga = Teingateinga II: Jiyafuari no Afurika. Tokyo: Kodansha, 1992. 103pp. illus. (pt. color). Text in Japanese and English. ND1097.6.T3T58 1992 AFA. OCLC 28384335.

Jaffary Aussi, one of the more innovative among the younger generation of Tingatinga artists, has carried on the Tingatinga tradition with his own distinctive stylistic interpretations and experiments in color and perspective of distortion. Yet he remains firmly rooted in the original Tingatinga sensibility. Animals predominate in his paintings as they do in all Tingatinga paintings. In fact, it is the animal-man relationship that is one of the hallmarks of this informal school of painting founded (almost by chance) by Edward Saidi Tingatinga in Dar es Salaam in the late 1960s. Tingatinga and his followers are mainly Makua, and it is argued here that Makuan folklore and legends form a thematic base for the Tingatinga paintings, even amongst younger adherents, who are urban born and bred. Being related by blood ties and working closely together, Tingatinga painting is "family art."

The works of Jaffary Aussi constitute the centerpiece of this second Tingatinga book by this Japanese publisher. Yamamoto introduces the artist, and Shiraishi in his essay "Portraits of coexistence" elucidates the larger phenomenon of the Tingatinga school and, in particular, its founder E. S. Tingatinga (1937-1972).


Avedissian, Chant, 1951-

Avedissian, Chant. Chant Avedissian: Cairo stencils / edited by Rosa Issa. London: Saqi, 2006. 134pp. illus. (color). NK8667.A95A4 2006 AFA. OCLC 67369128.

Chant Avedissian’s monotype stencils are colorful homage to the icons of the country where he grew up, Egypt. Trained in Canada and France, he returned to work for a decade with the renowned Hassan Fathy, who instilled in Avedissian a deep respect for the essential Egypt. Avedissian’s icons are 20th-century images which encapsulate much of Egyptian popular culture, including divas (Om Kulthoum), movie stars, athletes, rulers, ordinary people and things, buildings, Arabic scripts and hieroglyphics. The Cairo stencils, which utilize pigments and gun arabic on cardboard, were all done between 1991 and 2004. Rosa Issa provides an introductory essay on the artist.
Bahgory, Georges, 1935-

Bahgory, Georges, 1935- Bahgory: an Egyptian artist’s words and pictures = Bahjuri / Georges Bahgory ; translated by Humphrey Davies. Cairo: American University in Cairo Press, 2008. 73pp., [48]pp. of plates. Illus. (color). N7385.B34A4 2008 AFA, OCLC 223848920.

The story of Egyptian artist Georges Bahgory is told with his own pen and brush in poetic vignettes and expressive paintings


Barker, Wayne Cahill, 1963-

Barker, Wayne, 1963- Wayne Barker: super boring / Andrew Lamprecht; editor, Marelize van Zyl. Stellenbosch, South Africa: SMAC Art Pub., 2010. 182 pp. illus. (chiefly color). N7396.B37 A4 2010 AFA. OCLC 608029999.

Wayne Barker is anything but “super boring.” Quite the contrary. He is South Africa’s artist-provocateur, angry, cheeky, subversive, ever critical of South Africa both before and after the transition to democracy. His pastiche employs swizzle sticks, advert logos, neon tubing, honeycombs, and all manner of ready-mades. He appropriates objects and images—Ndebele beaded aprons, African face masks. And he challenges South Africa’s hyper-inflated obsession with the Modernists—Pierneef, Stern, Sekoto—at the expense of all the younger artists. This catalogue includes essays by Andrew Lamprecht, Carol Brown, Simon Njami, Ashraf Jamal, and Theminkosi Goniwe, along with quotations from numerous others who know Barker. This retrospective exhibition was held at the SMAC Art Gallery, Stellenbosch, 20 March-23 May 2010; Polokwane Art Museum, 22 September-31 October 2010; and Standard Bank Gallery, Johannesburg, 1 February 2011-12 March 2011.


Wayne Barker: artist’s monograph / text, Chari Blignaut ; editor, Brenda Atkinson. Rivonia, Johannesburg, South Africa: Chalkham Hill Press, 2000. 55pp. illus. (pt. color), bibl. refs. (page 54). N7396.B26A4 2000X AFA. OCLC 46670750.

Subversive, politically incorrect, iconoclastic, South African artist Wayne Barker knocks about from pillar to post as a kind of cultural misfit. "All Washed Up in Africa,” one of his art projects, characterizes his outlook on life, though his career is anything but all washed up. He trained at Michaelis School of Fine Art in Cape Town, but that has been about the only conventional step along the way; for the rest, before and after, he has been a kind of “cultural cowboy” and outsider. But there is no mistaking the seriousness of this artist. He works in several media–painting, installation, performance. This catalog chronicles the story of the still young Wayne Barker and his work in South African and nowadays, internationally.


Barrada, Yto, 1971-

Barrada, Yto, 1971- Yto Barrada / edited by Lionel Bovier and Clément Dirié. Zürich: JRP Ringier, 2013. 160pp. illus. (chiefly color), bibl. refs. TR647.B37 2013 AFA. OCLC 853443584.

Although born in Paris, Yto Barrada is deeply invested in Tangier— not the Tangier of cosmopolitan myth, but the communities of underdogs, disadvantaged and victims, who make up her Tangier. Her spirit of activism is clearly reflected in her photography and installations as is her concern for the children of Tangiers and the raw urban environment. The remnants of colonialism also figure in her work.

Contents: Yto Barrada sees Tangier / Jan Goytisolo -- Something new about plants (biographical sketch) / Marie Muracciole -- Internal/external / Jean-François Chevrier & Yto Barrada --A grammar of Tangier : a conversation with / Sina Najafi.


Barrada, Yto, 1971- Riffs: Artist of the Year, Yto Barrada. Ostfildern: Hatje Cantz, 2011. 163pp. illus. (chiefly color), maps. N6853.B3521 A4 2011 AFA. OCLC 724304168.

Moroccan artist Yto Barrada was named artist of the year in 2011 by Deutsche Bank. This catalogue was published alongside Barrada’s exhibition at the Deutsche Guggenheim in Berlin that year. It features many illustrations of Barrada’s work, essays, and a chronology of Moroccan history and Barrada’s life. Her working and spiritual environment is Tangier, Morocco, where she documents and celebrates the real people, telling the non-official stories of survival, adaptation and resourcefulness. Best known for her photography, Barrada also does video installations and sculpture. Featured here are several of her art projects: Beau Gests, Gran Royal Turismo, The Strait Project, Iris Tingitana, Playground, and Lyautey Unit Blocks.

Friedhelm Hütte writes about Barrada’s focus on her home city, Tangier, as the subject of her photographs. Barrada explores her city as a place many are waiting to leave, seeking better lives in Europe. Hütte describes Barrada as an artist who focuses on ordinary life in Tangier, and Marie Muracciole also emphasizes Barrada’s preference for gathering fragments together rather than focusing on the spectacular or monumental. Okwui Enwezor writes about how Barrada’s work is concerned with the ‘burning’ or distress of being caught between worlds—one where you can no longer survive, and another where you are not welcome. Daniel Soutif describes how Barrada treats different views of Tangier, whether they show its beauty or its decay, as equally significant. Also included is a conversation between the artist and Negar Azimi about what the government ignores and what it focuses on and how this affects the city.


Bashorun, Raqib Abolore, 1955-

Bashorun, Raqib Abolore. Unframed, untamed designs: exhibition of product designs. Lagos: Graphic Design Department, Scgool of Art, Design and Printing, Yaba College of Technology, 2006. 103pp. illus. NB1250.B38 2006 AFA. OCLC 213272838.

Raqib Abolore Bashorun, a sculptor who works mainly in wood, has moved into more lucrative furniture design using a variety of woods. Bashorun started as a graphic designer, but found the two dimensional too limiting. A graduate of Yaba College of Technology and the University of Missouri-Columbia, Bashorun is on faculty at Yaba. In this catalog, he combines bodies of work from the 1980s, 1990s and 2000s and previous exhibitions. The black-and-white photographs do not do justice to his oeuvre.


Battiss, Walter, 1906-1982

Battiss, Walter, 1906-1982. Battiss and the spirit of place: Unisa Art Gallery, 18 May-24 June 1989 = Battiss en die gees van plek: 18 mei-24 junie 1989. Pretoria: University of South Africa, 1989. 77pp. illus., bibl. refs. Text in English and Afrikaans. N7396.B28A4 1989 AFA. OCLC 22327172.

The career of South African artist Walter Battiss is recalled at this 1989 retrospective exhibition held at the Johannesburg Art Gallery. Includes essays by Karin M. Skawran, Merle Huntley and Marion Arnold on aspects of his work. Exhibition reviewed by Linda Givon, "Battiss and the spirit of place," De arte (Pretoria) 40, September 1989, pages 67-69.


Battiss, Walter, 1906-1982. Walter Battiss: ‘I invented myself’: the Jack M. Ginzberg collection / curated by Warren Siebrits. Johannesburg: Ampersand Foundation, 2016. 335pp. illus (color), portraits, bibl. refs. N7396.B28 A4 2016 AFA. OCLC 957348410.

Thumbing through Walter Battiss: “I Invented Myself” reveals his eccentricity—from his poetry, aphorisms, missives, drawings, and paintings. Battiss' deeply intense practice of art, music, poetry, and life itself breathes through his passionate writings. His willingness to confront the boundaries of apartheid-era South Africa—the cultural boundaries, not just the racial ones—marked him as an artist ahead of his time. “I Invented Myself,” the exhibition, and the accompanying catalog, fully capture his life, his travels, his loves, and his far-flung imagination. His five-part series, Orgy, both shock and amaze the reader's sensibility. On his serious side, his study of San rock art is reflected in his paintings, inspired by this ancient tradition.

Battiss’ writings and paintings on his imaginary utopia, Fook Island, are not to be missed. Using his persona as King Ferd the 3rd, Battiss managed, in curator Warren Siebrits’ words, to “fabricate an alternative philosophy and lifestyle, both of which were diametrically opposed to the life of cultural and intellectual subjugation imposed on South Africans by the Calvinist preservers of yesterday’s virtues and graces.” In short, he was South Africa’s LSD-fueled hippie. The catalog covers all aspects of the world of Walter Battiss. The descriptive bibliography, compiled by Jack Ginzberg, covers everything he wrote or co-wrote over an amazing life and career. This catalog is profusely illustrated with the complete oeuvre from rock art to erotica.

Exhibition reviewed by Tsholofelo Moche in Art Africa (Johannesburg) 5, September 2016, pages 200-202.


Walter Battiss: gentle anarchist / edited by Jillian Carman and Susan Isaac. Johannesburg: Standard Bank Gallery, 2005. 204pp. illus. (color). N7396.B28A4 2005 AFA. OCLC 64221121.

Walter Battiss looked the part of an artist – thick goatee, long white hair, brimmed hat or beret, and rumpled appearance – whose work is whimsical, irreverent, luscious, lusty and hedonistic. His paintings and prints are full of people and things, color and motion, patterns and repetitions. During his long career, he taught art at several South African schools and universities (including Rorke’s Drift) and traveled widely around the globe. The exotic and mundane all found their way into his work.

Battiss’ deep appreciation of San rock paintings led him to publish a couple of books on the subject, and this ancient art inspired some of his own work. His imaginary utopia Fook Island, where artistic creativity could flourish without inhibition, drew in others (“Fookians”) including Norman Catherine, Linda Givon, and Walter Saunders, among others. Battiss’ “happenings” (performance art by an earlier name) were unprecedented in conservative South Africa in the 1970s, though they coincided with the international art scene with which he was quite familiar.

Several insightful essays in this catalog and a collection of personal remembrances bring out the many facets of this incandescent personality. More than half of the catalog is a comprehensive selection of his oeuvre - - covering Africa, travels, watercolors, erotica, fantasy/myths/magic, screen prints, and tapestries.

Reviewed by Robyn Sassen in De arte (Pretoria) 74, 2006, pages 72-74.


Belkahia, Farid, 1934-

Benchemsi, Rajae. Farid Belkahia. Milan: Skira, 2013. 207pp. illus. (mainly color). Text in French and English. N7390.3.B45 A4 2013 AFA. OCLC 879308616.

Written by Farid Belkahia’s wife, Moroccan writer Rajae Benchemsi, this book traces different stages and themes in the artist’s work, as well as exploring his studio space and practice. A biography is included. Belkahia studied at the Ecole des Beaux-Arts in Paris, travelled through the Middle East and then studied set design at the Academy of the Performing Arts in Prague. Belkahia was interested to live in a communist country, but became critical of the regime, although he did not take a either a for or against position on communism. Following his studies, Belkahia returned to Morocco to take up the position of director at the Casablanca’s Ecole des Beaux-Arts, where he introduced workshops and courses on traditional Moroccan arts such as rug-making, pottery, jewellery and Islamic architecture.

Along with teachers from the Ecole, and writers, Belkahia started the journal Souffles, which was anti- colonialist and anti-government. In 1969 Belkahia organized an exhibition of contemporary art in Jamaa al-Fna Square in Marrakesh. This show drew the government’s notice and they began to place Belkahia under pressure, which led to his resignation five years later. Belkahia became interested in rejecting the prevailing idea that Western art was ‘real’ art and wanted to present art as universal – something belonging to and existing in all cultures. From here, Belkahia stopped painting in oils, framing his work and producing figurative images. He began using copper, as it is used in a lot of Moroccan craft. When there was a pending shortage of copper, Belkahia turned to another traditional craft material, animal skin, on which he used natural pigments such as henna, cobalt and saffron.


Farid Belkahia. Nice: Musée d’art moderne et d’art contemporain, 1990. 78pp. illus. (pt. color), bibl. refs. (p. 72). ND1090.3.B43F37 1999 AFA. OCLC 47079486.

Moroccan painter Farid Belkahia has found his own creative way, blending modernism with a sensibility for indigenous Moroccan forms, materials, and aesthetics. Parchment replaces canvas, henna replaces oils, earth tones replace primary colors, Berber and Islamic forms replace European abstraction. One of Belkahia’s sources of inspiration is the Melhoun, a sixteenth-century Islamic poetry genre which is well known in Morocco. Though Belkahia now lives in Marrakech, he has traveled widely and imbibed many cultures, yet his work remains firmly and confidently rooted in Morocco.
Irbouh, Hamid. Farid Belkahia: a Moroccan artist's search for authenticity. M.A. thesis, Department of Art, City College of New York, 1991. 121 leaves. illus. (leaves 86-117), bibliog. (leaves 118-121). ND1090.3.B43I65 1991 AFA. OCLC 23812587.

Farid Belkahia was in the vanguard of the discourse of "authenticity and modernity" (al-Asala wa al-Mu'assara) among Moroccan artists. It was part of the quest for identity within a context of cultural decolonization. His use of body symbols, as in tatoos and henna-painted designs, and his choice of leather as a painting surface are conscious choices with particular cultural meaning. Unlike the Orientalist painters, Belkahia and other Moroccan painters of his generation were not looking for the exotic. They were seeking an authentic visual language within Moroccan culture, while at the same time being well versed in western concepts and movements in art. Belkahia, above others, developed a great respect for and proficiency in the artisan crafts -- leatherworking and metalworking especially. Symbolically he explores images of the body -- the central theme in his work -- and inscriptions on the body.
Bell, Deborah, 1957-

Stein, Pippa. Deborah Bell. Johannesburg: David Krut Publishing, 2004. 96pp. illus. (color), bibliog. (p. 96). (TAXI art books, 10). N7396.B454S74 2004 AFA. OCLC 55021145.

Deborah Bell is a very spiritual person. By her own account, Bell’s journey as a maker of art adheres to Gnosticism’s search for transcendence through spiritual revelations and discoveries of one’s true, inner Self. Her earliest work, a series of oil paintings depicting lovers, is overwhelmingly about claustrophobia, loveless couplings, and male dominance. But those works seem dated now, as her journey moves along.

Bell’s most evocative body of work is the Unearthed series of figures, which draw deeply and directly from recognizable West and Central African sculptural forms. She “discovered” African sculpture in the early 1990s at a time when South Africa was undergoing dramatic transformations and she, like other artists, began looking outward. More recently she is experimenting with brick clay, a harder, less malleable material than modeling clay. Her Sentinel series are tall guardian figures made from this extruded brick clay, whose overall form is dictated by the manufacturing process. She then shapes the figures by carving. Bell has also collaborated with William Kentridge and Robert Hodgins on print and animation projects.

Pippa Stein introduces Deborah Bell’s themes and techniques, and the artist shares some of her own insights into her work. Biodate is included.

Reviewed by Ingrid Stevens in De Arte (Pretoria) 70, September 2004, pages 68-70.


Bellagha, Ali, 1924-

Masmoudi, Mohamed. Ali Bellagha. Tunis, Tunisia: Ceres Productions, 1990. 67, 8pp. illus. (chiefly color). (Collection “Peinture”). ND1091.3.B44M37 1990 AFA. OCLC 31736020.

Ali Bellagha was born into a family of Tunisian artists – father and grandfather. Although exposed to the arts at a young age, he went on to study law, but ineluctably was drawn back to artistic pursuits. After graduating from art school in Paris in 1955, he returned to newly independent Tunisia and became immersed in the fervor of the nationalist spirit of cultural recuperation. He opened an art gallery “Les Métiers” in Tunis, which became a locus for the cultural renaissance of the period. He himself became a central figure on the local art scene and part of the Ecole de Tunis. His painting utilizes traditional Tunisian imagery, both figurative and decorative. It is a rich and varied oeuvre illustrated here in this catalog.


Bellamine, Fouad, 1950-

Thorel-Daviot, Pascale. Fouad Bellamine. Milano: Skira; Morocco: ART’DIF, 2012. 207pp. illus. (chiefly color). Text in English and French. ND1090.3.B45 L42 2012 AFA. OCLC 832627312.

Fouad Bellamine, born in 1950 in the medina of Fez, grew up within its architectural enclosures, which greatly influence his painting. Architectural motifs – arches, niches, domes, cemeteries – permeate his work. A true intellectual, Bellamine early on met and interacted with French artists, including the Support/Surface group. He began experimenting with “painting” indigo ink on felt. In the early 1980s he moved to Paris to exhibit and study art and philosophy. Returning to Morocco in 1989, he found the art world to be very small, but began collecting contemporary Moroccan art and curating shows, honoring older artists and supporting younger ones. He even established a library of contemporary art.

Bellamine’s painting uses a muted palette – black, gray, white – sometimes, monochromatic, only occasionally, brighter colors – with broad brushstrokes, showing the interplay between shadow and light. He describes his painting as non-figurative rather than abstract. More recently, he is experimenting with digital photography, including one controversial series “The origin of the world,” which borders on the pornographic. Although not a deeply religious man, Bellamine addresses religious issues in his art and has an affinity with the freedom of Sufism.


Ben Abdallah, Jellal, 1921-

Duvignaud, Jean. Jellal Ben Abdallah: une mémoire tunisienne. 2nd edition. Tunis, Tunisia: Ceres Productions, 1992. 87pp. illus (pt. color). (Collection “Peinture”). ND1091.3.B46D88 1992 AFA. OCLC 60692334.

Jellal Ben Abdallah, born in 1921, has been painting all his adult life. His first exhibition was in 1939. Though known as a painter, he has also designed the interiors of buildings and done mosaics and murals. This book focuses on his paintings, including the minatures for which he is justly famous. His paintings are nostalgic, serene, capturing scenes from an earlier Tunisia. Figurative paintings of women predominate: cool interiors, the female inner sanctum, women in seclusion, grooming, doing domestic activities, playing musical instruments. Harmoniously composed, his paintings are rich with patterned decoration and costume. The outside landscape is only glimpsed through an open window or archway.

Although this book is designated a second edition, it would seem to be only a reprint of the original 1983 edition, as no new material has been added.


Ben Salem, Aly, 1910-2001

Ben Salem, Aly, 1910-2001. Aly Ben Salem: peintures, gouaches, aquarelles = ‘Ali Ibn Salim: rusum ma'iyah wa-zaytiyah wa-samghiyah / text by Ali Louati. Tunis: Maison Tunisienne de l'édition = al-Dar al-Tunisiyah lil-Nashr, 1984. 144, 30pp. illus. (color). Text in French and Arabic. ND1091.I27 A4 1986 AFA. OCLC 21380526.

When Aly Ben Salem held his first exhibition in Tunis in 1934, he was something of a rarity—an academically trained Tunisian and a Muslim. His paintings were and still are narrative and poetic, celebrating traditional ways of life. He had even worked for a time at the Musée des arts indigènes, where he developed a sense of the importance of the object. He studied at the Musée des beaux arts in Tunis, graduating in 1936. The next year he was commissioned to decorate the Tunisian pavilion in Paris at the Exposition internationale des arts et techniques dans la vie modern. Ben Salem met prominent artists while in Paris and was invited to exhibit his work in Sweden, where he met his future wife, artist Hédia-Kristine Nelson.

Although he has lived most of his professional life as an expatriate, first in Paris, but mainly in Sweden, his work becomes if anything even more Tunisian in character. His ethnographic interest manifests itself in close attention to dress, gesture, furnishings and other artifacts of daily life. Among his earlier paintings are a series depicting Tunisian craftsmen, leatherworkers, weavers, and marble engravers. His later work has the flat perspective of glass paintings and of overall designs of illuminated miniatures. Ben Salem worked in several media—oil, watercolor, gouache, and underglass (sous verre). His palette is drenched in colorful, light pastels. His compositions are full of flowers and fanciful fauna. In addition to Ben Salem’s paintings, there are tapestries designed by him, but fabricated by his wife. Fifty-nine works are reproduced in color, spanning his entire career.


Benanteur, Abdallah, 1931-

Benanteur, Abdallah. Abdallah Benanteur: gravures / textes de Rabah Belamri, Michel-Georges Bernard, Monique Boucher, Rachid Boudjedra, Mohamed Khadda, Henri Kréa, Jean Pélégri, Hamid Tibouchi. Algiers: ENAG; Éditions AEFAB, 1989. 141pp. illus. (color), bibl. refs. qNE2087.65.B45A4 1989X AFA. OCLC 23216478.

Algerian artist Abdallah Benanteur creates delicate, ethereal engravings in pale, airy colors using calligraphic forms. Long a resident of France, where he went to study art in the 1950s, Benanteur was honored with an exhibition in Algiers in 1989. Friends and colleagues pay tribute with remembrances, commentaries, even poetry, which form the main text of the catalog. The principal essay by Michel-Georges Bernard provides a scholarly assessment of Benanteur's artistic career. Biodata is included (pages 30-33).
Benanteur, Abdallah. Benanteur: empreintes d'un cheminement / Djilali Kadid. Paris: Myriam Solal, 1998. 218pp. illus. (color), portrait. Series: Collection Le Temps du rêve. ND1088.3.B45A35 1998 AFA. OCLC 42019086

Algerian artist and art critic Djilali Kadid pays poetic hommage to Abdallah Benanteur in an essay invoking the lyricism and spirituality of Benanteur’s paintings. Kadid echoes the quiet progression of Benanteur’s development as an artist, the phases of his painting and earlier engravings, and the significance of an Algerian-Arabic aesthetic in his œuvre. In an extended interview with the artist (pages 83-214), Benateur speaks of his own personal odyssey, his sources of inspiration and influence, his encounters with art in Paris, where he settled in 1953 after finishing art school in Algeria. Fifteen oil paintings from the period 1981-1991 are illustrated in color.
Bertiers, Joseph, 1963-

Bertiers, Joseph, 1963- Dateline Kenya: the media paintings of Joseph Bertiers. Santa Monica, CA: Smart Art Press; New York; distributed by D.A.P., 1998. 72pp. illus. (color). ND1097.6.K43B472 1998 AFA. OCLC 39200714.

Kenyan painter Joseph Bertiers is a media hound, a news junkie, and the barrage of current events provides themes for his work. Formerly a sign painter, Bertiers turned to painting international celebrities and politicians - - O. J. Simpson, Princess Diana, Bill Clinton, Nelson Mandela and a host of other immediately recognizable people and events. In this exhibition catalog forty-four of his “media paintings” are reproduced in color. Californian art dealer Ernie Wolfe III, the artist’s representations, interviews Bertiers. Karal Ann Marling contributes an essay “Joseph Bertiers: moralist, comic, telepainter” (pages 11-23).


Boonzaier, Gregoire, 1909-

Bekker, Martin. Gregoire Boonzaier. Cape Town: Human & Rousseau, 1990. 112pp. Illus. (pt. color), bibliog. (p. 111). N7396.B66B45 1990X AFA. OCLC 25132084

In 1938 Gregoire Boonzaier and like-minded artists formed the New Group as a means of elevating art practice and appreciation in parochial South Africa. Invigorated by his art studies in England and his travels on the continent, Boonzaier had returned to South Africa hoping to inject some quality and vigor into the local art scene. As a young man, before his formal training, Boonzaier had already had some success as a painter, encouraged by his stern and domineering father (from whom he had to eventually break away). Boonzaier’s first solo exhibition was in 1925 at the age of 15. By the time the New Group broke up in 1953, Boonzaier was quite an accomplished and collectible painter. He typically painted impressionistic landscapes, rural scenes, or cityscapes, including now much sought after street scenes of District Six and the Malay Quarter of Cape Town. But he also did still lifes and portraits (many self-portraits). By age 80 (when this book was published), Boonzaier was still active and now a venerable part of the South African art establishment.


Scott, F. P. Gregoire Boonzaier. Cape Town: Tafelberg-Uitgewers, 1964. 149pp. illus. (pt. color), bibliog. Text in English and Afrikaans. ND1096.B6S3X 1964 AFA. OCLC 11894805.

An early biography of South African artist Gregoire Boonzaier – the preceding entry – this study traces his youth and career as painter up to 1964. It includes more than ninety of his paintings, through most are reproduced in black-&-white. Boonzaier’s father was a cartoonist and artist who encouraged his son but was domineering and controlling. Eventually Gregoire had to strike out on his own, despite the rift it caused. Gregoire Boonzaire was part of the New Group in the late 1930s and 1940s, but he developed his own painting style, favoring landscapes for which he became known.


Boshoff, Willem, 1951-

Boshoff, Willem. Willem Boshoff: word forms and language shapes 1975-2007 / curated by Warren Siebrits. Johannesburg: Standard Bank Gallery, 2007. 120pp. illus. (color). N7396.B668A4 2007b AFA. OCLC 187801309.

Willem Boshoff tells his own story better than anyone else can. So in his laconic, down-to-earth understated jargon-free style, his astonishing accomplishments unfold. Boshoff is a collector of things - - pebbles, woods, soils - - and of words and names, which find their way into his works of art, not as random objets trouvé but carefully composed, message-bearing and thought-provoking. But it is not all about conceptual art; it’s also visually engaging and aesthetically exquisite.

This mid-career retrospective looks at his early wood works, complex maze-like puzzles - - Boshoff learned wood working from his carpenter father. His later works are intensely political, but not the “in your face” variety. Rather, the viewer is seduced by the beauty and intricacy and even whimsy before realizing the powerful message being conveyed. Boshoff is an original.


Vladislavic, Ivan. Willem Boshoff. Johannesburg: David Krut, 2005. 127pp. illus. (pt. color). (TAXI art books, 11). N7396.B668A4 2005 AFA. OCLC 61150817.

South African artist Willem Boshoff has come in from the cold of the claustrophobic world of apartheid South Africa. It is not that he has changed, but the world around him is transformed. Ever “the preacher and prankster,” Boshoff acknowledges “his best friend and worst enemies” in making his current acclaim and recognition possible. His early works are now given fresh scrutiny and are seen as part of the whole. Words, letters, signs and symbols are central to some of his most evocative works. He demonstrates the subversive and powerful force of words in his installations and idiosyncratic dictionaries. The son of a carpenter, Boshoff has amazing skill as a woodworker as seen in the early work Kyk Afrikaans and 370-day project. He also uses his impressive knowledge of natural things – seeds, soils, rocks - - to create. In this book, all of Boshoff’s major series are illustrated and discussed in a chronological progression.

Reviewed by Michael Herbst in Art South Africa (Cape Town) 4 (1) spring 2005, pages 87-88; by Elfriede Dreyer in De arte (Pretoria) 73, 2006, pages 64-65.


Botha, Lien, 1961-

Lien Botha / text by Ashraf Jamal. Johannesburg: David Krut Publishing, 2002. 92pp. illus. (pt. color), bibl. refs. Text in English, French, Afrikaans. (TAXI art books series). N7396.B67A4 202X AFA. OCLC 50562835.

South African artist Lien Botha works in photo-based media and installations. A graduate of Michaelis School of Art in Cape Town in 1988, Botha makes biography the center of her work. Her art projects from 1990 to 2002 featured here trace her evolution as an artist. The essay by Jamal Ashraf provides the context to these projects. She is described as “a quiet and gnomic voice,” but is someone who abhors consistency. She is clearly rooted in South Africa, and her social critique speaks to the historical and the personal.. More than seventy of her works are presented here.

Reviewed by Michael Herbst in De arte (Pretoria) 68, September 2003, pages 9-64; by Lauren Shantall in Art South Africa (Cape Town) 1 (1) spring 2002, page 63.


Boukhatem, Farès, 1941-

Boukhatem, Farès. Farès Boukhatem: retrospective; [exhibition, Musée national des beaux-arts d'alger, décembre 1989-février 1990] / text by Malika Bouabdellah. Algiers: Musée national des Beaux-Arts, 1989. 1 volume (unpaged). illus. (color). Text in French and Arabic. ND1088.3.B76A4 1990 AFA. OCLC 31614719.

Farès Boukhatem came of age during Algeria's war of liberation; not surprisingly, his early drawings are scenes of battle and struggle. After liberation, he took up art full-time and became active in the Algerian artists' association, Union National des Arts Plastiques (UNAP), and also had a sojourn in China. He has exhibited regularly, though infrequently, beginning with his first solo show in 1965 in Algiers. In this 1989-1990 retrospective, Boukhatem chose to emphasize his recent pen-and-ink drawings and oils, although some of the early drawings are included. Stylistically, Boukhatem is hard to pin down, as he has worked in multiple styles. Twenty works are illustrated.
Breitz, Candice, 1972-

Breitz, Candice. Candice Breitz. Milano: Skira, 2005. 95pp. illus. (color), bibliog. (pp. 92-95). Text in Italian and English. N7396.B74A4 2005 AFA. OCLC 61107988.

Video artist Candice Breitz finds the moving image quite liberating after growing up in a South Africa without television. TV was allowed in South Africa only in 1976, and even then programming was tightly controlled. She is also enamored with pop culture and its images disseminated through mass media. The female body and its pornographic appearance in pop culture became the theme of her early Rainbow and Rorschach series of photographs. The subsequent Babel series moves from still photography into videos of cascading and overlapping voices. Her latest Mother + Father video installations feature clips of well known Hollywood stars expatiating on motherhood or fatherhood. These works and others are featured in this 2005 solo exhibition in Italy. Candice Breitz, who trained in South Africa and the United States, now resides in Berlin.

Reviewed by Rory Bester in Art South Africa (Cape Town) 5 (1) spring 2006, page 88.


Breitz, Candice. Candice Breitz: inner + outer space / texts by Jennifer Allen, Gerald Matt. Köln: König, 2008. 132pp. illus. (color), bibl. refs. (p. 127). Text in English and German. N7396.B74A4 2008 AFA. OCLC 286350991.

Berlin-based South African artist Candice Breitz creates odes to pop culture figures - - Michael Jackson, Madonna, John Lennon - - through the medium of video and their fans’ karaoke sing along. In a new video series Him and Her, she interweaves clips and movie stars Meryl Streep and Jack Nicholson. This is a sequel to her Mother and Father series. All are featured in this 2008 exhibition in Berlin.


Brietz, Candice. Candice Breitz: exposicón multiple = multiple exposure / edited by Octavio Zaya. Barcelona: ACTAR; León: MUSAC, Museo de Arte Contemporâneo de Castilla y León, 2007. 251 pp. illus (some color), bibliog. (pp. 244-251). Text in Spanish and English. N7396.B73 A4 2007 AFA. OCLC 124038866.

Candice Breitz, a mid-career South African video artist, is a student and observer of popular culture in America. Movie stars and celebrity musicians fascinate her. Even before moving to the U.S. in 1994, she was creating series of video art of celebrities, karaoke wannabes, and fans imitating their idols. This exhibition catalog includes essays by Octavio Zaya and Jessica Morgan.


Breytenbach, Breyten, 1939-

A.k.a. Breyten Breytenbach: critical approaches to his writings and paintings / edited by Judith Lütge Coullie and J. U. Jacobs. Amsterdam; New York: Rodopi, 2004. xxii, 336pp. illus., bibliog. PR9369.3.B67Z55 2004 AFA. OCLC 57206352.

South African Breyten Breytenbach is better known as a writer and activist than as an artist. His poetry and painting are a creative continuum. Their metaphor and symbolism weave text and image into a coherent whole and feed into each other. A “fundamentally dissident Afrikaner,” Breytenbach fell afoul of the apartheid government and of many in the Afrikaner community for his “betrayal of the regime.” His poetry, written in Afrikaans, earned awards and recognition, but his imprisonment, radicalization and exile cast him indelibly as an outsider. His autobiography True confessions of an albino terrorist (1984) cemented his reputation.

In this Breytenbach anthology, two of the fourteen chapters specifically address his paintings: Chapter 9, The I of the beholder: identity and place in the art and writing, by Marilet Sienaert; and Chapter 10, A detail: the butterfly in “The thieves and the word” from All one horse, by Sandra Saayman. Also included is an extended 2001 interview with Breytenbach: Chapter 11, Dancing the dog: paintings and other pornographics, interview by Marilet Sienaert.

Reviewed by Laura Wright in African studies review (New Brunswick, NJ) 48 (2) September 2005, pages 177-179; by Mark Sanders in Research Afrcan literatures (Bloomington, IN) 37 (3) fall 2006, pages 209-210


Breyten Breytenbach: painting the eye: compiled for his first one-man exhibition in South Africa. Cape Town: David Philip, 1993. 78pp. illus. (pt. color). PT6592.12.R4Z56 1993 AFA. OCLC 31302717.

South African poet and painter Breyten Breytenbach is better known at home as a poet, but in Europe where he lived many years in exile, it was as an artist that he achieved recognition. Now he is returning to South Africa for his first solo exhibition there, and this book is published for the occasion. It contains two essays on Breytenbach; one by Marilet Sienaert, "Painting the eye," the other by John Miles, "Ons reis deur die landskap, die groot-groot nie-plek." Breytenbach offers his own perspective on his life and career in "The first hand-story." Twenty-seven paintings and drawings are illustrated.

Reviewed by Melanie Grobler in De arte (Pretoria) 49, Julie 1994, pages 53-55.


Sienaert, Marilet. The I of the beholder: identity formation in the art and writing of Breyten Breytenbach. Cape Town: Kwela Books, 2001. 127pp. illus. (pt. color), bibliog. (pp. 123-127). PT6592.12.R4Z87 2001 AFA. OCLC 48834973.

This collection of six essays addresses questions of social identity by probing the way in which identity is constituted in the writings and paintings of South African Breyten Breytenbach. The emphasis throughout is on identity as a dynamic process, persistent permutations of self. Born in 1939 into an Afrikaner family, Breytenbach became an exile and activist and cultural nomad. Included also is an interview with the artist.


Brice, Lisa, 1968-

Lisa Brice. Frankfurt, Germany: Galerie Frank Hänel, 1998. 226p. illus. (pt. color). Text in English, German and Chinese. N7396.B75A4 1998X AFA. OCLC 48241549.

Lisa Brice, one of the generation of “post-apartheid kids,” is South Africa’s first truly feminist artist. Feminism and gender issues which had never germinated in the larger socio-political struggle against apartheid, now in 1992 burst forth in the explicitly sexual and violent work of Lisa Brice. Shocked by the dehumanizing sex trade she saw on a visit to Thailand, Brice exploited this theme in her Sex Kittens series. Cape Town was not quite ready this in your face stuff, and her first real success was in Germany. Later she moved on to explore other feminist themes, such as domestic security and female stereotypes. This retrospective catalog (1989 to 1997) begins with her student work at University of Cape Town’s Michaelis School of Art, which also shocks as it exposes the violence of a bloody and almost fatal attack on her housemate in 1990. Her most recent work (1997) takes on the rainbow nation and political realities in the New South Africa.


Bruly Bouabré, Frédéric, 1923-

Alphabet de Bruly Bouabré = Bruly Bouabré’s alphabet. Swan Productions avec ZDF/ ARTE; "Carre noir" RTBF; un film de Nurith Aviv. Brooklyn, NY: First Run/Icarus Films, 2005. Originally released in 2004. In French with English subtitles. 17 minutes. sound, color. DVD. video 000798 AFA. OCLC 123569876.

The story of Côte d’Ivoire artist, Frédéric Bruly Bouabré (born 1923), who created 400 hundred pictograms, based on one-syllable words in his language, Bété, to help people in the Bété community learn to read more quickly. His pictograms "form a specific African writing from scenes of human life," according to the artist. Today a number of people continue to use Bruly Bouabré's alphabet, and museums around the world have exhibited his drawings.


Bruly Bouabré, Frédéric. Frédéric Bruly Bouabré: Musée national des arts d’Afrique et d’Océanie 1996. Paris: Editions de la Réunion des musées nationaux, 1995. 69pp. illus (pt. color), bibliog. (pp. 68-69). N7399.I8B78 1995 AFA. OCLC 36117247.

Frédéric Bruly Bouabré, self-taught artist from Côte d’Ivoire, zoomed into international spotlight in 1989 with the “Magiciens de la Terre” exhibition. Since then, he has attracted considerable following, particularly in Europe, from those fascinated by and collecting work of naive and visionary artists. In 1995, he was selected for this Paris exhibition at the Musée national des arts d’Afrique et d’Océanie for the Galerie des 5 Continents--Bruly Bouabré, representing Africa.

Before this late-life career as artist, Bruly Bouabré worked for IFAN in Abidjan and among other things was principal informant to Bohumil for his 1968 book on the Bété (L’image du monde bété). In the 1995 catalog, Bruly Bouabré also offers commentary on select sculptures from Côte d’Ivoire with which he is familiar from his days at the Musée d’Abidjan. He is interviewed by Etienne Féau about his career, his art work, and his artistic and spiritual vision


Bruly Bouabré, Frédéric. Domin et Zézè: légende / photographs by Philippe Bordas; essay by Denis Escudier. Paris: Hazan: Revue noire, 1994. 192pp. illus. (pt. color). GR350.3.B89 1994 AFA. OCLC 32358919.

Frédéric Bruly Bouabré is a raconteur, philosopher, and visionary whose perennial quest is explaining and interpreting the mysteries of life. His is a Bété vision of the world promulgated through his writings and drawings, which must be read and viewed together. In this volume, the legend of Domin and Zézé unfolds in words and images with biblical overtones. Bruly Bouabré's color pencil drawings have become familiar in exhibitions beginning with "Magiciens de la Terre" in 1989, but he has been writing and drawing for years before that. Included in this volume is a letter written by Bruly Bouabré to Theodore Monod in 1957 about the Bété alphabet he had created. Also included in this volume are photographs taken by Philippe Bordas of Bruly Bouabré at home in the village, at his drawing table, in his household shrine, and an essay by Denis Escudier interpreting the life and work of this Bété original.
Bruly Bouabré, Frédéric. Frédéric Bruly Bouabré; [exhibition] / essay by Günter Metken. Heidelberg: Edition Braus, 1993. 198pp. illus. (color). NC367.6.I8B77 1993 AFA. OCLC 29859436.

Frédéric Bruly Bouabré, a self-taught artist and visionary, is a man on a mission. Like other visionaries, Bruly Bouabré is messianic and supremely confident of the importance of his message for the world and the rightness of his found medium. Bruly Bouabré creates a series of didactic, child-like drawings, which incorporate images, texts and signs. Helping Bruly Bouabré get the word out are European mentors who "discovered" him and have given him wide exposure in art exhibitions in Europe. The present one traveled in Germany; the catalog contains German translations of his French epistles and reproduces several of his series of drawings. There is very much the sense of exoticism and voyeurism in viewing Bruly Bouabré's art, but whether one should look for deeper meaning in this naïf or laugh off a hoaxy, folksy, slightly mad eccentric, one is not quite sure.
Worlds envisioned: Alighiero e Boetti, Frédéric Bruly Bouabré / Lynne Cooke and André Magnin, curators. New York City: Dia Center for the Arts, c1995. 104pp. illus. (pt. color), bibliog. (pages, 99, 101). N6923.B6W92 1995 AFA. OCLC 33849203.

This book documents the Dia Center for the Arts exhibition of the work of Italian Alighiero e Boetti and Ivoirien Frédéric Bruly Bouabré. The idea in juxtaposing two artists from different countries and backgrounds was to compare and contrast their shared interest in signs, alphabets, and letters. For the catalog, the curators (Cooke for Boetti, Magnin for Bruly Bouabré) collected short essays and commentaries from a variety of writers.

Contents includes: Script reading / by by K. Anthony Appiah -- Detached thoughts on a basic exhibition / by by André Magnin -- Boetti and Bouabré: beginnings / by by Kevin Power -- Jeu d'esprit / by by Lynne Cooke -- Alighiero e Boetti in flight / by by Bice Curiger -- Alighiero e Boetti / by by Ramon Alejandro -- Apricots and pomegranates / by by Francesco Clemente -- Alighiero & Boetti: Ordine & disordine / by by Jean-Christophe Ammann -- Alighiero, Alexander, Atlantis / by by Warren Niesluchowski -- Love is like that--love is violent / by by Thierry de Duve -- The prince of ethnologists / by by Jean-Hubert Martin -- Frédéric Bruly Bouabré and his artistic project / by by Yaya Savane -- The African Museum of Bruly Bouabré / by by Francisco Jarauta -- Bruly / by by Jean-Jacques Rullier -- Bruly Bouabre: a reversed view / by by Ulrich Loock -- Kindred intervention / by by Matteo Boetti -- Letters to Alighiero e Boetti from Frédéric Bruly Bouabré -- An interview with Frédéric Bruly Bouabré / by by Yaya Savane -- A text for Frederic / by by Alighiero e Boetti -- Alighiero e Boetti: biography and bibliography -- Frédéric Bruly Bouabré: biography and bibliography -- Works in the exhibition.


Buraimoh, Jimoh Adetunji, 1943-

Buraimoh, Jimoh Adetunji. The heritage: my life and arts / edited by Yomi Durotoye; introudction by Ulli Bauer. Ibadan, Nigeria: Spectrum Books; Oxford: African Books Collective, 2000. xvii, 119pp. illus. (color), portraits, map. N7399.N52B87 2000 AFA. OCLC 45279303.

Jimoh Buraimoh, one of the first generation of Oshogbo artists, regales the readers with his childhood and formative peripatetic years, his time with Duro Ladipo’s theater company (where he served as lighting technician), the move to the visual arts and the now famous Oshogbo workshops. Best known for his bead paintings, Jimoh Buraimoh has also designed and created mosaic murals for public buildings in Nigeria and most recently for the city of Atlanta, Georgia. In one chapter, he describes his creative process and techniques.

Jimoh Buraimoh’s autobiography is based on a series of interviews with Yomi Durotoye, a Nigerian academic, art collector, and friend. Through editing and re-working of text, some of Buraimoh’s true voice is lost and there are repetitions, but on the whole it is a complete, well-rounded exposition of “my life and arts.”

Reviewed by Marcilene Keeling Wittmer in African book publishing record (Oxford) 27 (3) 2001, pages 197-198.


Burney-Nicol, Olayinka, 1927-1996

Ottenberg, Simon. Olayinka: a women’s view: the life of an African modern artist. Trenton, NJ: Africa World Press, 2014. xxiii, 327pp. illus. (color), bibliog. (pp. 289-317). N7399.S53 B836 2014 AFA. OCLC 712780820.

Olayinka Burney-Nicol was a transnational artist before the term was common parlance. Her roots are firmly in Freetown Krio culture, where she was born in 1927. In 1949 in a bold move she landed in New York City where she became immersed in the arts – both visual and performance. By 1954 she was in London experimenting with several forms of art. And in 1958 she returned to Freetown and became Government Artist for Sierra Leone’s Ministry of Education, but also continued making her own art. She created murals on public buildings in Freetown. She enlisted as one of the Harmon Foundation artists and spent a year in Paris doing textile design and fashion. After she left government service in 1968 and until she went into exile from Sierra Leone in 1988, she experienced her most creative years, exhibiting at home and abroad. Her final years in exile in London were ones of decline and hardship. She died in poverty in 1996.

Olayinka, as she was known, experimented with many artistic media – painting, murals, prints, drawing, sculpture, textile design and mix media. Ottenberg has masterfully pieced together here the story of Olayinka’s life and art from scattered sources and numerous interviews with people who knew her. Virtually unknown in Sierra Leone today, Olayinka is now the first fully documented Sierra Leonean artist.


Camara, Fodé, 1958-

Gouard, Caroline. Fodé Camara ou l’œuvre ouverte: essai d’approche anthropologique d’une jeune peinture sénéglaise. Thesis, Université Paris I, Panthéon Sorbonne, 1989. 98 leaves. illus. N7399.S43C36 1989a AFA. OCLC 52122160.

Fodé Camara, a painter from Senegal, is the subject of this study which examines his technique and method (“attack and struggle”) and his thematic repertoire. In his engagement with oils on canvas, he sometimes uses his hands directly on the surface. Death and mortification of the body are themes in Camara’s work, a preoccupation arising from the death of his father, a victim of Guinea’s notorious Camp Boiro.

Camara’s works in series. His early (1981-1982) series on the observations on the body relate specifically to the trauma of the death of his father and his own obsession with mortality. The series “Envelopes” (1982-1983) centers on the humble postage stamp and envelope. Later series deal with mass culture, and urban public transportation. His most recent series of paintings (at the time this thesis was written) is the French Revolution in the tropics (1988-1989). By now Camara had clearly established his distinctive painting style.


Camara, Serigne Mbaye, 1948-

Camara, Serigne Mbaye, 1948- Seni Camara / edited by Enrico Mascelloni, Sarenco. Milano: Skira, 2007. 143pp. illus. (color), bib. refs. (African collection, 2). Text in English and Italian. NB1099.S43 C36 2007 AFA. OCLC 213303197.

The second in the African collection series, like the first, features one of Africa’s self-taught ‘intuitive’ artists: Seni Camara from the Casamance, Senegal. In 1989 she was one of the “magiciens de la terre,” whose terracotta figurines—“stentorian figures with children emanating from them”—featured in the exhibition of the same name. Childless and inspired by dreams, Camara still lives and works in the village Bignona where she sells her art in the market. Presumably she has sold a good many to the Fondazione Sarenco, which are showcased in this catalog.


Seni's children / Fernando Trueba and the Centre Georges Pompidou; produced by Philip Haas, 1990. Series: "Magicians of the earth." 55 minutes. sd. : color ½ in. video 000899 AFA. OCLC 29206960.

Seni Camara (Serigne Mbaye Camara) lives with her husband and family in the village of Bigona in the Casamance region in southern Senegal. Working outside the local tradition of making pots and "useful" objects out of clay, Seni claims that through a "gift of God" she has been able to create thousands of bizarre, magnificent creatures-clay sculptures of astonishing originality. Although the villagers don't know quite what to make of Seni and her art, she continues to work to support her family and to satisfy her own creative urge. The film follows Seni and her husband as they prepare the materials of her art. Together they dig up the hard dirt of the land and slowly mix it with water and sand until the clay is ready to be molded (she tells by taste). While Seni does the intense work of shaping the wet clay into her truly original forms, her husband prepares the final dye bath by harvesting and soaking wild nuts in water. Finally they fire the sculptures and dye them. Seni then carries her creations to the market where she sells them to the occasional western tourist (for the equivalent of $100 to $400) who happen to stumble onto her market stall where her sculptures share space along with the vegetables and other odds and ends on her table.

Seni's work is powerful - strange half human creatures giving birth to other, little laughing creatures, each stranger than the last. Heads come out of knees and bodies grow out of other bodies. They are Seni's fertility sculptures, her children. "Seni's Children" provides a wonderful example of an artist who uses traditional materials to make strikingly new and original work. The film has an original music score by the West African musician Foday Musa Suso.


Camp, Sokari Douglas, 1958-

Barnwell, Andrea D. “Sokari Douglas Camp: the art of playing in the crossroads,” Chapter 4, pages 156-227. In the author’s The complexities of blackness: black Britain, black art, and the case of Ingrid Pollard and Sokari Douglas Camp. PhD dissertation, Duke University, 2001. Ann Arbor: UMI Dissertation Services, 2001. illus., bibliog. (pages 324-349). N6768.B47 2001a AFA. OCLC 52755507.

This doctoral dissertation compares and contracts the work of Guyanese artist Ingrid Pollard with that of Nigerian Sokari Douglas Camp within the context of black British art. In the long essay on Camp, Barnwell characterizes Camp as a “trickster” figure, being a person of contrasts: British-Nigerian, a woman doing men’s art form, insider-outsider, ethnography as art or art as ethnography? Camp’s steel sculptures of Kalabari masquerades challenge Western ethnographic museum practices. At the same time she distances herself from the black art movement in Britain by resisting being pigeon-holed as a black artist. But in 2000 Camp addressed for the first time in her work the issue of racism in Great Britain. Less well known than the Kalabari masquerade sculptures are Camp’s “urban sculptures” depicting everyday people on London’s sidewalks, women with shopping carts, pushing prams, and so forth. Even less known are her works of political critique of exploitation of the Niger River Delta by oil companies. In short, Camp is an anomaly – both in her life and in her art. Barnwell reaches this conclusion by examining three major solo shows – “Echoes of the Kalabari” (1988); “Play and display” (1995); and “Spirits in Steel (1998), plus her other lesser and group shows.


Staking, Kimberlee. Steel stories, cultural transformations: the sculpture of Sokari Douglas Camp. M.A. thesis, University of Maryland, 2000. vi, 147 leaves. illus. (color), bibliog., leaves 140-147. NB1240.S7S73 2000 AFA. OCLC 47800667.

The sculpture of Sokari Douglas Camp draws inspiration from multiple sources: her Kalabari-Niger Delta background and her life in south London. Best known for her welded steel masqueraders, she has been critiqued almost exclusively for the “ethnic” elements in her work. But this, according to Staking, “does not fully reflect her complex, cross-cultural investigation of differences as a universally defining factor of identity.” It is in this trans-cultural space that Camp insistently positions herself. Staking examines thoroughly Camp’s career and influences within this context of multiple or blended identities, as both insider and outsider. Staking discusses particular works, such as “Church Ede” and various series of works, such as the Kalabari masquerades, the environmental series which critiques the despoliation of the Niger Delta, and the domestic series with prams and trainers and shopping carts. Includes 35 color plates of Camp’s work, mainly from the 1990s.


Catherine, Norman, 1949-

Catherine, Norman. Norman Catherine. Johannesburg: Goodman Gallery Editions, 2000. 183pp. illus. (color), bibl. refs. N7396.C34A4 2000X AFA. OCLC 45461063.

Norman Catherine was born in East London, South Africa, in September 1949. In 1969 he held his first solo exhibition consisting of oil paintings on wood, bone, wire, and an assortment of found objects. His art has since undergone several metamorphoses, from the pristine airbrush paintings of the 70s to the frenzied, ritualistic mixed media works of the early and mid 80s; the wire sculptures and tin can works of the late 80s, and the primitive-futuristic paintings of the early 90s which provided the seeds for his whacky pre-millennial menagerie fo anthropomorphic beasts. In the thirty years spanning his past and present output, Catherine’s visual trademarks have included rough-edged comical and nightmarish forms rendered in brash cartoon colors. His idiosyncratic vision - - a combination of dark cynicism and exuberant humor, as well as his innovative use of everyday materials, has secured his place at the forefront of South African contemporary art. - - from the cover.
Cherkaoui, Ahmed, 1934-1967

Cherkaoui, Ahmed. Ahmed Cherkaoui: la passion du signe = the passion of signs / ouvrage dirigé par Brahim Alaoui and Jean Loup Pivin; texts by Mohamed Bennouna, Brahim Alaoui, Abdelkébir Khatibi, Edmond Amran El Maleh and Jean-Clarence Lambert. Paris: Éditions Revue noire: Institut du monde arabe, [1996]. 188pp. illus. (pt. color), bibliog. (page 187). Text in French and English. ND1090.3.C54A4 1996X AFA. OCLC 38067797.

This book was published on the occasion of a retrospective exhibition organized by the Institut du monde arabe, October 15-December 15, 1996. Paying tribute to Ahmed Cherkaoui, one of Morocco's brightest stars, who died more than thirty years ago at the age of 33, are colleagues and friends -- Mohamed Bennouna, Brahim Alaoui, Abdelkébir Khatibi, Edmond Amran El Maleh and Jean-Clarence Lambert. Cherkaoui was master of calligraphic painting transformed through abstraction. He was continually drawn back to his Berber-Arabic cultural roots for inspiration and sustenance -- mysticism, signs and symbols, tattoo designs worn by women. He studied art in Paris and Warsaw, but returned to Morocco to teach and work. He and Jilali Gharbaoui (1930-1971) are considered the two pillars of modern Moroccan painting, who successfully negotiated the distance between modernism and an authentic Moroccan aesthetic. More that eighty of Cherkaoui's paintings
Cilliers-Barnard, Bettie, 1914-2010

Ballot, Muller. Bettie Cilliers-Barnard: towards infinity. Pretoria: University of South Africa Press, 2006. 176pp. illus. (color), bibliog. (pp. 163-168). ND1092.B35 2006 AFA. OCLC 70251554.

Bettie Cilliers-Barnard’s long artistic career has evolved from accomplished but conventional still lifes and portraits to “figurative abstraction” and on to “nonfigurative abstraction.” In other words, it is a journey into modernism, undoubtedly influenced by her sojourns to Paris in 1948, 1956, 1964, 1971, and 1981. She was in fact one of South Africa’s conservative pioneering modernists, along with Walter Battiss and a handful of others. As she became more confident in abstraction, she delved deeper and experimented with mystic symbolism. By the 1970s and 1980s she returned to a figurative abstraction, populated by ethereal humans and birds. Dreams and visions rather than social commentary characterized her work of this turbulent time. As South Africa spiraled downward, Cilliers-Barnard’s work became increasingly inward, timeless, and other-worldly. Muller Ballot methodologically, meticulously unfolds this life in art. Extensive bio date and photographs are included.


Cisse, Soly, 1969-

Soly Cissé: calore d’estate / text by Dominique Stella. Poggibonsi, Italy: Forma, 2011. 126 pp. illus. (chiefly cxolor), bibl. refs. Text in Italian and English. ND1099.S43 C572 2001 AFA. OCLC 777476197.

Soly Cissé’s paintings with heavily saturated colors are filled with anthropomorphic, zoomorphic and therianthropic forms, emerging from dark backgrounds. At least that was what he was creating circa 2010, the year that most of the paintings reproduced here were made. The single essay by Dominique Stella gives some context to his these works. The exhibition was held at Galleria Tornabuoni Arte, Milan, Italy, November 18 to December 10, 2011.


Clarke, Peter E., 1929-2014

Clarke, Peter. Peter Clarke: fanfare. Cape Town: Michael Stevenson, 2004. 111pp. illus. (color). N7396.C59A4 2004 AFA. OCLC 57532237.

The poet, painter and printmaker Peter Clarke has been a seminal influence and inspiration to many artists and writers of his generation. Although Clarke is best known for his work which reflects the harsh social realities of urban and rural life at the Cape, he has for the past decade worked on a series of collages accompanied by his prose entitled Fanfare. The 100 fan-shaped collages have been inspired by historical, biblical, literary and imaginary figures as well as friends and people whom he recalls with fondness. Accompanying each “fan” are a few sentences or paragraphs of the character’s writings or Clarke’s thoughts on the character from a very personal and often humorous perspective. The series provides a fascinating and amusing insight into Clarke’s life-long interests in art and literature. – from the dust cover.

Reviewed by Elizabeth Rankin in De arte (Pretoria) 72, 2005, pages 79-81.


Hobbs, Philipps, 1955- Listening to distant thunder: the art of Peter Clarke. 2nd edition. Cape Town, South Africa: Fernwood Press, 2014. 224pp. illus. (chiefly color), bibliog. (pp. 207-214). N7396. C53 H63 2014 AFA. OCLC 907976482.

Peter Clarke died on April 13, 2014, shortly before this book was published. What began as a collaboration with the artist became a remarkable tribute to him. His life and art are exceptionally well documented in what we can confidentially call an authoritative biography. His prints and less well known artists’ books are profusely illustrated along with photographs of Clarke with his family and friends.

Previously published by the Standard Bank of South Africa, Johannesburg, 2011.


More than brothers: Peter Clarke and James Matthews at seventy. Cape Town: Kwela Books, 2000. 143pp. illus (pt. color). ND1096.C575M67 2000X AFA. OCLC 44768426.

Contemporaries, Captetonians, artist-poet Peter Clarke and novelist-poet James Matthews became friends as adults and are living out their lives against the backdrop of the indignities of apartheid, township life, the liberation struggle, and the emergence of a New South Africa. This memoir of two men, and many friendships, resonates with their voices, their own recollections of seventy years. It captures the toughness and complexities of life for “coloured” people in 20th-century South Africa, but it also remembers the sustaining friendships and survival strategies that allowed these two individuals to create and to remain creative. It is as much about the strong social fabric that held them together as about art. There is, however, a section specifically about Peter Clarke’s art, contributed by Elza Miles (pages 61-81).
Peter Clarke : [videorecording]. Exeter, England: Digital Media Education Centre, 2003. Contemporary South African artists series. 29 minutes. sd., color; ½ in. PAL format. video 000947. OCLC 152432075.

Peter E. Clark was active as an artist throughout the apartheid years. Born in Simon’s Town, South Africa, son of a dockworker, he worked for a time as dockworker, before he quit and began supporting himself as a visual artist as early as 1956. Known for his prints, he has managed to remain creatively engaged up to his 70s. In this biographical film, Clark talks about his youth, living in Simon’s Town, and the forced removals in 1966 to Ocean View. One series of his prints captures the Simon’s Town he remembers. He talks about several prints from a 2002 exhibition of his woodcuts and linocuts - - the techniques of using wood blocks or linoleum squares and the reductive technique of creating polychrome prints. He also explains the themes and inspirations of several of these prints.


Coetzee, Christo, 1929-2000

Ballot, Muller. Christo Coetzee. Cape Town: Human & Rousseau, 1999. 174pp. illus. (pt. color), bibliog. (pp. 165-169). Text in English and Afrikaans. N7396.C63B35 1999 AFA. OCLC 42862262.

This 1999 exhibition honors the painter Christo Coetzee on his 70th birthday, and it embraces his entire œuvre. A number of scholars, curators, friends and admirers have contributed to this catalog. Coetzee’s career falls into three periods: his early years from art school (1947-1050) until he goes overseas; the efflorescence of his avant-garde period, particularly in Paris, in the 1950s and 1960s; and his return to South Africa in 1968. His paintings have gone through several phases, some described as neo-Baroque, hermetic and protest (in which he intentionally cut, slashed and reconstructed his paintings on exhibit). Excerpts from reviews and commentary from 1951 to 1998 and his curriculum vitae are included.
Stevenson, Michael and Deon Viljoen. Christo Coetzee: paintings from London and Paris, 1954-1964. Vlaeburg: Fernwood Press, 2001. 79pp. illus. (color), bibliog. (p. 78). ND1096.C598A4 1999X AFA. OCLC 50581391

Christo Coetzee was part of the French avant-garde of the 1950s and early 1960s, before returning to his native South Africa. His œuvre is re-evaluated in this retrospective look at his career, particularly paintings from the Paris period. In 1968 Coetzee returned to the inward-looking art world of apartheid South Africa where he was championed by Afrikaaners as one of their own. But the years in London and Paris remain his apogee. In Paris, the Galerie Stadler became his primary venue, and the owner Rodolphe Stadler amassed a major collection of Coetzee’s paintings, which have now come to South Africa. Coetzee’s major patron in London was photographer and decorator Antony Denney, who also owned a large collection.

This catalog focuses on Coetzee’s successful years on the international art scene and illustrates his brilliant abstract paintings and impressionistic still-lifes from the period. His non-political work has been overshadowed in the politicization of South African art of the last thirty years, but the time has come for a re-assessmen of the Abstract Expressionism of the 1950s and 1960s.

Reviewed by Eunice Basson in De arte (Pretoria) 67, April 2003, pages 96-99.


Cohen, Steven, 1962-

Steven Cohen / edited by Jillian Carman. Johannesburg: David Krut Publishing, 2003. 96pp. color illus., bibliog. (p. 93). (Taxi art books series). Text in English, French, Afrikaans. Include educational supplement. N7380.C84A4 2003 AFA. OCLC 54110915.

Steven Cohen is outrageous, provocative, controversial, in-your-face. He is a pioneering performance artist in South Africa, engaging with his homosexuality, his Jewish identity, and white maleness in a society traditionally patriarchal and militaristic. In short, his is the realm of the marginalized and the Other. His early artworks were silkscreens and silk screened furniture, which challenged convention on imagery and theme. But he soon found that performance was the more effective – certainly more dramatic – medium for getting his message across. Following an extended illness in 1996, he realized that his body was the best ground and medium for his work. Queer drag, fetishism, bondage, Star of David, private parts, animal horns – these are staples in Steven Cohen’s performances. Sometime he performs in galleries and other art spaces, but often he chooses public spaces and has on occasion provoked such outrage that his performance was stopped. Robyn Sasser, who is writing a masters thesis on Cohen, contributes the text.

Reviewed by Graham Reid in De Arte (Pretoria) 70, September 2004, pages 62-64; by Liese van der Watt in ArtSouthAfrica (Cape Town) 2 (2) summer 2003, page 81.


Davies, Nike Olaniyi, 1951-

Batiks by Nike: an African woman talks about art, patriarchy, and the empowerment of women. Produced, written and researched by Kim Marie Vaz. Tampa, Florida: University of South Florida, Media Productions, 1995. 33 minutes. sd., color; ½ in. VHS format. OCLC 39277412.

This is a companion video to the book The woman with the artistic brush: a life history of Yoruba batik artist Nike Davies (1995), both researched and written by Kim Marie Vaz, who takes a decidedly feminist perspective in both book and video. She intertwines Nike’s life and art with Yoruba deities and beliefs, particularly traditional attitudes toward women - - women as mothers, as witches, as deities, as market women. With Nike on camera, it is a tell-all confessional playing out dominant feminist issues - - abuse, humiliation, ostracism, female circumcision, denial of opportunities. The difficulties Nike had in starting the Nike Centre for Arts and Culture are but one example of what she has had to overcome in her life. Throughout the film, there is a kaleidoscopic display of Nike’s colorful batiks.


Jerde, Elizabeth Ann. Nigerian art of survival: Nike Centre re-commodifies art and culture. PhD dissertation, University of Iowa, 1998. Ann Arbor: University Microfilms International, 1998. xv, 405 leaves. illus., maps, bibliog. (leaves 358-405). NX410.N6N55 1998a AFA. OCLC 41102819.

The Nike Centre for Art and Culture in Oshogbo, Nigeria, is a haven to many of the young artists brought into Nike Olaniyi’s entrepreneurial orbit. The art school, gallery, cultural troupe, and ultimate tourist destination that she has created builds of the name that Oshogbo already had as a town of artists. But in Nigeria of the 1990s, survival is a real concern, and artists who can successfully market themselves internationally are at a greater advantage. Jerde, in doing the research for this dissertation, apprenticed herself as an indigo dyer at the Nike Center, and her experiences are recounted in a highly personal manner.


Vaz, Kim Marie. The woman with the artistic brush: a life history of Yoruba batik artist Nike Davies. Armonk, NY: East Gate Books/M E Sharpe, 1995. xlivv, 137pp. illus., bibliog. NK9503.2.N64D3838 1995 AFA. OCLC 30893298.

This is a book about a woman who is an artist, but it is not about art per se. In a long introductory essay, Vaz clearly lays out the feminist agenda: to tell Nike's side of the story. Nike Olaniyi Davies has had to "negotiate patriarchal systems at every turn: in her father's house, then in Olosunta's traveling theater, in her first husband's compound (Twins Seven Seven), and in her marriage to a European man whose patriarchal worldview is tinged with racism, and within the male-dominated Osogbo art community in which she has emerged as a most charismatic figure and influential businessperson" (page xli). Whew! And Nike does more than survive; she triumphs.

Her story is told by herself in transcribed interviews, which comprise the primary text. It is frank, engaging, unabashed, gossipy, and at time titillating. (Rumors are that the book is suppressed in Oshogbo). The name of her first husband, the villain of the piece, is never mentioned; he is only referred to as "my first husband." That is part of the feminist strategy. Also interviewed for this book is Muniratu Temilade Bello, a former co-wife and friend of Nike's.

Nike at forty-five continues to live fully. Her Nike Centre for Arts and Culture in Oshogbo flourishes and is a mecca for visiting artists and tourists. She exhibits and sells her art internationally and generously promotes other artists through her enterprise. She is according to her self-proclaimed moniker "the woman with the artistic brush."

Critiqued by Dennis F. Essar, "Contemporary African art: two portraits," Canadian journal of African studies (Ottawa) 31 (2) 1997, pages 371-377.


Diab, Rashid, 1957-

Hassan, Salah M. The art of Rashid Diab: a retrospective, 1983-1993. Ithaca, NY: African Studies and Research Center, Cornell University; Boston, MA: The Museum of the National Center of Afro-American Artists; Greensboro, NS: The Mattye Reed African Heritage Center, North Carolina A & T State University, 1994. 57pp. illus. (color), bibliog. (page 28). ND1097.6.S73D532 1994 AFA. OCLC 33219845.

Rashid Diab lives and works as a professional artist in Madrid, where he emigrated in 1980 to continue his art education begun at the Khartoum School. His Sudanese heritage permeates his paintings and prints, though he has learned and absorbed much from his experiences in Spain. This retrospective exhibition covers a decade of his Spanish years during which he developed a mastery of etching technique and evolved a brilliant sense of color. He also acquired a doctorate in art history along the way and wrote his thesis on four Sudanese artists. In interviews with Salah Hassan, reprinted here, Diab talks about his youth in Wad Medani, Sudan, his art school days in Khartoum, his views on modern Sudanese art, and his unusual decision to emigrate to Spain. In an essay entitled "Fragments of a poetic memory: the art of Rashid Diab (1983-1993)," (pages 13-28), Salah Hassan assesses Diab's artistic style, technique and accomplishments. He discusses the aesthetics and sensibility of the Khartoum School within which Diab's artistic talent was nurtured and describes Diab's mastery of printmaking techniques during his Spanish period. Finally, he reviews Diab's artistic experiments in the decade 1983 to 1993, discerning three progressive phases of development.


Rashid Diab: desde el 22 de Octubre hasta et 15 de Noviembre de 1996 / translation by Milagros Nuin. Madrid: Ra del Rey Arte Contemporáneo, 1996. 76pp. illus. (color), portrait. Text in Spanish and Arabic. ND1097.6.S733D532m 1996 AFA. OCLC 40167705.

Rashid Diab belongs to the Sudanese artistic diaspora scattered around the world. He makes his home in Madrid, where he first went to do advanced studies following his initial art training in Khartoum. Now with a doctorate in art history, he continues actively to practice his art and exhibit internationally.

For this 1996 exhibition in Madrid, Diab talks about his life and work in an interview with Kifah al-Habib. The paintings and prints illustrated in the catalog are mainly from 1995 and 1996, showing recent exploration with deep, saturated colors, especially reds and blues. Earlier works are also included.


Diallo, Cheick, 1960-

Diallo, Cheick, 1960- Made in Mali: Cheick Diallo, designer. Cinisello Balsamo, Milan: Silvana, 2012. 144pp. illus. (color), bibl. refs. (p. 139). Text in English and French. NK2089.6.M34 D532 2012 AFA. OCLC 792795743.

Malian designer Cheick Diallo takes récuperation to a higher level with the furniture and household accessories he designs at his studio in Bamako. Trained in architecture and design in France, Diallo established his design enterprise in Bamako where he uses local materials—metal, wood, leather, clay, cloth, nylon cord—and draws upon traditional artisanal skills. In 2012 the Musée Mandel in Italy organized an exhibition of Diallo’s design work.


Diba, Viyé, 1954-

Art of Viyé Diba: the intelligent hand [videorecording]/ Arts in Action Society, Vancouver, Canada & SudProd Senvision, Dakar, Senegal; director, Claudine Pommier. Vancouver, British Columbia: Arts in Action Society; Dakar: Senegal: SudProd Senvision, 2003. 52 minutes. sound color VHS format. ½ in. Contact: Claudine Pommier, 5570 Blenheim Street, Vancouver, B.C., Canada V6N 1P5. (604) 263-2058. Steinpom@shaw.ca OCLC 52182161. $220.

Viyé Diba, a Senegalese artist living in Dakar, says himself that he is not an African artist, but a modern artist living in Africa. His work has evolved from small format painting to three-dimensional works to increasingly large metaphorical installations. His artistic discourse goes beyond a mere aesthetic expression. Whether it delves into the mysteries of communication, or raises environmental, social or political questions through the use of raw and recycled materials, Viyé's work explores the vital role of art and cannot be ignored.- - container.

Narrated by the artist in French with English subtitles. Features Viyé Diba’s contributions to Dak’art 1998 (the year he won the grand prize), 2000, and 2002 (where he did an installation based on Dakar’s cars rapides).


Sow Houchard, Ousmane. Viyé Diba: plasticien de l'environnement. [Saint-Maur, France]: Sépia-NEAS, 1994. 64pp. illus. (pt. color). ND1099.S43D543 1994 AFA. OCLC 33920978.

The œuvre of artist Viyé Diba has evolved through three distinct phases. In his first phase, the focal point of his paintings was a person, a central figure arrested in an organic composition. In the second phase, there is a move away from the isolated figure to a more complex environmental setting in which the color green predominates, and fields of space and equilibrium shape the composition. The third phase has become completely abstract and sculptural with Diba using vertical bands of wood wrapped in cloth as ground for mixed media paintings. The concern with the environment -- a "recycling aesthetic" -- becomes very apparent.

In an extended interview with Ousmane Sow Houchard, Diba talks about his work, his concerns as an artist, his preoccupation with the human environment, his views on the role of the artist in society, and in Sénégal in particular. In a section on "the artist at work," the creation of an original assemblage of wood, cloth and twine comes to life as "Rhythme Kangourou."

Reviewed by Mark DeLancey in African book publishing record (Oxford) 23 (1) 1997, page 15.


Dike, Ndidi, 1960-

Dike, Ndidi, 1960- Ndidi Dike: tapestry of life: new beginnings / edited by Jahman Anikulapo. Lagos, Nigeria: Ndidi Dike, 2008. 77pp. illus. (color), portrait. N7399.N53 D57 2009 AFA. OCLC 314766204.

Ndidi Dike has emerged after 20-plus years as one of Nigeria’s pre-eminent artists through perseverance and true grit. She has ignored or done end-runs around the obstacles and critiques facing women artists in Nigeria. This 2008 retrospective of her work—which appears to have been originally planned for 2004—showcases her sculptures, paintings, and mixed media works, though most of the works illustrated are from 2004-2006.

Dike assembled a distinguished roster of colleagues and commentators to contribute essays to the catalog: Jahman Anikulapo, Obiora Udechukwu, Sylvester Okwunodu Ogbechie, Kunle Filani, C. Krydz Ikwuemesi, Uchechukwu Nwosu, and Onyema Offoedu-Okeke—although there is a fair amount of overlap in these texts.


Dinet, Etienne, 1861-1929

Dinet, Etienne, 1861-1929. Un maître de la peinture, Nasreddine Dinet. Alger: Sociéte nationale d’édition et de diffusion, 1975. 99, 25pp. illus (pt. color), bibl. refs. (p. 23). Text in French and Arabic. ND553.D58A4 1975 AFA. OCLC 08051255.

Born in Paris in 1861, Etienne Dinet spent most of his life in his beloved Algeria. In 1913 he converted to Islam and took the name Nasreddine. Although he painted in the exoticizing Orientalist style, his subject matter indicated an observer who knew the country and its people intimately. Reviled by his French countrymen for his conversion, he ultimately became a revered figure to Algerians after Independence in the spirit of cultural recupération. Twenty of his paintings are reproduced.


Pouillon, François. Les deux vies d’Etienne Dinet, peintre en Islam: l’Algérie et l’héritage colonial. Paris: Balland, 1997. 321pp. illus., maps. ND553.D55P68 1997 AFA. OCLC 38749289.

Etienne Dinet, an Orientalist painter known for his paintings of indigenous Algerians, lived in the Saharan oasis of Bou-Saâda. A convert to Islam, he was a non-conformist in his adopted homeland. After Algeria became independent following a bitter struggle with France, Dinet in death because memorialized as “a master Algerian painter,” a symbol of a new nation. The two lives of Dinet refer to his career during the colonial period followed by his appropriation in death by the young Algerian nation. A museum dedicated to Dinet was established in Bou-Saâda in 1993, but was destroyed in civil conflict in 1995.
Du Toit, Paul, 1922-1986

Martin, Kevan. Paul du Toit: a painter's journey. Vlaeberg, South Africa: Fernwood Press, 2004. 112pp. illus. (pt. color), bibliog. (p. 108). ND1096.D8A4 2004 AFA. OCLC 57389774.

South African painter Paul du Toit by-passed the conservative art school and opted for studying art as a private student of Jean Welz. This fortuitous affiliation launched a very successful career and a lifetime friendship with the great Welz. Du Toit’s first exhibition was with Welz in 1945 in Cape Town. His journey had begun and never flagged until his death in 1986. Artist Beth Bailey whom he married in 1951 accompanied him on that painterly journey. Du Toit is best remembered for his very expressionist, colorful landscapes, often painted en plein air. His canvases were a fresh departure from the more restrained, formalistic paintings seen in South African at the time.

The Du Toits spent three years in Paris in the mid-1950s during which time Paul developed a more abstract painting style, quite at variance with his landscape paintings of South Africa. Returning to South Africa in 1958, Du Toit resumed painting expressionistic landscape-inspired works, known as the Current series, but now infused them with much more color and light. From 1968 to 1974, the Du Toits lived in London, where Paul’s work took another dramatic turn toward abstraction. He also began using pen-and-ink and acrylic instead of oil. In 1976 the Pretoria Art Museum mounted a major and successful retrospective exhibition of Paul Du Toit’s work. His final series of paintings in the early 1980s were minimalist, weightless, and pale. Author Kevan Martin, a neuroscientist, was a friend of the artist’s and an art collector since undergraduate days. He and Paul carried on a dialogue on art from 1972 until Paul’s death in 1986.


Du Toit, Paul, 1965-

Du Toit, Paul. Paul du Toit / edited by Pippa Tsilik. Cape Town: PlanetPaul Studios, 2006. 159pp. illus. (pt. color). ND1096.D8A4 2006 AFA. OCLC 76809735.

“Paul du Toit is an example of a South African artist who has been able to propel himself out of the restrictive structures of South African art and overcome Western stereotypes regarding the appearance of South African art,” say Kresta Tyler Johnson, introducing the artist in this ten-year retrospective exhibition. A bit of a late starter, Du Toit taught himself art making and successfully used the powers of the internet to reach into the global art world. Heavily influenced by Picasso, Miro, MAD magazine, and Pop Art, Du Toit first explored portraiture with brightly colored cartoon-like Miro-esque heads. Then he branched out from painting to three-dimensional work in bronze, other metals, and fiber glass. His paintings now serve as blueprints for his sculptures. He continues to experiment with new media and voraciously reads all he can about the art and artists that he never studied in school. Du Toit had his first exhibition in 1998, though he was “making stuff” years before then. This retrospective exhibitions show the evolution of his work in a single decade.


Du Toit, Paul, 1965-2014

Du Toit, Paul, 1965-2014. Paul du Toit / edited by Pippa Tsilik. Cape Town: PlanetPaul Studios, 2006. 259pp. illus. (some color). ND1096.D8A4 2006 AFA. OCLC 76809735.

Paul du Toit was a self-taught artist whose determination and persistence to learn how to make art was the hallmark of a career cut short in 2014. Hospitalized for years as a child with rheumatoid arthritis, he began to draw. Art became a lifeline. He read books about Picasso and Miro that his parents brought him. His line drawings and paintings centered on the human form. He experimented with wet pulp paper, acrylic and impasto technique using cement filler. His later sculptures were 3-dimensional interpretations of his 2-dimensional work. He was employed for a period as a computer programmer, while at night in his studio, he toiled in solitude. It took many years before he could sell any work.

Du Toit was an early internet user, ‘plugged in’ to the international art world. His horizons expanded, and he was invited to have exhibitions overseas. He was one of the first South African artists to create his own web site, PlanetPaul. His 2006 retrospective exhibition “Fighting with my weak hand” offers a chance to review his career. Contributors to the catalog are Kresta Tyler Johnson, Kóan Jeff Baysa, Sanford S. Shaman, Pippa Tsilik and Sarah McCarthy.


Dumas, Marlene, 1953-

Dumas, Marlene, 1953- Broken white. Tokyo: Museum of Contemporary Art, 2007. 157pp. illus. (some color). Text in English and Japanese. N6953.D86A4 2007 AFA. OCLC 263660988.

This is the first major exhibition of Marlene Dumas in Japan. The signature work, "Broken White," was inspired by a photography by Nobuyoshi Araki and also by Japanese ukiyo-e artist Tsukioka Yoshitoshi, according to the catalog essay by Yuka Uematsu. Dumas is interviewed about her work.


Dumas, Marlene, 1953- Marlene Dumas: intimate relations. Johannesburg: Jacana Media; Amsterdam: Roma Publications, 2007. 139pp. illus. (some color), bibl. refs. (pp. 137-138). ND653.D87A4 2007 AFA. OCLC 181359760.

In 2007 Marlene Dumas, an astonishingly brilliant watercolorist, returned to her natal South Africa for this retrospective Intimate relations. Dumas, a 1970s art student at Michaelis School in Fine Art, shares her notebooks, sketches, and photographs of the period, plus her letters home from Amsterdam. One begins to appreciate her early interests, inspirations and influences, and how these have informed her major themes, indeed her entire oeuvre. Her work ranges across erotica, pornography, nakedness, the dead, faces, children, and prisoners. The wetness of watercolor yields a softness to these oft hard subjects.

Contents: Preface / Marilyn Martin -- The Michaelis School of Fine Art (1970s) / Marlene Dumas -- Questions of intimacy and relations / Emma Bedford -- Love letters / Marlene Dumas -- Mass for the painter / Marlene van Niekerk -- The human face / Achille Mbembe and Sarah Nuttall.


Dumas, Marlene, 1953- Marlene Dumas: measuring your own grave / organized by Cornelia Butler. Los Angeles, CA: Museum of Contemporary Art, 2008. 283pp. illus. (chiefly color), bibliog. (pp. 273-281). ND653.D87 A4 2008 HMSG. OCLC 225088158.

A major retrospective exhibition of Marlene Dumas, this catalogue documents her disturbing but engrossing watercolors of cadavers, torture victims, mournful portraits, and pornography. Dumas' collection of photographs and newspaper clippings are the starting point for these haunting images. Her oeuvre is not entirely on the darkside. The birth of her daughter inspired new work, and many of her portraits of anonymous men, women, and children are beautiful and always engaging.

This exhibition was held at the Museum of Contemporary Art, Los Angeles, June 22-September 22, 2008; the Museum of Modern Art, New York, December 14-February 16, 2009; and the Menil Collection, Houston, March 26-June 21, 2009.

Contents: Director's foreword / Jeremy Strick -- Acknowledgments / Cornelia Butler -- Painter as witness / Cornelia Butler -- Less dead / Richard Shiff -- The binding factor : the maternal gaze of Marlene Dumas / Lisa Gabrielle Mark -- Victoria Falls (for M. D.) / Matthew Monahan -- Illustrated works by Dumas -- Checklist of the exhibition -- Selected exhibition history -- Selected bibliography.


Marlene Dumas / by Dominic van den Boogerd [and others]. 2nd revised and expanded edition. London: Phaidon, 2009. 238pp. illus. (color), bibliog. (p. 232-236). ND653.D87 B66 2009 AFA. OCLC 660483214.

Phaidon first published this book on Marlene Dumas in 1999. The second significantly expanded edition of this books covers the decade since 1999. Lots more photographs, too.

Contents: Interview / Barbara Bloom -- Survey / Dominic van den Boogerd -- Focus / Mariuccia Casadio -- Artist's choice / Oscar Wilde, Jean Genet -- Artist's writings / Marlene Dumas -- Update / Ilaria Bonacossa.


Marlene Dumas / by Dominic van den Boogerd, Barbara Bloom, Mariuccia Casadio. London: Phaidon Press, 1999. 160pp. illus. (pt. color), bibliog. (pp. 158-159). ND653.D87B66 1999 AFA. OCLC 40684000.

Marlene Dumas is a South African-born, Amsterdam-based painter, and one of Holland’s most internationally admired artists. Dumas recalls in her work the painterly gestures of Expressionism, whilst combining the critical distance of Conceptual Art with the pleasures of eroticism. Through her delicately painted oil-on-canvas or ink-and-watercolor works on the female form as well as portraits of children and erotic scenes, she comments on the state of painting today. What does it mean to be a woman working within the predominantly male genre of expressionist painting? The artist often depicts women: their expressions, their body and facial typologies, their self-image, their ideals. The relationships between art and female beauty - - or between art historical models and twentieth-century supermodels - - are constant themes in her work. Dumas does not paint from life but deliberately chooses “stock” images from a variety of sources, from magazine cuttings to picture postcards to Old Master paintings, as re-observed through her contemporary perspective. Since the late 1970s she has exhibited internationally, with solo exhibitions at the Museum für Moderne Kunst, Frankfurt (1998) and the Tate Gallery, London (1996). In 1995 she represented the Netherlands at the 46th Venice Biennale. A major touring exhibition of Dumas’ work opened at the Museum van Hedendaagse Kunst, Antwerp, in 1999.

Dutch critic Dominic van den Boogerd surveys themes in Dumas’ work in relation to a range of conceptual legacies in depictions of the human figure. New York artist Barbara Bloom interviews Dumas on questions contemporary women artists are asked, from issues of intellectual process to the representation of the self. Art journalist and former editor of Vogue Italia Mariuccia Casadio focuses on Dumas’ painting Josephine (1997), reflecting on the iconic legacy of Josephine Baker. For her artist’s choice Dumas has selected two authors: Oscar Wilde, whose story “The fisherman and his soul” inspired the artist’s early series of works on the theme of mermaids; and Jean Genet, whose autobiography Le journal du voleur (1949) is excerpted here. Marlene Dumas has often acted as a spokesperson for her work; the artist’s writings section features many such seminal texts on her own art as well as meditations on love, religion, politics, and a discussion of Goya’s painting The Fates--from the book jacket.


Marlene Dumas / text by Ilaria Bonacossa. Milan: Electa, 2006. 107pp. illus. (color), bibl. refs. (pp. 105-106). (Supercontemporanea series). ND653.D87A4 2006 AFA. OCLC 75714576.

Marlene Dumas was chosen for inclusion in the Supercontemporanea series of monographs on contemporary artists of significance. This mark of distinction is but one of Dumas’ achievements, as she has entered the artistic stratosphere in recent years. Her work is represented at auction for upwards of $3 million. The present volume covers her work from 1984 to 2006, which spans the time she has spent in Europe, having arrived in Amsterdam in 1983. The text and annotations are written in clear, lucid prose, free of art jargon. Central to her œuvre is the human figure, as she visually explores images of children, nudes, eroticism, pornography, dead bodies, and more recently Arab and Semitic portraiture.


Marlene Dumas: Female: in Kooperation mit der Sammlung Garnatz = a collaboration with the Sammlung Garnatz / edited by Matthias Winzen; with contributions by Oliver Kornhoff, Maija Tanninen-Mattila; Matthias Winzen. Cologne, Germany: Snoeck, 2005. 159pp. illus. (pt. color), bibl. refs. Text in German and English. ND653.D87A4 2005b AFA. OCLC 62512837.

German art collectors Eberhard and Ute Garnatz own 211 of Marlene Dumas’ “Females” series of watercolors (1992-1993), which are published in this catalog in conjunction with the exhibition, which was shown at the Staatliche Kunsthalle Baden Baden, the Kunsthalle Helsinki and the Nordic Watercolour Museum Skärhamm in Sweden. Inspired by the project, Dumas added some recent works to the exhibition as well as sharing some of her very early drawings, paintings, and sketches, which prefigure her later highly acclaimed œuvre. The text is comprised of three essays: A portrait of the artists as a young woman, by Matthais Winzen – “Female” is always the same, “female” is always different, by Oliver Kornhoff – Reverence and respect, by Maija Tanninen-Mattila. The catalog is superbly illustrated.


Marlene Dumas: Miss Interpreted: [video recording] / a film by Rudolf Evanhuis and Joost Verhey. Netherlands: MM Produkties: De Humanistische Omroep, 1997. 1 videodisc (63 minutes) color, sound ¾ in. Narrated by Marlene Dumas. Spoken in Dutch and English with subtitles. Video 001047 AFA. OCLC 476733123.

Filmed before Marlene Dumas hit the upper echelons of the art world, this documentary follows the artist mounting works in a gallery, working in her studio in Amsterdam (where she lives on a house boat with her husband), reading poetry, traveling back to her native home in South Africa, and revisiting her alma mater, Michaelis Art School in Cape Town. Archival footage of Dumas adds the biographical dimension. She comes from an Afrikaans family, steeped in the Dutch Reform Church, but she seems to have broken free of these conservative ancestral roots. The leitmotif of this film is the freedom that Dumas the artist craves. In one segment she speaks of her misgivings about having a child because of the restrictions on that places on her artistic freedom.


Marlene Dumas: one hundred models and endless rejects. Boston: Institute of Contemporary Art; Ostfildern in collaboration with Hatje Cantz Publishers, 2001. 143pp. chiefly illus. ND1970.D86A4 2001 AFA. OCLC 48240057.

South African artist Marlene Dumas developed a following in Europe where she has exhibited widely from her home in the Netherlands. Less well known in the United States, Dumas was given a solo show in Boston at the Institute of Contemporary Art in 2001. This catalog reproduces her faces of models, a 1994 series of inkwash watercolors on paper. The series comprises one hundred drawings from the collection of Van Abbemuseum, Eindhoven, Netherlands. Curator Jessica Morgan provides an introductory essay on the artist. Biodata is included.


Marlene Dumas: suspect / curated by Gianni Romano. Milan: Skira, 2003. 95pp. chiefly illus., bibl. refs. Text in Italian and English. ND653.D87A4 2003 AFA. OCLC 57305991.

This is Marlene Dumas’ first solo exhibition in Italy, held June through September 2003 in Venice. Suspect interrogates her very first medium: painting. It is, Dumas avers, anachronistic, outdated, decadent, arrogant. Yet she persists. She always accompanies her paintings with text, as if she does not trust the art critics or the visual image itself. She paints people, but not portraits, only anonymous individuals. And in this selection of recent works, a lot of dead bodies.


Marlene Dumas: the image as burden / edited by Leontine Coelewij, Helen Sainsbury and Theodora Vischer. New York: Distributed Art Publishers, 2014. 195pp. illus. (some color). ND653.D87 A4 2014 AFA. OCLC 879604652.

Published in conjunction with a retrospective exhibition at the Stedelijk Museum Amsterdam, Tate Modern, London and Fondation Beyeler, Riehen/Basel in 2014 and 2015. This book covers Marlene Dumas’ whole career until now, focusing on works produced between 1984 and 2014. It includes essays by Dumas on her youth, Leontine Coelewij on Dumas’ earlier work and Dominic van den Boogerd on Dumas’ Dead Marilyn. It also includes recent bodies of work: Against the Wall (2010), Tronies: Marlene Dumas and the Old Masters (2010), Forsaken (2011), Sorte (2012) and Twice (with Luc Tuymans, 2013). Theodora Vischer interviews Dumas on her recent work.
Marlene Dumas: wet dreams: watercolors, Städtische Galerie Ravensburg, September 28-December 14, 2003 / edited by Thomas Knubben und Tilman Osterwold. Ostfildern: Hatje Cantz, 2003. 126pp. chiefly color illus. Text in German and English. ND1970.D86A4 2003 AFA. OCLC 53289438.

Marlene Dumas, who sees herself as a sensualist, expands on a work she did in 1987, Wet dreams, to produce a series of pen-and-ink drawings and watercolors on the same theme. Her water-saturated watercolors address “their beguiling lightness, their selective charm, and their aroused intimacy” (page 10). In this catalog, works from 1993 to 2002 are illustrated along with essays by Tilman Osterwold and Jean-Christophe Ammann.


Echakhch, Latifa, 1974-

Latifa Echakhch / edited by Florence Derieux. Zurich: JRP/Ringier, 2013. 159pp. illus. (color). N7390.3.E24 A4 2013 AFA. OCLC 864790635.

Latifa Echakhch was born in Morocco in 1974, lived in France from the age of three and now lives in Switzerland. This book was published in conjunction with three exhibitions between 2009 and 2010: Les sanglots longs at Kunsthalle Fridericianum, Partitas at Bielefelder Kunstverein, and Le rappel des oiseaux at FRAC Champagne-Ardenne and GAMeC. Echakhch’s works are elemental--an exhibition space covered in bricks and brick dust, or charcoal and charcoal dust, or a corner of smashed tea glasses. She presents a kind of deflated image, a whole reduced to its parts--the costumes and equipment of pole dancers, circus performers, or marching bands lying on the ground. The catalog features essays by Ben Borthwick and Alessandro Rabottini. Borthwick explores how Echakhch’s work is ‘formally understated,’ although beneath her work’s minimalist appearance usually lies a carefully expressed, powerful argument on political or social issues. Rabottini makes an interesting comparison of Echakhch’s artistic strategy with that of Felix Gonzalez-Torres. Rabottini suggests that Gonzalez-Torres is less interested in working in direct opposition to the system, than in infiltrating and corrupting it. He sees Echakhch’s work as acting in a similar way--her interest in making stains and traces, of breaking and dissolving objects, in the interest of generating a new reading.
Egonu, Uzo, 1931-1996

Oguibe, Olu. Uzo Egonu: an African artist in the West. London: Kala Press, 1995. 175pp. illus. (pt. color), bibliog. (pp. 171-172). ND497.E36O38 1995 AFA. OCLC 34703372.

Nigerian painter Uzo Egonu spent most of his life (from age 13) in England, but his career was forever defined and shaped by his being an outsider, an African artist in the West. Oguibe traces Egonu's life story from Onitsha to London, his schooling in England, his slow, halting rise to intermittent prominence, his agonies during the Biafran conflict experienced from afar, his evolving aesthetic and thematic concerns, and his switch from oil painting to printmaking -- a fateful decision. Egonu remained a solitary, isolated figure, partly from personal inclination, partly from the invisibility imposed by an intransigent British art establishment.

Artistically and aesthetically, Egonu's art advanced from early genre painting to more symbolic, abstract work, a progression which situated him squarely within the modernist tradition, even while, thematically, he reached back with nostalgia to his Igbo and, more broadly, African roots. Masks provided one visual theme, which clearly harked back to Africa, intellectually, if not nostalgically. In terms of formal composition, the line became a defining device in Egonu's work from the mid-1960s onward; Oguibe relates this line and the positive/negative spaces it created to Igbo art and concepts of space and the individual ("borderisation").

There is in Egonu's work a varying level of social commitment and engagement with his community and events at home. Socially relevant themes persist, re-surfacing in his post-Biafran art, such as his print series "Addiction" or "Stateless People" or "Will Knowledge Safeguard Freedom?" Failing eyesight (caused by chemicals used in etching) and two heart attacks forced him to confront mortality; Egonu became more introspective and contemplative. But he never abandoned his one true passion -- making art.

The text, based on Oguibe's dissertation (The paintings and prints of Uzo Egonu: 20th century Nigerian artist, School of Oriental and African Studies, 1992), is summarized in an article by him, "A painter's progress," West Africa (London) no. 4079: 1974-1976, December 18-24, 1995 and elaborated more fully in another article by Oguibe, "Uzo Egonu: a discourse of reversals," Nka; journal of contemporary African art (Brooklyn) no. 2: 12-17, spring-summer 1995.

Reviewed by Sylvester Okwunodu Ogbechie, "Ogbechie on Oguibe," on H-Net List for African Expressive Culture, H-Afrarts, March 9, 1997; by Sylvester Okwunodu Ogbechie in Nka; journal of contemporary African art (Brooklyn, NY) nos. 6-7, summer-fall 1997, pages 62-63; by Carl E. Hazelwood in Nka; journal of contemporary African art (Brooklyn, NY) no. 5, fall 1996, page 69.


Ekong, Afi, 1930-2009

Ekong, Afi. Afi Ekong, paintings. Calabar: Bronze Gallery, [1996]. 74pp. illus. (pt. color), portraits. N7399.N53E35 1996 AFA. OCLC 47094980.

Chief Afi Ekong, a doyenne of modern Nigerian art, has followed a unique career path. Born in Calabar, she studied fashion design and painting in London during several postings there of her husband, Abdul Azizi Atta. Back in Nigeria Afi Ekong moved in elite social and political circles and quickly achieved acclaim as the first woman to hold a solo art exhibition in Lagos (1958). She was active in promoting arts councils in Nigeria and ran the Bronze Gallery in several venues in Lagos. From the 1950s to the present, she has continued privately to paint along with her public charitable activities. Now widowed and retired in her native Calabar with five chieftaincy titles to her credit, Afi Ekong has opened a new Bronze Gallery in Fiekong Estate.

In this catalog more than sixty paintings and drawings are reproduced spanning five decades of her corpus. Her choice of subject matter tends toward landscapes, flowers (she loves flowers), and scenes of daily life, depicting women in particular. A short (unsigned) biographical essay and excerpts from reviews and critiques of her work comprise the text.


El Salahi, Ibrahim, 1930-

El Salahi, Ibrahim, 1930- Ibrahim El-Salahi: 9 October-17 November 2017. New York: Sotheby's, 2017. 126 pp. illus. (some color). NC367.75.Z9 E37 2017 AFA. OCLC 1006655056.

Ibrahim el Salahi’s Life diary 2014-2016 is comprised of 82 drawings on sale by Sotheby’s, New York. This catalog illustrates all 82 of the works. It also gives us his autobiography—the progression of his career, but also his philosophy of art and his worldview (reprinted from Ibrahim el Salahi: a visionary Modernist), 2012. Previously published interviews with El Salahi by Ulli Beier are also included in this catalog.


El Salahi, Ibrahim, 1930-. Ibrahim El-Salahi: a visionary modernist / edited by Salah M. Hassan. Long Island City, NY: Museum for African Art, 2012. 193pp. illus. (some color), bibl. refs. N7397.6.S733 E25 2012 AFA. OCLC 815452092.

Ibrahim El-Salahi: a visionary modernist, published as a companion to a traveling retrospective by the same name, chronicles the evolution of Sudanese artist Ibrahim El-Salahi's work over more than fifty years of sustained artistic productivity and intellectual engagement. El-Salahi's accomplishments offer profound possibilities for understanding African modernism in the context of modernity as a universal idea, one in which African art history is part and parcel of a global art history. The essays in A visionary modernist reconstruct the remarkable journey of El-Salahi, and, through a critical look at his artistic contributions, expand the narrative of modernism in the visual arts from comparative and international perspectives. Edited, and featuring a historical overview, by Salah M. Hassan, the book includes essays and interviews by well-known art historians and critics Sarah Adams, Ulli Beier, Iftikhar Dadi, Hassan Musa, and Chika Okeke-Agulu, as well as special texts by El-Salahi himself. – from publisher's website.

Reviewed by W. Ian Bourland in African arts (Los Angeles) 47 (1) spring 2014, pages 94-95. The exhibition was reviewd by Roger Atwood in Art news (New York) October 2013, page 117.


Eloff, Zakkie, 1925-

Joubert, Danie M. The art of Zakkie Eloff. 1st edition. Cape Town: Vlaeberg Publishers, 1992. 104pp. illus. (color), bibl. refs. (page 104). ND1096.E46J68 1992 AFA. OCLC 31200317

Wildlife painter Zakkie Eloff grew up in rural Transvaal where he developed his love of nature from childhood. He studied art under Walter Battiss, who had profound influence on the young Eloff. After studying art in Europe, he lived for a period at Etosha game reserve, where wildlife could be observed and sketched at close range. Joubert presents this study in two parts: Eloff, the man and the artist. In a third section, there are excerpts from art critics and appreciations from others about the work of Zakkie Eloff.


Ennadre, Touhami, 1953-

Ennadre, Touhami. Black light = lumière noire = schwarzes Licht / with an essay by François Aubral. Munich; New York: Prestel, 1996. 125pp. illus., bibliog. (pp. 124-125). Text in English, French and German. TR654.E53 1996 AFA. OCLC 36827047.

Born in 1953 in Casablanca, Ennadre emigrated to Paris as a child with his working-class parents. His mother gave him a camera in 1975 to keep him out of trouble. Untrained but self-motivated, he learned how to do it all himself - - shooting, developing, selecting contact-plates, analyzing working proofs, and printing in large formats. His distinctive personal photographic style, not influenced by others or copied from masters. Darkness penetrated by pinpoint light characterizes his oeuvre of close-up subjects - - hands, feet, newborns, dismembered and mummified body parts, carcasses of meat. He has photographed Auschwitz, Alhambra, Lascaux, and the Ice Age Man, all in his dark, visceral style. Photographic series from 1978 to 1966 are included in this visual anthology.
Ennadre, Touhami. If you see something say something / essay by Nancy Spector. Ostfildern-Ruit, Germany: Hatje Cantz Verlag, 2004. 157pp. chiefly illus. Text in English, German and French. TR655.E56 2004 AFA. OCLC 57215038.

Moroccan born photographer Touhami Ennadre is known for his lustrous jet-black images illuminated so as to transfix the viewer. This anthology of his recent photographs serves as a sequel to Black light (1996) (see preceding entry), presenting series that he made from 2001 to 2003. They focus on embracing couples in New York nightclubs, shocked and numbed after-images of 9/11, New York’s huddled homeless; and trance states.
Enwonwu, Ben, 1917-1994

Ogbechie, Sylvester Okwunodo. Ben Enwonwu and the constitution of modernity in 20th century Nigerian art. PhD dissertation, Northwestern University, 2000. Ann Arbor: University Microfilms International, 2000. 3 volumes (volumes 1-2: 541 leaves). N7399.N5O33 2000a AFA. OCLC 52551913.

Ben Enwonwu is a seminal figure on the contemporary art scene in 20th-century Nigeria. This in-depth examination of his life and career situates Enwonwu at the nexis of Nigeria’s colonial encounter and the introduction of modern art practice in mid-century. Enwonwu was active from the 1930s until his death in 1994. As a school boy, he studied with Kenneth Murray and later at the Slade School of Fine Art in London. He served as Nigeria’s first art advisor. Despite his pre-eminence, Enwonwu has been somewhat overshadowed by the rise and prominence of the younger generation of Zaria art students, and, Ogbechie would argue, written out of the history of 20th-century Nigerian art. The aim of this dissertation is to revise the discourse of 20th-century Nigerian art and to reposition Enwonwu within that history.


Ogbechie, Sylvester Okwunodo. Ben Enwonwu in the art historical account of modern Nigerian art. B.A. thesis, Department of Fine & Applied Arts, University of Nigeria, Nsukka, 1988. 1 volume (various pagings). illus., bibliog. [unpublished]. ND1099.N5E613 1988a AFA. OCLC 24623998.

The fame and reputation of Nigerian artist Ben Enwonwu have outweighed critical assessment of his work. It is this vacuum in art criticism that Ogbechie seeks to fill through an analysis of Enwonwu's life and work, his stylistic development, and his place within the larger context of Nigerian academic art in the mid-20th century. Enwonwu's paintings and sculptures are discussed at length in separate chapters. With each, Ogbechie examines the multiple styles that define Enwonwu's corpus and the formal and technical solutions by which he achieves his essentially humanistic expression. Several individual works are singled out for closer scrutiny, e.g., "Anyanwu." The external realities that have influenced Enwonwu's art are also highlighted: Igbo aesthetics, Negritude and the idealization of Africa, and Western academic art conventions, among others. The identity crisis, which beset Enwonwu's early career, remained unresolved in his latest (1987) exhibition.


Ogbechie, Sylvester Okwunodu. Ben Enwonwu: the making of an African modernist. Rochester, NY: University of Rochester Press, 2008. xxiii, 295pp., 8pp. of plates. illus. (pt. color), bibliog. (pp. 267-285). N7399.N53E596 2008 AFA. OCLC 156824761.

Artist Ben Enwonwu (1917-1994), Nigeria’s pioneering modernist, straddled the colonial and postcolonial eras, attempting to balance competing constituencies - - the colonial establishment which supported him, the younger generation of artists who followed him, and his own creative and political needs. Deeply influenced and inspired by Igbo aesthetics and philosophy, Enwonwu turned again and again to the vigorous imagery of Igbo masquerades and dancers.

Ogbechie’s narration of Enwonwu’s story challenges Eurocentric neglect of African modernists. Here was an artist who achieved international acclaim early in his career, received a royal commission for a statue of Queen Elizabeth II, became Art Advisor to the Nigerian government, befriended Leopold Senghor and espoused Negritude. Clearly, this is an essential book for anyone interested in African art and Modernism.

Reviewed by Sunanda K. Sanyal in African arts (Los Angeles) 44 (1) spring 2011, pages 93-94.


Erik Laubscher, 1927-

Fransen, Hans. Erik Laubscher: a life in art. Stellenbosch: SMAC Art Gallery, 2009. 297, [2] pages. illus., portrait. N7396.L39 A4 2009 AFA. OCLC 502973332.

Erik Laubscher played a critical role “in changing a largely pictorial, conservative environment [of Western Cape] into an environment much more receptive to art in all its manifestations.” As artist, teacher, art administrator, and a longtime chairman of the South African Association of Arts in Western Cape, Laubscher helped gain acceptance for abstract art. It was rough in the beginning, and in order to support his family and his art, he worked as a paint salesman.

Published to coincide with “Erik Laubscher: a major retrospective exhibition,” (SMAC Art Gallery, Stellenbosch, 2009-2010) this catalog includes an iconographical discussion of Laubscher’s work by art historian Elza Miles and a contribution by the artist’s daughter Francesca Laubscher. In his interview with Baylon Sandi, Laubscher discusses his journey as an artist and those who influenced him. Prominent among these was Fernand Léger’s concepts of “organized intensity” and “ordered contrast” which stressed contrast, monumentality, color, and spatial organization.

To help readers understand Laubscher’s art, the author included a section titled “Abstraction in the work of Erik Laubscher,” listing terms and concepts relating to this art (chapter 13). Influenced by the School of Paris, and using an “acutely direct sense of observation,” Laubscher tries to produce and abstraction of the world, rather than a copy of it. He did so by combining forms and colors he constructed with the shapes of the world around him, especially landscapes. As he described it, his art is the pursuit of “the rhythm of the landscape and its space and light effects without using obvious perspective gimmicks.”


Essaydi, Lalia

Essaydi, Lalla. Crossing boundaries, bridging cultures / edited by Ahmed-Chaouki Rafif, Dina Nasser-Khadivi. Paris: ACR Édition, 2015. 368pp. illus. (color), bibliog. (340-341). TR647.E843 AFA. OCLC 898529917.

Lalla Essaydi’s photography expresses her concern for the condition of the female in Islamic culture with its confining gender boundaries and spaces. Focusing on the female body, she uses her personal life as shaped by traditional and modern experiences to penetrate the depth of the oppressive restrictions on women in Muslim societies. In her photographs she uses female friends and family models to show women in their “proper” place—the spaces around them that are saturated with Arabic calligraphy, a symbol of the ccripturally-sanctioned male dominance. In addition to filling the space around women, the oppressive script also invades the women’s clothing as well as their bodies in the form of henna decorations. Essaydi strives to find a gender identity that overcomes the burdens of traditional society and the demands of modernity. Essaydi’s emancipatory strive is further complicated by her attachment to the Islamic culture and the negative perception of this culture in the West.

Crossing boundaries includes essays by Stéphan Guégan, Mitra Abaspour, Maryam Ekhtiar and Kinsey Katchka, providing commentaries on the artistic philosophy of Lalla Essaydi and the cultural significance of her work. Biodata included (pp. 17-19).


Etoundi Essamba, Angèle, 1962-

Etoundi Essamba, Angèle. Contrasts. [South Africa]: AGFA, [1995]. [112]pp. chiefly illus. TR654.E88 1995 AFA. OCLC 37617492.

Born in Cameroon, Angéle Etoundi Essamba has lived since age ten in Europe. She studied in France and now lives in the Netherlands. Photography is her medium, and she has exhibited her work internationally. In the present portfolio of AFGA black and white prints, Etoundi Essamba showcases fifty-two of her images on the theme of contrasts. Her art photography uses models, posed and juxtaposed, revealing contrasts in black and white, texture, pattern, and composition. This portfolio was published on the occasion of the first Johannesburg Biennale in 1995 and is dedicated to South Africa's new rainbow nation.
Fakeye, Bisi, 1942-

Adepegba, Kehinde. Contemporary Yoruba wood carving: a case study of Bisi Fakeye. Lagos, Nigeria: Aramanda Creations, 2007. viii, 88pp. illus. (pt. color), bibl. refs. (pp. 82-85). NK9789.6.N5A34 2007 AFA. OCLC 271281613.

Skipping over the introductory chapters on Yoruba arts and woodcarving in particular, we arrive at Bisi Fakeye’s birth in 1942 at Ila-Orangun, Ekiti. A sixth generation carver in the great Fakeye family of carvers - - Lamidi Fakeye being the best known - - Bisi apprenticed under Uncle Lamidi. Although Bisi went through school up to teacher training college, he abandoned teaching for carving. Moving to Lagos in 1968, Bisi interacted with formally trained artists, developed a more commercially based practice, and became part of the Lagos art scene. After FESTAC 1977, he settled into the studios on the grounds of the National Theatre. Adepegba analyzes Bisi’s stylistic evolution away from traditional Yoruba sculpture and thematic evolution toward art for art’s sake.


Fakeye, Lamidi, 1924-2009

Fakeye, Lamidi Olonade, 1924-2009. Conversations with Lamidi Fakeye / Ohioma Pogoson & Yemisi Adedoyin Shyllon. Lagos, Nigeria: Revilo, 2012. 164 pp. illus. (color), map. NB1099.N53 F35 2012 AFA. OCLC 826712386.

Lamidi Fakeye died before this book was published. How fortunate then that Yemisi Shyllon had taken the initiative to interview Fakeye at length and in multiple sessions to capture the sculptor’s story in his own words. Ohioma Pogoson led the interview team. More interviews were planned but death intervened. Still we are left with a rich and valuable narrative of Fakeye’s life and work. Shyllon owns 43 Fakeye sculptures, all illustrated here, which Fakeye elaborates on—the iconography, symbolism and decorative elements of each sculpture.


Fakeye, Lamidi Olonade, Bruce M. Haight and David H. Curl. Lamidi Olonade Fakeye: a retrospective exhibition and autobiography; [exhibition] DePree Art Center and Gallery, Hope College, Holland, Michigan. October 11-November 22, 1996. Kalamazoo, MI: Oak Woods Media, 1996. 229pp. illus. (pt. color), bibliog. (page 227). NB1080.5.L36 1996 AFA. OCLC 36077665.

Lamidi Fakeye has been more successful than most African artists in straddling cultures and negotiating competing identities. His "career on two continents" is the epitome of cultural hybridity. A practicing Muslim, he is best known for his Christian and Yoruba religious sculptures. A non-schooled artist, he teaches at universities and gives public lectures. A man of humble origins, he is recipient of numerous awards and is an unofficial cultural ambassador for Nigeria.

Born in Ila Orangun, Fakeye took to woodcarving early and naturally, for the Fakeyes are renowned woodcarvers. In this autobiography, Fakeye writes a beguilingly conversational account of his peripatetic childhood, his fortuitous meeting with Father Kevin Carroll in 1949, and his apprenticeship under master sculptor George Bamidele Arowoogun at the Oye-Ekiti workshop. Fakeye's association with the Catholics led to numerous prestigious commissions for doors, panels, posts, and statuary, and in 1960 to his first solo exhibition in Ibadan. A second exhibition in 1961 resulted in forging links with Americans from Western Michigan University, then working in Ibadan. Fakeye's friendships and long associations with his colleagues in Kalamazoo, Michigan (his American home town) culminated in the 1996 retrospective exhibition in Kalamazoo and the present book.

Fakeye has a knack for being at the right place at the right time. His story of the 1960s and 1970s was just that -- meeting the people who could advance his career at home and abroad. By the 1980s Fakeye was ensconced in Ile-Ife at the University of Ife (later Obafemi Awolowo University) as artist-in-residence, where he is today. His adult career is as peripatetic as his childhood, as he moves back and forth between Nigeria, the United States and beyond.

Fakeye introduces his personal narrative with a long discussion of Yoruba woodcarving traditions: the social role of woodcarvers; their apprenticeship and training; the carving tools and techniques; and the type of wood used in carving. Fakeye's own sculptures are illustrated and carefully documented in eight color plates and eight black-and-white plates and in numerous photographs throughout the text, showing additional commissioned works, Fakeye working in the studio, and other pictures of family, friends and colleagues.

Reviewed by Jean M. Borgatti in African arts (Los Angeles) 30 (4): 91, autumn 1997; by Timothy O. Ajayi in Ife: journal of the Institute of Cultural Studies (Ile-Ife, Nigeria) no. 7: 98-99, 1999. Exhibition at Dupree Art Center and Gallery, Hope College, Holland, Michigan, October 11-November 22, 1996, reviewed by Judith Perani in African arts (Los Angeles) 30 (4): 79-81, autumn 1997.


Yoruba images: essays in honour of Lamidi Fakeye / edited by Moyo Okediji. Ile-Ife: Ife Humanities Society, 1988. 159pp. illus., bibliogs. (Ife humanities monograph series, no. 3). N7399.N52Y65 1988a AFA. OCLC 26083552.

This work celebrates Yoruba sculptor Lamidi Fakeye whose acclaim as a successful international artist has not subverted or eroded his artistic vision; he remains true to his Yoruba heritage. At Obafemi Awolowo University in Ile-Ife, his colleagues have honored him with this Festschrift. Five of the eight essays discuss his work directly. Moyo Okediji introduces the papers and provides a brief biographical sketch of Fakeye (pages 1-6). The volume was reviewed by Toyin Falola, "Carving a career," West Africa (London) no. 3707: 1574, August 29-September 4, 1988.

(1) Akinola, V. O. "The image of women in the wood sculptures of Lamidi Fakeye," pages 110-120. In Fakeye's corpus of sculpture, the female figure predominates, and in its rendering reflects accurately, Akinola feels, Yoruba beliefs about women aesthetically and socially. The emphasis on humility and submission, beauty, fertility, devotion to duty, domestic and religious, all find expression in Fakeye's sculpture.

2) Aremu, P. S. O. "Decorative patterns as important factors in the evaluation of Lamidi Fakeye's carvings," pages 121-134. Aremu identifies both traditional designs (e.g., "snake's bones") and contemporary designs (e.g., zig-zags) in Fakeye's use of decorative patterning on his sculptures. Fakeye accomplishes this without apparent dissonance, for the result is harmonious and aesthetically pleasing, which is the sculptor's aim. He achieves a unique stylization in the patterns he selects. Aremu analyzes the surface qualities of several of Fakeye's recent works, concluding that they greatly enrich his sculpture and appeal aesthetically to his wider audience.

(3) Lawuyi, Olatunde Bayo. "The images of women in Lamidi Fakeye's work: an analysis of a contemporary art," pages 96-109. Fakeye's sculpture, which Lawuyi sees as androgynous in character, may relate to Fakeye's personal religious identity, which centers on Shango, Eshu and Ifa. Shango and Esu both have male/female qualities. The full range of Yoruba beliefs about women are not represented in Fakeye's work, although certain cultural beliefs about gender relationships are affirmed by it, e.g., male dominance and socio-economic inequality. Lawuyi concludes that Fakeye, in identifying Eshu with men and Shango with women, is orienting gender relations where "the male's moral enterprise is the protection of its status, while that of the women is the resistance of domination" (page 107). This paper is based on interviews with Fakeye.

(4) Okediji, Moyo. "Facts and figures: form of Fakeye's figments," pages 135-157. Fakeye creates "mythographs," that is, art objects which express Yoruba myths; his commitment to myths as a source of inspiration has shaped his style. Okediji argues that the verbal and visual come together in Fakeye's wide ranging images. But how has Fakeye's visualization of myth changed and evolved over his creative career? The process of evolving is itself a sort of artistic self-criticism, as the artist shifts subject content and style. Van Gogh provides a parallel example in his shift from the "The Potato Eaters" period to the sunflower period.

Okediji points to Fakeye's deviation from his early mentors Arowogun and Bamidele, father and son, as evidence of a subtle criticism. From imitation to selection and combining different elements, Fakeye created his own style. Okediji demonstrates this outcome by analyzing three carved panels by the three sculptors each depicting equestrian figures. By comparing a recent work by Fakeye with one of his older sculptures, a further stylistic development appears in the abandonment of "African proportion." Recent works, in particular the Oduduwa statue, show a clear move toward realism where the head (ori) is more realistically portrayed.

(5) Olapade, Ola. "Oduduwa: a mythical statue," pages 84-95. Lamidi Fakeye's carved statue of Oduduwa is inspired by the Yoruba myths of Oduduwa's role as creator and ancestor of the Yoruba people. Olapade recounts these myths and relates them to Fakeye's representation of Oduduwa. But should Fakeye's work be considered traditional or contemporary? Olapade concludes that it is essentially traditional, despite the fact that Fakeye as an artist does not meet all the criteria of a traditional artist and that the Oduduwa statue was commissioned by Obafemi Awolowo University and is not inherently sacred.


Fatmi, Mounir, 1970-

Davies, Lillian. Mounir Fatmi: suspect language. Milano: Skira, 2012. 205pp. illus. (chiefly color), bibliog. (pp. 204-205). Text in English and French. N7380.3.F38 D38 2012 AFA. OCLC 834989833.

Mounir Fatmi, born 1970 in Tangiers, studied art in Rome and had a short career in advertising before turning to art. He works primarily in video, photography and installation, addressing contemporary political, religious and social issues. Surveillance, 9/11, the Taliban, the Kaaba and like subjects engage his creativity. Architecture is a recurring theme, and he continues to circle back to his roots in Morocco, though he now lives in Paris. In his installations, videos, and photographs, one encounters such objects as coaxial cables, computers, outdated electronics, yards of VHS tape, saw blades, and even skateboards. Even his early experience in advertising influences his photos and video work. This volume illustrates his work in sequential periods from 1995 to 2012.


Feni, Dumile, 1939-1991

Dube, Prince Mbusi. Dumile Feni: the story of a great artist. Volume 1. Houghton, South Africa: Motloatse Arts Heritage Trust, 2010. 1 volume (unpaged) illus. (some color), bibliog. (p. 278-280). N7396.F46 D83 2010 Volume 1 AFA. OCLC 727113814.

Twenty years on from his death by heart attack, Dumile Feni’s reputation is solidifying and gaining stature at home. He left South Africa in 1968 and died in exile in 1991. Many of his drawings from the early years were destroyed as well as works he lost along the way of his nomadic life in exile.

This book follows on from the 2005 retrospective exhibition of Dumile’s work at the Johannesburg Art Gallery, which was curated by Prince Mbusi Dube. (See below). This is just volume 1 of a planned 3-volume set; it covers his South African years, birth until going into exile in 1968. The artworks illustrated are all from this formative period. Projected volumes 2 and 3 will cover his life in exile in the United Kingdom (volume 2) and in the United States (volume 3); neither has been published as of 2017.

Dube approaches his subject as biography and as art history and, of course, the intersection of the two. Yet the result is oddly marred by what may be the heavy hand of Dube’s “mentor and preliminary editor,” Ronald Dorris. The intrusion of a spiritual Afrocentrist, a second authorial voice, muddles the story.


Feni, Dumile. Dumile Funi retrospective / introduction by Prince Mbusi Dube ; photography by George Hallett. Johannesburg: Johannesburg Art Gallery; Wits University Press, 2005. 247pp. illus. (pt. color). N7396.D86A4 2006 AFA. OCLC 82364701.

Dumile Feni claimed he was not interested in politics, only in the human condition. But his art work speaks eloquently and powerfully about the political and social realities of the South Africa he grew up in and from which he exiled himself. This “Goya of the townships,” who died in 1991, is now embraced by his native country. Tracing his career from “Before exile, 1964-1968" to the “London period, 1968-1976" and finally to the “USA period, 1977-1991,” this retrospective exhibition brought together for the first time an impressively large body of Dumile’s work drawn from overseas and private collections.

A series of excellent essays by writers, most of whom knew Dumile at various periods in his life, provides the text for this catalog. One focuses on his most famous work, “African Guernica”; another on his erotic works. Drawing was his preferred medium and mother-and-child, his dominant theme--perhaps because he lost his own mother at such a young age.

Beautifully illustrated, this catalog will stand as a lasting tribute to the great Dumile. The exhibition was held at the Johannesburg Art Gallery, January 31-April 10, 2005, the Oliewenhuis Art Museum, May 17-June 17, 2005, and the South African National Gallery, August 13-November 4, 2005.

Reviewed by Gavin Younge in De arte (Pretoria) 78, 2008, pages 62-64. Exhibition reviewed by Mary Corrigall in Art South Africa (Cape Town) 6 (2) summer 2007, page 88.


Feni, Dumile. Dumile: artist in exile. South Africa: Bruce Smith in association with Art of Paper, 2004. 52pp. illus., bibl. refs. (pp. 50-51). N7396.D86A4 2004 AFA. OCLC 57398581.

The late Dumile Feni is one of South Africa's most prominent apartheid-era artists. His life story epitomizes the struggle, loss, and resilience of black South African artists of the 1960s, 1970s, and 1980s. Heralded as a leading "township artist," he chose exile which turned out to be a life of increasing disappointment and decline. This catalog anticipates the major retrospective exhibition of 2005 (see Dumile Feni retrospective). It is a selling exhibition directed to South African institutions, offering them works of art made after Dumile left South Africa in 1968 until his death in 1991. Thirty-one drawings are featured, though there are none later than 1985.

Exhibition reviewed by Sipho Mdanda in Art South Africa (Cape Town) 3 (2) summer 2004, page 66.


Manganyi, Chabani. The beauty of the line: life and times of Dumile Feni. Johannesburg: KMM Review, 2012. 150pp. illus. (some color). N7396.F46 M36 2012 AFA. OCLC 793373013.

Chabani Manganyi’s book has three main sections. The first is a biography of Dumile Feni, followed by conversations with South African art professionals. The last section is a compilation of a wide range of individuals’ impressions of Feni. Feni was born in the town of Worcester, moving to Cape Town later on where his mother passed away. In Johannesburg, Feni worked as an apprentice at a foundry. When he was 23 he was hospitalized for tuberculosis, where he met fellow-patient and artist Ephraim Ngatane, who introduced him to Bill Ainslie. Ainslie and his family supported Feni, who by the mid-1960s was exhibiting in Johannesburg, Durban, and Cape Town with considerable success.

Living in Johannesburg, however, he faced harassment by the police and was ordered to return to his designated ‘homeland.’ With Ainslie and others’ help, Feni was able to leave the country for London where he held a successful solo show and also participated in group shows. In the late 1970s he moved to the United States where he taught briefly, battled with a drug problem, and continued to produce and show his work.

The second section is a discussion of how various writers and audiences have made sense of Feni and his work, and of new lines of investigation or approaches that could help to give a fuller picture of his life and work. The last section is an interesting way of exploring an enigmatic figure in South African art history--bringing together a variety of sometimes conflicting opinions and impressions. These accounts give a sense of the personality and artist Dumile Feni, without trying to pin down who he really was in one definitive account.


Gaba, Meschac, 1961-

Gaba, Meschac, 1961- Museum of Contemporary African Art = Musée d’art contemporain africain. Amsterdam: Artimo Foundation, 2001. Volume 1. illus. (pt. color), bibl. refs. Text in English and French. N7399.D33G332 2001 AFA. OCLC 48102106.

”What is a museum?” challenges Beninoise artist Meschac Gaba. His ongoing project is the creation of a conceptual/nomadic Museum of Contemporary African Art, as a critique of Eurocentric art and ethnographic museums and the commodification of African art. It has all the elements - - the architecture, the museum shop, the summer collection, the game room, the art and religion room, the discothèque, the restaurant, and the wedding room (where he got married). These installations/performance/interactive pieces are a total departure from the paintings Gaba was doing in Benin before he gained admission to the Rijksakademie in Amsterdam in 1996, as he explains in an extended interview with Chris Dercon. The only thing that carries over from Benin is the use of banknotes, now minus the paintings onto which they adhered, as commentary on devaluation and commodification. Biodata included.


Gaba, Meschac, 1961- Meschac Gaba / Christine Y. Kim, Lauri Firstenberg. New York, NY: Studio Museum in Harlem, 2005. 93pp. illus. (some color), bibliography (pp. 87-89). Text in English and French. N7399.D33 G332 2005 AFA. OCLC 62380942.

Synthetic braided hair and extensions are the raw materials for Meschac Gaba’s exhibition “Tresses” at the Studio Museum in Harlem in 2005. With this artificial hair he fabricates eighteen architectural sculptures. He sets up a dialogue of sorts between Manhattan and Cotonou through “skyscrapers” made of woven hair braids, each displayed atop a white female mannequin. Gaba also plays with decorating bank notes—dollars and CFA—images of his hair sculptures. This catalog includes essays by Christine Y. Kim and Lauri Firstenberg along with an interview with the artist.


Gaba, Meschac. Meschac Gaba / edited by Rein Wolfs, Macha Roesink, Bianca Visser. Cologne, Germany: Walther König, 2010. 160pp. illus. (color), bibl. refs. Text in English, German, and Spanish. N7399.D33G332 2010 AFA. OCLC 586999186.

Meschac Gaba’s exhibition cycle, The Museum of Contemporary African Art, is now presented “in a broader context and explores for the first time the artist’s entire oeuvre” (page 5). The exhibition was held at Kunsthalle Fridericianum, Kassel, Germany (29 August - 15 November 2009); Museum De Paviljoens, Almere, Netherlands (25 April - 9 August 2009); and Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria, Spain (5 February - 28 March 2010).

Also included are his early works made in Bénin before emigrating to Amsterdam and his student works from the Rijksakademie period (1996).


Gcwensa, Bernard, 1918-1985

Cormick, Dina. Bernard Gcwensa and Ruben Xulu: Christian artists of Natal. Pretoria: Academica, 1993. xii, 138pp. illus. (pt. color), portraits, bibliog. (page 138). N7989.8.S6C811 1993 AFA. OCLC 31200287.

Bernard Gcwensa was already carving walking sticks and spoons when Father Edwin Kinch commissioned a statue of the Virgin Mary for the Catholic mission church at Hlabisa. So began a lifetime association and a new career for Gcwensa as a sculptor of religious art. This was in 1953, seven years before young Ruben Xulu joined him as apprentice. (See below).

The story of Gcwensa's life, filled with success and tragedy, is told by Cormick, herself an artist. Included is a complete, if not exhaustive, catalog of sculptural works commissioned for churches in Natal and elsewhere in South Africa. They include free-standing sculpture, biblical scenes, stations of the cross, crucifixes and panel reliefs.

Reviewed by J. P. van der Watt in De arte (Pretoria) 49, Julie 1994, page 48.


Gebre Kristos Desta, 1932-1981

Gebre Kristos Desta: the painter-poet. Addis Ababa: Institute of Ethiopian Studies, Addis Ababa University, 2006. 138pp. illus. (pt. color), portratis. N7386.3.D47G43 2006 AFA. OCLC 83785603.

Gebre Kristos Desta, one of Ethiopia's most revered modern artists, is not well known internationally except in Germany where he studied art in Cologne, in Ethiopian circles and in the hearts and minds of his students. He died relatively young at age 50, a refugee from the Derg, Ethiopia's socialist reguine, in Lawton, Oklahoma.

In the 1960s and 1970s before he fell afoul of the Derg, Gebre Kristos Desta flourished and was feted. The newness of his modernist paintings were not fully appreciated in tradition-bound Ethiopia, but he enjoyed the patronage of Emperor Haile Selassie and is now credited with introducing Modernism to Ethiopia. When Gebre Kristos Desta fled Ethiopia, he sought refuge in Germany but was refused. Now many years later Germany is seeking to make amends. A new museum in Addis Ababa funded by the German government is deovted to Gebre Kristos Desta with its collection comprised of his paintings repatriated from Germany where they had been in storage at the Museum für Völkerkunde Munich.

Contents: Gebre Kristos Desta, Ethiopia's painter and poet extraordinaire: a biography / Achamyeleh Debela -- State and society in Ethiopia (1930's to 1970's): contextualising Gebre Kristos Desta / Shiferaw Bekele -- Gebre Kristos--through the eyes of friends and relatives / Rita Pankhurst -- Gebre Kristos Desta reflected by his former students / Elisabeth Biasio -- German expressionism and the art of Gebre Kristos Desta / Elizabeth W. Giorgis -- Notes from Gebre Kristos' Cologne years / Yohannes Gedamu -- Gebre Kristos Desta: the painter's eye, the poet's hand / Heran Sereke-Brhan -- Catalogue of paintings by Gebre Kristos Desta.


Geers, Kendell, 1968-

Kendell Geers: 1988-2012 / Haus der Kunst; edited by Clive Kellner. Munich: Prestel, 2013. 240pp. illus. (chiefly color), bibl. refs. N7396.G44 A4 2013 AFA. OCLC 829764189.

This book explores how the life and work of South African artist Kendell Geers can be seen to constitute a living archive of political turmoil, protest against injustice, and the effects of globalization. In his provocative, often humorous, but always compelling work, Kendell Geers employs various media such as installation, drawing, video, performance, and photography. For two decades his art has been closely linked to the political and cultural environments of his home--whether in South Africa or Europe. This volume explores in particular the trajectories of two decade-long periods. The first, a political phase, runs from 1988 to 2000, during which time Geers explored the moral and ethical contradictions of apartheid. By appropriating historical events and ideas, he focused on questions of the relationship between individual and society. The second period was initiated by Geers's move to Brussels in 2000. This European period is characterized by a poetic aesthetic as Geers transferred his artistic practice into a postcolonial and increasingly global context, exploring themes such as terrorism, spirituality, and mortality. This volume features a number of essays addressing aspects of Geers's work as well as an interview with the artist."— from the publisher's website.

Contents: Foreword / Okwui Enwezor -- Kendell Geers (1988-2012) / Clive Kellner -- The perversity of my birth: the birth of my perversity / Kendell Geers -- Kendell Geers: a proletarian gnosis / Nicolas Bourriaud -- On the aesthetic and political language of art: a conversation between Kendell Geers and William Kentridge / Moderated by Okwui Enwezor -- On the political in Kendell Geers' early work, 1988-2000 / Katerina Gregos -- (With your) back to the wall: the murals of Kendall Geers / Anitra Nettleton -- Kendell Geers, or the denial of the evident / Laurent Devèze.


Getachew Yossef, 1957-

Getachew Yossef, 1957- Love and peace / texts, Elisabeth Biasio, Yonas Tarekegn. Addis Ababa: Laphto Art Gallery, 2013. 72 pp. illus. (color), portraits., bibliog. (pp. 57-59). N7386.3.G48 A4 2014 AFA. OCLC 910299382.

Getachew Yossef, Ethiopian artist and Rastafarian, has followed an unusual path and is not as well known internationally as his artistic contemporaries. Born in Dessie in 1957, he schooled in Addis Ababa—his father worked for Prince Asfa Wossen, son of Haile Selassie, so Getachew lived in the palace. He studied at the art school in Addis and later in Leipzig. Racist East Germany was not a welcoming experience for an African in the 1980s, but it led him to reflect on his African roots. Why is there so much misery and warfare on a continent with beautiful landscapes and warm sun? While in East Germany he learned about Rastafarianism, listened to Bob Marley and Peter Tosh, and found consolation in its rejection of ‘Babylon.’ And he adopted dreadlocks.

His paintings depict both horrific references to the Derg era as well as serene, peaceful images—the sun, mother & child, horses. Elisabeth Biasio walks us through the changing themes and imagery of his painting. Getachew is also a sculptor; he was commissioned to do public monuments, notably the “African Union” and “China-Africa Forum” in Addis Ababa. He has also made naturalistic bronze sculptures of animals and people as well as religious ones, such as “Archangel Gabriel.” He still teaches at the School of Fine Art in Addis and remains active in his own art practice. Elisabeth Biasio is to be credited with giving this artist the visibility he deserves. She first interviewed him in 1993 and again 2009.


Grillo, Yusuf, 1934-

Akatakpo, Donatus M. The paintings of Yusuf Grillo: an analysis. B. A. thesis, Department of Fine Arts, University of Ife, 1979. [unpublished]. [not available for review].


Master of masters: Yusuf Grillo: his life and works / edited by Paul Chike Dike and Patricia Oyelola. Abuja, Nigeria: National Gallery of Art, 2006. 269pp. illus. (some color), bibl. refs. (p. 259). N7399.N53 G7536 2006 AFA. OCLC 164919199.

Yusuf Grillo, of Afro-Brazilian heritage, grew up in Lagos where he was fortunate to be taught by Aina Onabolu and Akinola Lasekan. He was part of that now famous set of Zaria art students at the Nigerian College of Arts and Sciences. He is most closely associated with Yaba College of Technology where he taught from 1961 till his retirement in 1987. But ‘retirement’ meant concentrating on his studio practice where he turned to working on commissions in stain glass, mosaic and sculpture. Best known, however, as a painter, his paintings are now being forged by entrepreneurial Lagosians! Grillo also served as the president of the Society of Nigerian Artists through its founding decades.

Grillo is “a most distinguished, yet uncelebrated Nigerian artist,” as his is described in this book of commentaries, tributes and reminiscences of colleagues and former students. Unfortunately there is much repetition and overlap here, and the reproductions of his artworks and the photographs are of poor quality. Still, it is the most substantial book about Grillo to date.


Gumbe, Jorge, 1959-

Gumbe, Jorge, 1959- Jorge Gumbe: mitos e sonhos: pintura, gravura, cerâmica e instalação. Luanda: Museu Nacional de História Natural, 2005. 70pp. illus. (color), portraits. N7399.A53G862 2005 AFA. OCLC 85844514.

Angolan artist Jorge Gumbe studied at in Luanda, Havana, Stockholm, and London, but he remains rooted in Angola where he lives and works. The themes of this 2005 exhibition, the 30th anniversary of Angola’s independence, are the venerable baobab and water spirits associated with the cult of Kyanda. The symbolism and mythology of the earth and sea infuse his painting, prints, and even his ceramics. More than thirty works are all accompanied by essays by Gumbe and three critics and art historians. Biodata is included.


Hartzenburg, Randy, 1948-

Randy Hartzenburg : [videorecording]. Exeter, England: Digital Media Education Centre, 2003. Contemporary South African artists series. 1 videocassette. 24 minutes. sd., color; ½ in. PAL format. video 000948 AFA. OCLC 152432007.

Cape Town artist Randy Hartzenburg lived through the apartheid era in South Africa, and his work is suffused with imagery that speaks to the enforced separation of peoples. In this film, he talks about six works which metaphorically address dislocation, insecurity, vulnerability, loss, unfulfilled lives. Hartzenburg is a painter, a printmaker and an installation artist. Each of these media is represented in the works shown and talked about here: “Unplugged,” “Lock and Handle,” “Shadow on the House,” “In the Land of the Blind, the One-eyed Man is King,” “Workers,” and “Salt and Time.” The last was an installation in an exhibition on Robben Island.


Hassan, Kay, 1956-

Hassan, Kay. Kay Hassan: urbanation. Johannesburg: Johannesburg Art Gallery, 2008. 105pp. illus. (pt. color), bibliog. (pp. 102-103). N7396.H388A4 2008 AFA. OCLC 320410788.

Kay Hassan’s mid-career exhibition in 2008 introduces new large-scale installations, digital prints, and video art along with his better known paper constructions. Born and bred in Johannesburg, Hassan speaks to the urban condition, the world of migrants to the city, and the persistence of the underclass in South Africa today. Catalog includes essays by Khwezi Gule, Ivor Powell, Themibinkosi Goniwe, and John Matshikiza, and an interview with the artist.


Kay Hassan. Ostfildern-Ruit: Hatje Cantz Verlag, 2000. [136]pp. illus. (pt. color), bibl. refs. N7396.H388A4 2000 AFA. OCLC 44782860.

South African artist Kay Hassan received the DaimlerChrysler Award for South African Contemporary Art 2000. This catalog was published on that occasion to accompany an exhibition traveling in Germany and South Africa in 2000 and 2001.

Born in Alexandra township, Johannesburg, Kay Hassan grew up in his mother’s shebeen (illegal beer joint). The shebeens, the streets and byways of the township are bound up in his work as an artist. He received his first art training at Rorke’s Drift and later studied in France. He has also taught art in Johannesburg. Hassan’s early works on paper (prints and drawings) evolved into collage, which he calls his “paper constructions.” From 1997, he moved into installation work, bringing his two-dimensional creations into 3-D. But he continues to draw upon his earlier media by not abandoning printmaking or collage. This broad range of artistic creativity is all featured in this catalog.

David Koloane interviews Kay Hassan about his life and work. Martin Hentschel contributes an essay on Hassan, the artist. And Ralf-P. Seippel explains how and why Kay Hassan’s work was chosen for the DaimlerChrysler Award.


Hazoumè, Romuald, 1962-

Hazoumè, Romuald, 1962- Romuald Hazoumè: my paradise -- made in Porot-Novo / edited by Martin Henatsch. Ostfildern: Hatje Cantz, 2010. 143pp. illus. (pt. color), bibl. refs. (p. 143). Text in German and English. N7399.D33H262 2010 AFA. OCLC 630504093.

Romuald Hazoumè is best known for his jerry can masks (“masques bidon”), which he began making in 1988 quite by chance when invited to a fancy dress party. The jerry can and other detritus of urban life became the material of his oeuvre. His larger sculptures and his photography also focus on the jerry can. The other stream of his work invokes Fa religious symbols, notably in his paintings infused with soil, acrylic and indigo. Although Hazoumè has exhibited and done projects overseas, his home, spiritual and real, is quiet Porto-Novo. This catalog accompanies his 2010 project in Neumünster, Germany, and includes a long interview with the artist.


Hazoumè, Romuald, 1962- . Romuald Hazoumè. Dublin: Irish Museum of Modern Art, 2011. 159pp. illus. (chiefly color). N7399.D33 H262 2011 AFA. OCLC 694827782.

Refuse as art material is Romuald Hazoumè’s métier, especially plastic jerry cans and metal parts. In this catalog of his solo exhibition in Ireland, Hazoumè features these assemblages along with photography of same and paintings inspired by Ifa and Vodun. The exhibition was held at Irish Museum of Modern Art, Dublin, February 8-May 15, 2011, and at the Oriel Mostyn Gallery, Llandudno, Wales, July 23-Sept. 10, 2011.

Contents: A language to behold / by Gerard Houghton -- Romuald Hazoumè and the Janus face / by Seán Kissane -- Romuald Hazoumè -- territorial artist: world artist / by André Magnin -- The art of the extreme petrol can / by Yacouba Konaté.


Hazoumè, Romuald, 1962- Beninese Solidarity with Endangered Westerners. Graz: Kunsthaus Graz, Universalmuseum Joanneum, 2013. 183pp. illus. (color), bibl. refs. Text in German, English and French. N7399.D33 H362 2013 AFA. OCLC 864818455.

This book was published on the occasion of Romuald Hazoumè’s exhibition at Kunsthaus Graz, Austria, 2013-14. It includes a preface by Peter Pakesch, an interview with the artist by Heinz-Norbert Jocks, and essays by Günther Holler-Schuster and Yacouba Konaté. With his NGO for Beninese Solidarity with Endangered Westerners Hazoumè questions the idea of ‘African problems', by exploring the opposite view. What if ‘Western problems’ were under the spotlight, from the perspective of a charitable, concerned Benin? In Food for Europe Hazoumè pursues this reversal, with African people contributing ‘food for Europe’. The installation is made up of suitcases packed with African textiles, banknotes, cigarettes and dried fish. Hazoumè refers to the things that are sometimes confiscated when Africans enter Europe, again exploring ideas of charity and alienation. The petrol can is a recurring presence in Hazoumè’s work and he documents the sale and transport of black market petrol in Rare Finerie.
Roth, Daniela. Romuald Hazoumè: Mister Kanister und die orale Postmodern. München: Wilhelm Fink, 2013. 216pp. [32] plates of plates. Illus. (chiefly color). Text in German. N7399.D33 H262 2013 AFA. OCLC 827925156.

Romuald Hazoumè and his art world are the subjects of this German doctoral dissertation. Now published, it was originally presented as the author's thesis at Ludwig-Maximilians-Universität München in 2010. Daniela Roth examines the artist’s cultural background, environment, and influences within the larger context of the African artist in a global world. Illustrated with 32 plates of his work and photographs of the artist.


Hefuna, Susan

Hefuna, Susan. Susan Hefuna: navigationxcultural: South African Gallery Annexe, Cape Town, 2000. Heidelberg: Kehrer, 2000. 96pp. illus. (some color). Text in English and German. N7396.H44A4 2000 AFA. OCLC 48046384.

Susan Hefuna was artist-in-residence at the South African National Gallery in 1999 and held this exhibition the following year in Cape Town. Of Egyptian and German parentage, Hefuna explores imagery of Egyptian people and places through photography, drawing, and installations. Her favorite motif in the drawings is the mashrabiyas (grille-window), a distinctive architectural feature of old Cairo houses. Her photography, too, is a window on the everyday life of Cairo taken with an old-fashioned type of pinhole camera.. The resulting images are blurred, unfocused, grainy, intentionally so, which is itself a comment on our conditioned response to a “far-off past.”


Hefuna, Susan. Susan Hefuna: xcultural codes. Heidelberg: Kehrer, 2004. 199pp. illus. (pt. color), bibliog. (p. 194). Text in German and English. N7396.H44A4 2004 AFA. OCLC 55591442.

Susan Hefuna’s work is a dialogue on her own dual heritage - - Egyptian/German, Muslim/Catholic - - yet she resists labels of “diasporic” or “hybridity” because those are themselves categories too restrictive and limiting. She works in several media including painting, drawing, photography, video and installation. The exhibition “xcultural codes” focuses largely on Cairo and recuperation of memory of family in the Nile Delta. Her imagery of the mashrabiyas, or grille windows, are central to this narrative. Several essays and an interview with the artist provide the text of the catalog.


Hefuna, Susan. Susan Hefuna: Pars Pro Toto III / edited by Hans Ulrich Obrist. Berlin: Kehrer, 2014. 58pp. illus. (color). Text in English and Arabic. N7385.H44 A4 2014 AFA. OCLC 859046651.

The third in a set of three books on Hefuna’s work, this volume focuses on architecture and urban spaces. The works it documents include Hefuna’s Edgware Road Project produced for the Serpentine Gallery in London between 2009 and 2011 and Notationotations, a collaborative project at the Drawing Center in New York in 2013. For the Edgware Road Project, Hefuna focused on exchange, exploring connections between London and Cairo. As part of the project Hefuna produced photographic postcards and video installations of city scenes of London and Cairo which were distributed and displayed simultaneously in the two cities. Hefuna also held a three-day festival in London, where tents made by Cairo tentmakers formed a new public space. The interiors of the tents were filled with messages and images by people in Cairo related to the 2011 uprising. For Notationotation Hefuna created two-dimensional grids representing cities, which were then translated into dance by choreographer Luca Veggetti. The dancers also performed on a large chalk drawing by Hefuna, erasing it as they moved around the space.
Henein, Adam

Henein, Adam. Adam Henein / sous la direction de Mona Khazindar. Milan: Skira, 2005. 343pp. illus. (chiefly color), portraits. N7385.H46A4 2005b AFA. OCLC 64303633.

Adam Henein’s art harks back to Egypt’s pharaonic artistic heritage, but his is a very modernist sensibility. Born in 1929 into a Coptic family in Cairo, Henein studied at the school of fine art and spent 25 years in Paris. In 1996 he moved back to Egypt and in the same year founded the international sculpture symposium in Assouan. Henein is best known for his bronze and stone abstract sculptures, but he is equally adept in creating delicate papyrus paintings using natural pigments in warm earth colors as well as ink drawings. This hefty catalog presents Henein’s complete oeuvre, including his magnum opus “Vaisseau d’Adam” (Adam’s ship). In the essay by Fatma Ismaïl his long and productive life unfolds.


Higgs, Cecil, 1898-1986

Bertram, Dieter R. Cecil Higgs, close up: a biography. Rivonia: William Waterman Publications, 1994. vii, 157pp. illus. (pt. color), bibliog. (pp. 141-143). ND1096.H53 B47 1994X AFA. OCLC 32821665.

Cecil Higgs, born on a farm in South Africa in 1898, studied art in Grahamstown and in London. She painted all her life and was known for her landscapes and still lifes rendered in an expressionistic style. Though she never married, her life entwined with close friends, as revealed in her diaries and letters, which are quoted at length in this biography. Bertram knew Cecil Higgs in the latter part of her life and is able to recontruct her personal history and how it paralleled the development of her painting. She participated in numerous group exhibitions from the first in 1935 in Stellenbosch, and held several solo shows, including a major retrospective in 1975.


Hlobo, Nicholas, 1975-

Gevisser, Mark. Nicholas Hlobo: Standard Bank Young Artist Award 2009 / essays by Mark Gevisser, Kopano Ratele and Jen Mergel. Cape Town: Michael Stevenson, 2009. 108pp. illus. (chiefly color), bibl. refs. (p. 107). N7396.H56A4 2009 AFA. OCLC 430812322.

Nicholas Hlobo, “Xhosa son, Eastern Cape homeboy, gay cosmopolitan, artworld rising star,” (page 10) is inspired and motivated by his own ethnic identity and sexuality, but in ways that conceal as much as they reveal. Chosen the Standard Bank Young Artist of 2009, Hlobo has only been exhibiting his installations since 2002. His first solo exhibition was in 2006. He also does performance pieces using installsions. Responses to his art are offered by Mark Gevisser, Kopano Ratele and American curator Jen Mergel.


Hlobo, Nicholas, 1975- Nicholas Hlobo: skulptur, installasjon, performance, tegning = sculpture, installation, performance, drawing. Oslo: Nasjonalmuseet for kunst, arkitektur og design, 2011. 205 pp. illus. (color). Text in Norwegian and English. N7396.H56 A4 2011 AFA. OCLC 719419282.

Nicholas Hlobo’s art is transgressive, empowering, celebratory and performative, yet remains open to engage the viewer. His hand-stitched “drawings” and soft sculptures both literally and figuratively suggest binding together and healing. His work is deeply embedded in Xhosa culture, though the references are not always recognized by viewers. His performance pieces are animated sculptures (“assisting his sculptures to move”), usually done in galleries, not on the street. The catalog essays are by Gavin Jantjes, Kerryn Greenberg, Jan-Erik Lundström. The exhibition was held at the Museet for samtidskunst, 4 March-29 May, 2011.


Hlungwani, Jackson, 1923-

Jekisemi Hlugwani Xagani: an exhibition / curated by Ricky Burnett. Johannesburg: Communication Department, BMW (South Africa), 1989. 64pp. illus. (pt. color). NB1096.H67J47 1989 AFA. OCLC 25395475.

Jackson Hlungwani, the Tsonga visionary, mystic and healer, is a sculptor of enormous creativity and originality. He has been discovered by the art world in South Africa, and his work is sold and exhibited widely. But Hlungwani remains something of a mystery and continues to live and carry on his work and ministries in his rural homeland of Gazankulu, where he built New Jerusalem, an architectural and sculptural complex on an acropolis near his village. Created out of an ancient zimbabwe (ruin), it is an assemblage of carved sticks reaching toward the sky. Hlungwani's sculpture is heavy with Christian themes and icons, but is also very humanistic.

This truly original artist was given a retrospective exhibition in 1989 curated by Ricky Burnett, who in 1985 did the milestone "Tributaries" exhibition. Included in the accompanying catalog are essays by Théo Schneider, Lionel Abrahams, Rayda Becker, Aggrey Klaaste, Peter Rich, and Ricky Burnett.

Exhibition and catalog reviewed by Elizabeth L. Rankin, "Jerusalem in Johannesburg," South African journal of art and architectural history (Pretoria) 1 (2): 75-83, May 1990. Exhibition reviewed by Ivor Powell, "Gazankulu's wounded shaman sculpts his strange temples," Weekly mail (Johannesburg) November 3-9, 1989, page 22; "Towering exhibitions," Sowetan (Soweto) November 27, 1989. See also Wilma Cruise's letter to the editor in De arte (Pretoria) 41, April 1990, page 73.


Hodgins, Robert, 1920-2010

Hodgins, Robert. A lasting impression: the Robert Hodgins print archive / edited by Anthea Buys. Johannesburg: Wits Art Museum, 2012. 284pp. illus. (color), bibliog. (pp. 239-255). NE788.6.S6 H634 2012 AFA. OCLC 854909839.

The artist Robert Hodgins was a provocateur with humor which comes through clearly in two interviews published in this catalog. An excellent conversationalist, Hodgins “was always encyclopaedic, sometimes off-topic, but never boring” (p. 18). That could describe his art as well. His print archive of around 400 unique works is now in the Wits Are Museum collection. This catalog accompanies the exhibition held at Wits Art Museum, February 26-April 2013. Hodgins was a prolific painter as well as printmaker, though this catalog focuses on the latter.


Robert Hodgins. Cape Town: Tafelberg, 2002. 143pp. color illus. ND1096.H63R63 2002 AFA. OCLC 52765911.

Robert Hodgins is a major figure on the South African art scene and has been for half a century. Now in his eighties, he continues to produce canvases with his reputation as an enfant terrible in tact. Interviewed in this volume, he talks about his life (born in England) and career. In extended conversation with artists William Kentridge and Deborah Bell, the three reveal aspects of their collaborations and influences. Artist Kendell Geers, a former student of Hodgins, speculates in an essay “Undiscovered at 82" why a brilliant painter like Hodgins has not achieved the international reputation or commercial success he deserves. This volume is illustrated with a wide range of Hodgins’ artworks, emphasizing his later years.


Van Wyk, Retief, 1963- The ceramic art of Robert Hodgins. Cape Town: Bell-Roberts Pub., 2008. 143pp. illus., plates, bibliog. (p. 139). NK4210.H63A8 2008 AFA. OCLC 192012605.

Roberts Hodgins’ ceramic art is a well-kept secret that this book seeks to reveal. He began doing painted ceramics late in his career (1989) in collaboration with Retief Van Wyk, by which time he was already an established, prolific canvas painter. His ceramics take the form of plates, bowls, vases, tiles and three-dimensional works. This catalog includes essays by Van Wyk and Sean O’Toole. Handsomely illustrated.


Isabel Noronha

Noronha, Isabel. Ngwenya the Crocodile (videorecording). Maputo: Ebano Multimedia (2007). 1 Videodisc (90 min.). Portuguese (subtitles in English and French). Video 001196 AFA. OCLC 793306873.

Ngwenya O Crocodilo, a film by Isabel Noronha, is a biopic of Mozambican artist and poet Malangatana Ngwenya (Ngwenya means crocodile). The film portrays his upbringing in Matalana, a rural village 30 km north of Maputo, and how that upbringing influenced his growth and development to manhood.

The film provides unique insight into Malangatana’s artwork and the evolution of his artistic themes. It highlights some of his subjects, many of which arise out of the rural environment. Family themes run strong, especially rituals and ceremonies surrounding childbirth, rites of passage, and religious service.

We see a re-enactment of scenes of Malangatana’s daughter, Cecilia, playing in his Maputo studio with her playmates, one of whom, Isabel Noronha, became the Mozambican filmmaker who produced this film. This close relationship of the filmmaker to the artist and his family, running in and out of the studio while Malangatana was at work, gives the film a certain additional authenticity. There are scenes showing Malangatana at work, creating art in his studio and on location in various spaces where his artwork was being exhibited. Malagatana talks about art, subjects - such as the crocodile he carved out of a tree trunk - family and community. The scenes from church services give a different perspective on the community, a spiritual flavor of that part of Malangatana’s upbringing.

Malangatana is considered Mozambique’s most prolific artist and was also a prolific poet. He was instrumental is starting several cultural institutions in Mozambique, some of which are featured in the film. He died in northern Portugal in 2011 after a long illness.


jegede, dele, 1945-

Art, parody and politics: dele jegede’s creative activism, Nigeria and the transnational space / edited by Aderonke Adesola Adesanya and Toyin Falola. Trenton, NJ: Africa World Press, 2014. 421pp. illus. (chiefly color), bibl. refs. N7399.NM53 J4433 2014 AFA. OCLC 867999943.

Nigerian artist, art historian and cartoonist, dele jegede is the subject of this volume of tributes, personal recollections and critiques by fellow Nigerians. There is a fair amount of repetition and overlap in these essays, as might be expected. It is a weighty tome (heavy paper stock, soft cover).

Contents: Part A. The context: the intellectual world of dele jegede -- 1. Introduction: the artist, his nation, and his audience / Adérónké Adésolá Adésànyà -- 2. The masquerade in the marketplace: dele jegede's introspections in colors and lines / Toyin Falola -- Part B. "Delelogues": interviews, commentaries and reflections on dele jegede -- 3. dele jegede, a cartoonist's cartoonist: commentaries from Nigerian cartoonists / Adérónké Adésolá Adésànyà -- 4. dele jegede: the artist and educator: a role model and revered mentor / Tolu Filani -- Part C. "Dramatizing creativity": jegede and the parody of the society -- 5. The fun of menace: four voyages around the world of Kole Omole / Tejumola Olaniyan -- 6. dele jegede and the Aworerin paradigm / Yomi Ola -- 7. dele jegede: on flower power and witty distortions of Nigeria's power and system failure / Okechukwu Nwafor -- Part D. The lens between: dele jegede, Nigeria and the transnational space -- 8. A brush with a paradoxically poor, oil-rich nation and other critical dialogues: Nigeria, Africa, and the African diaspora in the "prism-imagination" of délé jégédé / Adérónké Adésolá Adésànyà.

Part E. Intellectual interventions: dele jegede and African art history -- 9. Beyond his studio practice: the African art historian in dele jegede / Oluwole Famule -- 10. dele jegede: portrait of the art historian as an artist / Sylvester Okwunodu Ogbechie -- 11. Curating Africa: dele jegede and the imperative of "art" history / Ugochukwu-Smooth Nzewi -- Part F. Bull's eye: politics, activism and creativity -- 12. dele jegede, artistic strategies and the state / Onoyom Godfrey Ukpong -- 13. Sketching maladies, making meaning: dele jegede's 'scriptorium' and characterization of the Nigerian state / Adérónké Adésolá Adésànyà -- 14. Images of reason: jegede's cartoons in the years of waste / Krydz C. Ikwuemesi -- 15. dele jegede as an objective painterly eye / Olusegun Ajiboye -- Part G. Critical nexus: activism, humanism, and leadership -- 16. A Lagosian original: preliminary notes on the speech of the street / Akin Adesokan -- 17. dele jegede and his enduring legacy at the University of Lagos / Peju Layiwola -- 18. Monumental strides and humoristic vibrations: dele jegede as president, Society of Nigerian artists / Ola Oloidi.

Critiqued by Ogechukwu Ezekwem, Ben Weiss, and Daniel Jean-Jacques, "Art, parody, politics, and the production of Dele Jegede's intellectual space," Critical interventions: journal of African art history and visual culture (Abingdon, Oxon, UK) 9 (1) 2015, pages 59-71.


Kacimi, Mohamed, 1942-2003

Kacimi. Mohammed Kacimi: peintures, pastels, dessins, événements, écrits = paintings, pastels, drawings, events, writings / textes de Mohammed Kacimi, Marie-Odile Briot, Brahim Alaoui, Jean Loup Pivin. Paris: Éditions Revue noire; Casablanca: Éditions Le Fennec, c1996. 192pp. illus. (color). Notes: Published on the occasion of exhibitions held in 1996 at the Maison de la culture de Bourges and the Maison de la culture d'Amiens. "Ecrits de Kacimi": page 191. Text in French and English. N7390.3.K23A4 1996X AFA. OCLC 34952080.

Abstract Expressionist painter Mohammed Kacimi is afraid of neither bold colors nor hugh canvases. Known for his work with both, he is an artist and a poet who conceives his creative work in series, developing and elaborating an idea in multiple ways in word and image -- storytellers, Ouidah, dyers of Marrakech, Sheherazad and the war. One of his more recent projects -- "Cave of future times" -- is a grim series of installations looking at a horrific future filled with the detritus and death of the twentieth century.

Born in Meknes, Morocco, Kacimi developed his love of art on his own inclination long before he entered the art school in Casablanca. He became a true intellectual, writing as much as painting, traveling, absorbing art in Europe and Western Asia, organizing artists and writers in Morocco. His is a restless intellect, always pushing the boundaries, always exploring in the mind and on the ground -- Turkey, Egypt, Sahara, Benin. Always attuned to the world around him with -- the Gulf War or a sunset in the desert.

Kacimi has exhibited widely in Morocco, Europe, and beyond. His whirlwind biography, recounted by Marie-Odile Briot, appropriately ends "The rest of the story has yet to be lived." This retrospective exhibition catalog illustrates more than one hundred of his works and shows photographs of Kacimi at work in his studio.


Kamil, Rafiq, 1944-

Kamil, Rafik el. Rafik el Kamel / text by Zoubeir Lasram. Tunis, Tunisia: Cérès Productions, 1992. 71, 9pp. illus (pt. color). (Collection “Peinture”). Text in French and Arabic. ND1091.3.K36A4 1992 AFA. OCLC 28115384.

The painter Rafik el Kamel belongs to the generation of the 1960s, espousing a spirit of dissent and rebellion. Although his oeuvre does not seem revolutionary, he and his contemporaries moved away from the rigid academicism that grew out of Orientalism. He studied art in Paris and was clearly influenced by the art scene there. Early in his career El Kamel tried abstraction, but reverted to an expressionistic naturalism. Stripped of exoticism and nostalgia of Orientalism, his paintings capture scenes and personages in the Medina, on the streets of Sidi Bou Saïd, and in the cafes. This book is filled mainly with color reproductions of his work and a slight essay by Zoubeir Lasram.


Kamwathi, Peterson

Kamwathi, Peterson. Peterson Kamwathi / edited by Johannes Hossfeld and Ulf Vierke. Nairobi: Goethe-Institut Kenya, 2011. 124pp. illus. (some color). NC366.6.K43 K36 2011 AFA. OCLC 781940005.

Peterson Kamwathi is a Kenyan artist, born in Nairobi in 1980. He produces prints, specializing in woodcuts, as well as drawings in charcoal and other media. Kamwathi focuses on social issues in Kenya, as well African and global problems. This book features an essay by David Kaiza, as well as interviews with the artist by Sam Hopkins and Tom Odhiambo. It also includes comments on artworks by the artist, and concentrates on three main bodies of work – Sheep, Sitting Allowance and Queues, all charcoal on paper and completed between 2006 and 2011. In Sheep Kamwathi made use of an animal which symbolizes both the sacred and the innocent or helpless, qualities which he wanted to make use of to represent the people exposed to modern war. The 2007 elections in Kenya and subsequent murders of hundreds of people led Kamwathi to try to make sense of what had happened in his work. Kamwathi was greatly troubled by the government’s secrecy – its interest in protecting its own wealth and power at any cost. His series Sitting Allowance consists of group portraits of members of the local and international community who witnessed what was happening and who one might think could have had the power to change the outcome in some way. However, each portrait shows figures that are just standing by. In Queues, Kamwathi looks at waiting in line as a kind of oppression, with its absence of choice and limit on each individual’s agency.
Karangwa Omega, Guy, 1952-

Hammerich, Ursula. Guy Karangwa Omega, peintre du temps / Ursula Hammerich, Jean-Jacques Maizaud; photographies de Philippe Merchez. Paris: Sépia, 1998. 63pp. illus. (pt. color), bibl. refs. (p. 61). ND1097.6.R83K37 1998 AFA. OCLC 48038814.

Guy Karangwa Omega is a very simple, straight-forward man, who approaches painting in the same way. Born in Rwanda in 1952, Karangwa is mainly self-taught (though he took a few art courses) and has been painting since the early 1970s. By his own admission, he had not been exposed to much art, since he has not traveled outside the region and since the art scene in Kigali is tiny. His works are “ethnographic” narratives, depicting village scenes, herding cattle, local markets, dances, masks - - a pastoral painter. Like all Rwandans, Karangwa was swept up in the genocide of 1994 and narrowly escaped death. It is not something he talks about now, but he did create one painting, Scène folle, which is his statement on the madness of these atrocities. Karangwa is not a political artist, but this painting is not political; it is a memorial of the war, an African Guernica.


Katarikawe, Jak, 1940-

Agthe, Johanna and Elsbeth Joyce Court. Bilder aus Träumen = Dreaming in pictures. Frankfurt-am-Main: Museum der Weltkulturen, 2001. 152pp. illus. (pt. color). Text in German and English. ND1097.6.U33K19 2001 AFA. OCLC 55845338.

An unsung hero of East African art, Jak Katarikawe received overdue recognition with this catalog accompanying a retrospective exhibition in Frankfurt-am-Main in 2001. Joanna Agthe and Elsbeth Court, who have known Jak for many years, attempt a biography (their phrasing) of this Ugandan painter from his childhood in Kigezi to his days at Makerere University as an irregular trainee to his later years in Nairobi. Although Jak is well known in Nairobi and has had some international exhibitions, the full measure of his accomplishment is a revelation. His paintings always have stories attached that the authors tease out and interweave with his own life story. Jak’s long-horned cows and doe-eyed elephants are his signature painting themes, but as this catalog reveals, his corpus is much wider than that. Mentors have been critically important to the illiterate Jak Katarikawe throughout his career, and their interventions form part of the larger story: Ruth Schaffner (director of Gallery Watatu in Nairobi), David Cook, Sam Ntiro, and Michael Adams, at Makerere, Jochen Schneider, his great patron. Beautifully illustrated, the catalog arranges his paintings by theme: portraits, his homeland, marraige and family, festivals, the bush, sex and prostitution, andimals and folklore.


Kay, Dorothy, 1886-1964

Reynolds, Marjorie. Everything you do is a portrait of yourself: Dorothy Kay: a biography. Roseback, South Africa: A. M. Reynolds, 1989. xiii, 490pp. illus. (pt. color). OCLC22733767.

Dorothy Kay, of Anglo-Irish background, emigrated to South Africa in 1910 to marry Hobart Kay. Already a trained painter, she pursued her career in Port Elizabeth, South Africa, and became well-known for her portraits in oil. She also worked as a professional illustrator for Outspan, and during World War II, she became an accredited war artist for South Africa. Ceramics and printmaking engaged her talents at various times in her long, productive career. This straight-forward biography, written by her sister, is a chronological account which draws heavily on letters and personal recollections. It is not an art historical study.


Keita, Seydou, 1921-2001

Keïta, Seydou, 1921-2001 Seydou Keïta / edited by André Magnin; texts by André Magnin and Youssouf Tata Cissé. 1st Scalo edition. Zurich; New York: Scalo, c1997. 286pp. illus., portraits. Notes: "Contemporary African Art Collection." qTR647.K458K45 1997 AFA. OCLC 37209717.

Bamako-based photographer Seydou Keïta is surprised by his sudden international celebrity. Now in retirement, he shares his trove of photo negatives with André Magnin, who presents 270 of Keïta's photographic portraits in this black and white album. Keïta had a successful photography studio in central Bamako from 1948 to 1962; after that, he became Mali's official photographer. Magnin's interviews with Keïta and his uncle, Tièmòkò Keïta, form the text which sets the scene for the photos. Youssouf Tata Cissé offers postscript on "A short history of Bamako and of the family of the famous photographer Seydou Keïta."

Reviewed by Olu Oguibe in Nka: journal of contemporary African art (Ithaca, NY) no. 8, spring-summer 1998, page 65


Keïta, Seydou, 1921-2001. Seydou Keïta: Galeries nationales du Grand Palais, Paris, 31 mars-11 juillet 2016. Paris: RMN Editions, 2016. 223pp. illus., bibliog. (p. 222-223). Text in French. TR647.K458 2016 AFA. OCLC 946151307.

Malian photographer Seydou Keïta was only fourteen years old when he received his first camera, a Kodak Brownie, and began to teach himself the art of photography, specializing in portraiture. By the time he opened his studio in Bamako, in 1948, he had learned more about technique from a local professional photographer who had been in the colonial army and had himself studied with an illustrious photographer in Paris; and he had moved on to a 13 x 18 format camera. He worked in daylight, made no enlargements, and, to economize, took only one shot. He spent his nights in the darkroom.

The Bamako middle class flocked to his studio—alone and in couples, families, and groups. He supplied props for those (usually men) who wanted them—Western clothing, a watch, a radio, a scooter. Women wore more traditional garments in gorgeous, flamboyant prints—a design element that reappeared in Keïta’s patterned backdrops. His poses were inventive and his results unique. We see Malians during the 1950s, flourishing, elegant, and dignified as their country rushed toward Independence.

Keïta saved his negatives but not original prints. The book’s first section, “Vintage,” reproduces originals found here and there that had managed to survive years of relative neglect. The rest are reproductions of prints made between 1993 and 2001 from Keïta’s negatives and signed by him. They are grouped according to the years in which they were first taken; each of the six sections is introduced by a quotation from the photographer describing how he worked.

The preface, by Sylvie Hubac, and essays by Souleymane Cissé, Jérôme Neutre, Yves Aupetitallot, Robert Storr, and Dan Leers, plus an interview with Ke?ta by Andre Magnin consider the artist’s work in various contexts. The catalogue includes a chronology (pp. 209-211), list of works (pp. 212-217), list of exhibitions (pp. 218-220), and list of public and private collections holding the works (pp. 221-223).


Keita, Souleymane, 1947-2014

Keita, Souleymane. Souleymane Keita. Dakar: Kaani L’image, 2000. 67pp. illus. (color). OCLC 55845324. ND1099.S43K4 2000 AFA.

Souleymane Keita is anchored on Gorée Island, if not always resident there. He chose exile in New York from 1979 to 1985 and has a long career as an international artist. The works featured in this catalog are from the 1990s and include the “hunter’s shirts,” “scarifications” and landscapes series. Keita tried using circular canvasses, then turned away again; his watery seascape images gave way to drier more Sahelian landscape paintings; the palette moves from blue sea to red and yellow laterites. Twenty-four works are illustrated, some with details.
Sankalé, Sylvain. Souleymane Keita: la representation de l'absolu. Paris: Sepia; Dakar: Nouvelles editions africaines du Sénégal, 1994. 59pp. illus. (pt. color), portraits. ND1099.S43K4 1994 AFA. OCLC 33921029.

Souleymane Keita, born on Gorée Island in 1947, returned to Gorée in 1985 to find his roots. After a five-year sojourn in New Youk, which was both stimulating and enervating, the artist needed a change of scene. Back on Gorée, his painting became more abstract, more ethereal, more in touch with his surroundings -- the sea and fishing are common motifs. Keita studied art in Dakar and early in his career did mural commissions. Ceramics is another artistic interest, though his studio on Gorée is too small to allow him to pursue that line.

Interviewed by Sylvain Sankalé, Keita talks about his aspirations, inspirations and passions. The artist at forty-six reflects back on a career that is filled with accomplishment. Keita remains an active artist, dutifully going to his studio everyday. The artist at work ("L'artiste au travail: Souyleman Keita dans son atelier," pp. 55-59) reveals Keita's well-worked out processes of creativity. Several of Keita's paintings are illustrated in color, though mainly recent ones. A list of public and private collections owning work by Keita is appended.

Reviewed by Mark DeLancey in African book publishing record (Oxford) 23 (1) 1997, page 15.


Kentridge, William, 1955-

Cameron, Dan, Carolyn Christov-Bakargiev, and J. M. Coetzee. William Kentridge. London: Phaidon, 1999. 160pp. illus. (color), bibliog. (pp. 158-160). N7396.K45A35 1999X AFA. OCLC 41467273.

William Kentridge’s end of century meteoric passage across the international art stage included a London showing in between those in continental Europe and the United States. The political moment and alignment of stars converged for this Johannesburg artist. A new catalog for London was required, though naturally the Kentridge œuvre is the same. Dan Cameron surveys the career, and Carolyn Christov-Bakargiev interviews the artist. J. M. Coetzee focuses on the animated film The history of the main complaint (1996) and its central character Soho Eckstein.

Kentridge’s own writings, a selection of which are reprinted, offer insight into the thinking and ideas behind the works. One of the hallmarks of Kentridge’s œuvre is the transplantation of foreign characters into the unknown landscapes, mine fields, and vortex of South Africa – Woyzeck, Faustus, and Ubu.


Christov-Bakagiev, Carolyn. William Kentridge. Barcelona: Museu d’Art Contemporani de Barcelona, 1999. 223pp. illus. N7396.K45A413 1999 AFA. OCLC 41406716.


Christov-Bakargiev, Carolyn. William Kentridge. Brussels: Société des expositions du Palais des beaux-arts de Bruxelles, 1998. 191pp. illus. (pt. color). N7396.K45A4 1998X AFA. OCLC 40663486.

William Kentridge’s soaring international reputation following his appearance in Documenta 1997 is built on major retrospectives in Brussels, Munich, Graz, Barcelona and London. The opening venue in Brussels was a show organized by the Société des expositions du Palais des beaux-arts de Bruxelles, curated by Carolyn Christov-Bakargiev. This catalog was published on that occasion. It covers his prints, drawings, animations, and theatrical productions with the Handspring Puppet Company, mainly from 1989 to the present, though his career as an artist began in 1975. Includes biodata and extensive excerpts from writings about the artist.


End of the beginning: William Kentridge: [videorecording]. Parkwood, South Africa: David Krut Publishing, 1999. 1 videocassette. color 1/2 in. VHS-PAL. video 000778 AFA. OCLC 166344410.

Documentary video by Beata Lipman on the artist William Kentridge. In interview, the artist explains the technique of his film making with clips from his movie "Johannesburg 2nd Greatest City after Paris." This video offers an unique insight of the artist's creative process. It includes excerpts from films and the theater work, "Woyzek on the Highveld" (1992) produced with the Handspring Puppet Company; "Felix in Exile," (1994) the artist's 5th animated film in the series.


Kentridge, William, 1955- Flute / edited by Bronwyn Law-Viljoen. Parkwood, South Africa: David Krut, 2007. 207pp. illus. (color), portrait, bibl refs. MT955.K46 2007 AFA. OCLC 173345044.

William Kentridge Flute traces the creative project that began with the 1998 commission to produce The magic flute and culminated in the opera’s dark progeny, Black box/chamber noire. Through Kentridge’s commentary, an interview, essays, gorgeous photographs and reproductions of the artist’s works on paper, William Kentridge Flute documents the relationship between the rambunctious eighteenth-century opera and Black box, the somber masterpiece about the massacre of the Herero people in South West Africa (Namibia) at the beginning of the twentieth century. - - from the publisher’s blurb.


Kentridge, William, 1955- William Kentridge: strade della città (e eltri arazzi) = streets of the city (and other tapestries) / edited by Valentina Balzani. Milano: Electa, 2009. 143pp. illus. (color), maps, bibl. refs. Text in Italian and English. N7396.K45A4 2009c AFA. OCLC 608004130.

Ever versatile and inventive, Kentridge explores antique maps made into tapestries, or overlaid with construction paper and pins, or drawn upon with ink and charcoal. He introduces his “nose” in bronze or on paper, as improbably equestrian, which is prelude to the opera The nose at the Metropolitan Opera in New York in 2010.

Contents: Preface / Lia Rumma --William Kentridge : between utopia and dystopia / Achille Bonito-Oliva --The nose : learning from the absurd / William Kentridge -- Studies on cartography and on original documents, tapestries and sculptures -- Studies on original maps and documents -- Bronze sculptures -- "Every home to me is alien" : Marina Tsvetaeva, Homesickness, 1928 / Angel Tecce -- Textile cartography : notes on the weaving of tapestries / Fabrizio Tramontano -- The projections of the geographer and those of the artist : the background cartography to a new cycle of works by William Kentridge / Fabrizio Tramontano -- William Kentridge in Naples : story of a palimpsest / Maria De Vivo -- William Kentridge, biography.


Kentridge, William, 1955- William Kentridge: Fortuna edited by Lilian Tone. London: Thames & Hudson, 2013. 320pp. illus. (chiefly color), bibliog. (pp. 317–319). N7396.K45 A4 2013 AFA. OCLC 867539653.

This book presents Kentridge’s work from 1989 onwards, looking at the main influences, recurring concerns, and methodology of this artist. It features over 2,000 illustrations—Kentridge’s work along with his commentaries form the body of the book—as well as essays by Lilian Tone and Kate McCrickard. Lilian Tone focuses on Kentridge’s short films since 1989 and on Kentridge’s understanding of ‘fortuna’—the occurrence (or drawing) that is a result of neither pure chance nor pure intention. Kate McCrickard examaines Kentridge’s interest in repurposing the obsolete, and in having the different stages and the staged nature of his work evident to the viewer. Kentridge describes the ‘chaos of excess’ that fills the studio as what gives rise to a coherent work, or body of work. Kentridge also explores the studio as the subject in many of his works and suggests that it is an ‘enlarged head’—a space for thinking and arguing with oneself, where viable ideas can emerge from the struggle and confusion inside.
McCrickard, Kate. / Kate McCrickard. London: Tate Pub., 2012. 117 pp. illus. (some color), bibl. refs. N7396.K45 M33 2012 AFA. OCLC 754717748.

William Kentridge, presented here in the Tate Modern’s Modern artists series, is an excellent compilation of the artist’s creative life and his many projects. Kentridge’s oeuvre is so diverse yet so well integrated. If one is looking for a well written and well illustrated book about Kentridge, try this one.

Contents: To Johannesburg with love? -- Drawings for projection: Johannesburg, 2nd greatest city after Paris, 1989 -- Desperados, no-hopes, drunks and pimps -- Arc/Procession: develop, catch up, even surpass, 1990 -- Seeing and knowing -- Procession, 2000 -- Fortunate failures: the abandoned actor -- Journey to the moon, 2003 -- Self-image, splits and doubles -- I am not me, the horse is not mine, 2008 -- Migrations across a porous studio: that poor, damn rhinoceros again -- The image of the rhinoceros -- A reluctant innovator: Kentridge in context

.

William Kentridge prints. Johannesburg; New York: David Krut Publishing, 2006. 159pp. chiefly illus., bibl. refs. NE788.6.S6K46 2006 AFA. OCLC 65339441.

William Kentridge, printmaker extraordinaire, comments on his technique, the visual effects he tries to achieve, and the print projects he has worked on. In this impressive catalog, 120 of his more than 300 prints are presented chronologically, by series, to show the artist’s evolution from his earliest print in 1976 up to 2005. Susan Stewart, who writes the catalog essay, points out that although Kentridge has mastered many print techniques and experimented with a variety of grounds and papers, his preference is etching. His œuvre resonates with William Hogarth’s 18th-century prints, which inspired him.

Reviewed by Dominic Thorburn in De arte (Pretoria) no. 74, 2006, pages 75-77.


William Kentridge. New York: Museum of Contemporary Art, Chicago; New Museum of Contemporary Art, New York; in association with Harry N. Abrams, 2001. 160pp. illus. (pt. color), port., billiog (pp. 156-158). N7396.K45A4 2001 AFA. OCLC 45920826.

William Kentridge’s successful retrospective exhibition, traveling in Europe in 1998 and 1999 was enlarged and updated for the 2001-2003 engagement in the United States. A new show with a new set of curators, American this time, required a new catalog. The American run and its catalog include recent works from 2000 as well as earlier work from the 1980s, which the European catalog did not cover. Essays by Neal Benezra, Staci Boris, Lynne Cooker, and Ari Sitas provide the context, political and personal, for Kentridge’s remarkable œuvre of drawings, prints, and animation stills. The videos and “projections” can only be presented in the catalog as static but still powerful works. An interview with the artist gives Kentridge a voice to talk about his artistic ideas. The chronology documents not only Kentridge’s C.V. but also the changing political environment of South Africa that so much informs his work.


William Kentridge: (repeat) from the beginning = Da capo. Milano: Charta, 2008. 107pp. illus. (chiefly color), bibl. refs. Text in Italian and English. N7396.K45A4 2008 AFA. OCLC 286492762.

Catalog of an exhibition held at the Teatro La Fenice, Venice, Italy, November 28-December 9, 2008, and at the Palazzetto Tito, Venice, Italy, November 30, 2008-Janiary, 16, 2009.
William Kentridge: drawing the passing [videorecording] / written and directed by Maria Anna Tappeiner, Reinhard Wulf; produced by Westdeutscher Rundfunk. Houghton, South Africa: David Krut, 1999. 1 videocassette (50 minutes). sd., color, 1/2 in. VHS. OCLC 46939277.

Kentridge discusses the creative process of making his animated films, drawings, and theatre work. Shows him in the final stages of animating "Stereoscope" and includes excepts from various projects. In his art work Kentridge investigates the diseased, amnesiac consciousness of late and post-apartheid South Africa.


William Kentridge: five themes / edited by Mark Rosenthal. San Francisco, CA: San Francisco Museum of Modern Art, 2009. 263pp. + DVD. illus. (pt. color). N7396.K45A4 2009 AFA. OCLC 276141621.

The five themes that recur in William Kentridge’s œuvre – Artist in the studio; Soko and Felix; Ubu and the procession; The magic flute; and The nose – are presented in this major retrospective exhibition in San Francisco in 2009. Kentridge’s art work has always had strong theatrical and cinematic roots, and he continues to push the boundaries of animation, film, drawing, printmaking and performance. His storytelling and social commentary are moving out from his South African milieu to more universal concerns for the human condition and the possibilities of creative expression.


William Kentridge: fragile identities / edited by Tom Hickey. Brighton: Faculty of Arts and Architecture, University of Brighton, 2007. 190 pp. illus. (some color), bibl. refs. N7396.K45 W55 2007 AFA. OCLC 311767435.

The University of Brighton Gallery held a William Kentridge Festival in 2007, featuring images from his animated films, filmic installations, and prints. As part of the festival, the Soho Eckstein films were screened. This catalog focuses on the images, accompanied by essays by Tom Hickey, Mick Hartney, Pete Seddon, Mark Abel, Jessic Dubow, and Ruth Rosengarten.


William Kentridge: tapestries / edited by Carlos Basualdo ; with essays by Gabriele Guercio, Okwui Enwezor, and Ivan Vladislavic. Philadelphia: Philadelphia Museum of Art; New Haven, CT: Yale University Press, 2008. 115pp. illus. (chiefly color), bibl.refs. NK3089.8.S62K462 2008 AFA. OCLC 175218485.

This is the catalog of an exhibition at the Philadelphia Museum of Art, December 12, 2007 through April 6, 2008, featuring the tapestries whose cartoons he created. The tapestries were woven by women weavers in Swaziland. Contents: Permanent projections / Carlos Basualdo -- Becoming aware in a world of people on the move / Gabriele Guercio -- (Un)civil engineering : William Kentridge's allegorical landscapes / Okwui Enwezor -- A farm in Eloff Street / Ivan Vladislavic.

Exhibition reviewed by A. M. Weaver in Art South Africa (Cape Town) 6 (4) winter 2008, pages 90-91.


Khadda, Mohammed, 1930-1991

Khadda, Mohammed. Aquarelles de Khadda: Galerie M'Hamed Issiakhem du 6 juin au 4 juillet 1986. Alger: Office Riadh El-Feth, 1986. 62pp. illus. (pt. color), bibl. refs. ND2081.6.Z8K45 1986 AFA. OCLC 34660128.

Mohammed Khadda, the Algerian painter, used Arabic letters to create bold yet delicate abstract watercolors. The calligraphic form is seen through a prism of modern abstraction in colors which span the spectrum. Thirty-three works are illustrated in color. Two short essays by Michel-Georges Bernard and Habib Tengour are included along with a statement by Khadda.
Khaled, Abdallah, 1954-

Segato, Giorgio. Abdallah Khaled / text by Giorgio Segato; [catalog curated by Alberto Buffetti]. Milan: Silvana; [Italy]: Alberto Buffetti arte, 2007. 143pp. illus. (color). Text in Italian and German. ND1088.3.K48 A4 2007 AFA. OCLC 191814332

Algerian painter Abdallah Khaled, born in Kabylia, Algeria, in 1954, is a Modern Expressionist, trained in Algeria and later in Italy. He is also a supreme colorist. Sixty-two color-saturated canvases, dating from 1986 to 2007, feature in this catalog of his exhibition held at the Städtische Galerie, Landshut, Germany, December 13, 2007 to January 13, 2008.


Kofi, Vincent Akwete, 1923-1974

Amegatcher, Gilbert. Vincent Kofi, 1923-1974: a critical biography of an African artist. Masters thesis, Indiana University, 1992. 89 leaves. illus., bibliog. (pp. 84-89). [unpublished]. NB1099.G5K633 1992 AFA. OCLC 28490321.

Sculptor Vincent Kofi stands out as one of Ghana's most prominent artists working in a modern idiom. His life story and his œuvre illustrate some of the complexities of the processes of "Westernization" on African artists in this century. That is the underlying theme of Amegatcher's study: what shaped and inspired Vincent Kofi's sculpture? How did he define himself and his role as artist within a nation emerging from colonialism to independence? What did he see as the "African-ness" in his work?

Kofi studied art in Ghana and later in England and the United States and was familiar with international trends in sculpture. He was also knowledgeable about other world art traditions and was particularly fascinated by monumental sculptures of the South Pacific. To understand how these far-reaching influences were assimilated and integrated into Kofi's own sculpture is the task Amegatcher sets for himself. He examines several of Kofi's wood sculptures including "Sankofa," "Ekua Na Neba," "Mother and Child," and "Awakening Africa." These and others are illustrated.


Koloane, David, 1938-

Tadjo, Véronique. David Koloane / preface by Nadine Gordimer. Johannesburg: David Krut Publishing, 2002. 96pp. illus. (pt. color). (Taxi art books series). Text in English, French and Dutch. N7396.K65T33 2002X AFA. OCLC 51533740.

David Koloane, one of South Africa’s prominent and best known artists, is also a curator, critic and arts administrator. Born in Alexandra township in 1938, he was befriended by Louis Maqhubela, who helped set his path toward art. Koloane studied at Bill Ainslie’s studio in Johannesburg and later participated in Triangle Workshops in New York and from there co-founded Thupelo Art Project in South Africa. Koloane broke precedent of black South African artists with his abstract paintings -- much criticized at the time – but his cityscapes and city dwellers, his dog series, and his most recent assemblages attest to his range and diversity. In this book, which is part of David Krut’s series of monographs on South African artists, Véronique Tadjo, an artist and writer from Côte d’Ivoire, gives a lyrical rendition of the David Koloane story and the turbulent South Africa in which he lives.

Reviewed by Michael Herbst in De arte (Pretoria) 68, September 2003, pages 59-64; reviewed by Ivor Powell in ArtSouthAfrica (Cape Town) 1 (2) summer 2002, page 62.


Konaté, Abdoulaye, 1953-

Abdoulaye Konaté: the world in textile. Berg en Dal: Afrika Museum, 2013. 110pp. illus. (color). Text in English and French. N7399.M33 K662 2013 AFA. OCLC 903291089.

This book was published in conjunction with the exhibition Abdoulaye Konaté: the world in textile at Afrika Museum, Berg en Dal, Netherlands, 2013. It includes essays by Wouter Welling and Joëlle Busca. Welling explores influences on Konaté’s work, from his background in painting and studies in Mali and Cuba, to his adaptation of local materials and traditions in the production of his work. Busca’s essay appears in both the original French, and in English. The translation is difficult to read. Busca explores what she identifies as the three main themes in Konaté’s work – Malian culture, global politics and purely aesthetic concerns.
Koraïchi, Rachid, 1947-

Koraïchi, Rachid, 1947- Koraïchi / interview with Nourredine Saadi. Arles: Actes Sud; Tunis: Cérès, 1998. 237pp. illus. (color), portraits. N7388.3.K67A35 1998X AFA. OCLC 41505345.

Algerian artist Rachid Koraïchi, who now lives in Sidi-Bou-Said, Tunisia, combines the delicate and the monumental in his calligraphic murals and installations. The fluency of signs and symbols in sometime large spaces creates dramatic and poignant works, often making a political statement. Koraïchi studied art in Algiers and Paris, and has had an internationally successful career since 1970. In this extended interview, Koraïchi talks about his life and work, his influences and inspiration.
Koraïchi, Rachid, 1947- Rachid Koraïchi: eternity is the absence of time / edited by Gerard Houghton. Abu Dhabi: Abu Dhabi Museum and Arts Foundation, 2011. 331pp. illus. (color), bibliog. (pp. 31-32). Text in English and Arabic. N7388.3.K67 A4 2011 AFA. OCLC 760887576.

Born in Ain Beida, Algeria, in 1947, Rachid Koraïchi studied art at the Algerian École des beaux-arts, 1967–1971 and 1975–1977; and continued his studies in France at l’École nationale supérieur des art décoratifs de Paris, 1971-1975; and the Institut d'urbanisme at the Académie de Paris, 1973-1975. This richly illustrated catalog covering Koraichi’s works since the 1970s is sponsored by the Abu Dhabi Music and Arts Foundation. His work spans many media—painting, metal, ceramics, leather, and textiles. Koraïchi’s lengthy interview with Gerard Houghton covers the artist’s biography and artistic philosophy. It also makes frequent references to the author’s lineage, its antiquity, nobleness and holiness.


Koraïchi, Rachid, 1947- Rachid Koraïchi: eternity is the absence of time / edited by Gerard Houghton. Abu Dhabi: Abu Dhabi Museum and Arts Foundation, 2011. 331pp. illus. (color), bibliog. (pp. 31-32). Text in English and Arabic. N7388.3.K67A4 2011 AFA. OCLC 760887576.

So, this is a luscious and weighty tome, funded by Abu Dhabi money. Koraïchi has been active since the 1970s and has worked in a variety of media - - printings, works on paper, textile arts, sculpture, and installations. This retrospective catalog covers all these media. Essays by Salah Hassan, Chris Spring, Rose Issa, and others. Interview with the artist is included.


Koraïchi, Rachid, 1947- Rachid Koraichi: le chemin de roses / by Maryline Lostia. Ankara: Institut français d’Ankara, 1999. 96pp. illus. (pt. color). N7388.3.K67A4 1999 AFA. OCLC 55755038.

In 1999 Rachid Koraïchi had a residency in Avanos, Turkey, where he worked on painted ceramics, inspired by the 13th-century intellectual and spiritual leader Ibn Arabi and the poet Rûmî. The circular plates which he created are filled with signs and inscriptions radiating from the center like spokes of a wheel or rays of the sun, blue on white.

For a later collaborative art project that Koraïchi carried out with Belgian artist Marcel Hasquin, see the catalog Rencontre au cœur: Hasquin-Koraïchi (Moratin, France: Abbaye Blache, 2003).


Koraïchi, Rachid, 1947- Rachid Koraïchi: lettres d’argile. Nîmes, France: Edition Corinne Maeght, 1997. 96pp. illus. (color), bibl. refs. (p. 95). N7388.3.K67A4 1997 AFA. OCLC 162515622.

Rachid Koraïchi’s fascination with the flowing forms of Islamic characters and his appreciation of ceramics find perfect marriage in these lettres d’argile, letters on clay. Working with potters in ateliers in Tunisia and France, he creates elegant painted calligraphic designs on jars, urns, round raku plates, and square plates (resembling large magic squares).


Kosrof, Wosene Worke

Kosrof, Wosene Worke. Wordplay: the life of script in paintings and sculptures Addis Ababa: National Museum of Ethiopia, 2010. 76pp. illus. (color), bibliog. (pp. 74-75). ND237.K67A4 2010 AFA.

Wosene, an expatriate artist based in California, returned home in 2010 to Ethiopia for this solo exhibition at the National Museum in Addis Ababa. It was not his first return home to exhibit; that was in 1995. Wosene's reputation at home and abroad is now well established. His work remains firmly rooted in Ethiopian soil, despite his not ago exodus from his homeland. "Wordplay" plays upon the letters of the Amharic script. He has now gone three-dimensional with colorful welded metal sculptural installations in the spirit of concrete poetry. Most of the works in this catalog, however, are his more familiar two-dimensional paintings, mainly painted in the 2000s. The trajectory of his career, roots and branches, is traced in two essay by Mary Nooter Roberts and Allen Roberts and by Christine Mullen Kreamer and Allyson Purpura.


Kosrof, Wosene Worke. Words from spoken to seen: the art of Wosene Worke Kosrof / curated by Allyson Purpura and Bárbaro Martinez-Ruiz. San Jose, CA: Mexican Heritage Corp., 2006. 75pp. illus. (color), bibliog. (pp. 74-75). ND237.K67A4 2006 AFA. OCLC 71791905.

Wosene is best known for his paintings of Amharic characters and "graffitti magic," but his vast repertoire of imagery is hardly limited to scripts and talismans. Trained as an artist at the Fine Arts School in Addis Ababa and at Howard University, Washington, DC, he has become an artist with an international reputation. Surprisingly, this is the first catalog of any substance devoted to his oeuvre. Curators Allyson Purpura and Bárbaro Martinez-Ruiz in separate essays analyze Wosene's imagery, method, technique, and inspiration - - the Ethiopian roots and American, indeed global, overlay. There are 39 color plates and other illustrations. No early works are included; the earliest is 1982. Biodata is included.


Krampe, Fritz, 1913-1966

Strack, Peter. Timeless encounters: Fritz Krampe: a painter's life in Africa, Windhoek, Namibia: Kuiseb Verlag Namibia, 2007. 184pp. illus. (chiefly color). N6888.K724S7713 2007 AFA. OCLC 159824004.

German artist Fritz Krampe retreated to Namibia following the hardships of World War II, where he pursued his painting, eschewing mid-20th century trends and debates in the art world. He was a loner. Although he did not like being called an animal painter, he is best known for his wildlife paintings and drawings. His earliest sketches were made at the Berlin Zoo as a child. Krampe also executed sensitive portraits and occasionally, landscapes. On commission he composed murals and friezes, the best known being the Otjitambi Frieze in Namibia. This catalogue was pieced together 40 years after his untimely death, trampled by an elephant in India in 1966.


Krige, François, 1913-1994

Fox, Justin. The life and art of François Krige. Vlaeburg, South Africa: Fernwood Press, 2000. 144pp. illus. (pt. color), ports. ND1096.K75F68 2000X AFA. OCLC 45661242.

South African painter François Krige (1913-1994) was a reserved man who avoided the limelight and shied away from art exhibition circles. On his death in 1994, he left a studio full of paintings, most never seen. Now his nephew Justin Fox brings to light this remarkable painter and his lifetime of painting. Krige grew up in Stellenbosch and belonged to a prominent Afrikaaner family. He studied art at the Michaelis School of Fine Art in Cape Town. He traveled extensively throughout his life and painted and sketched wherever he went. During World War II he was a war artist in North Africa and the Mediterranean.

Known for his still lifes, Krige also painted portraits, landscapes, wildlife, and scenes of indigenous peoples. Following Fox’s biography, there is an appreciation and appraisal of François Krige’s painting by art historian Stefan Hundt.


Kyambi, Miriam Syowia

Miriam Syowia Kyambi / edited by Franziska Lukas. Nairobi: Goethe-Institut Kenya: Native Intelligence, 2014. 164 pp. illus. (color). Series: Contact zones NRB, 13. N7397.6.K43 M57 2014 AFA. OCLC 910335257.

Mariam Syowia Kyambi, Kenyan artist (German mother, Kenyan father), combines autobiographical elements with historical moments in Kenya’s history into her art. She works in multiple media—installation, performance, sculpture, assemblage, and video. Kyambi is influenced by women artists, such as Ana Mendieta or Louise Bourgeois. It is fair to say, she is a feminist artist. Kyambi completed her art education at the Art Institute of Chicago in 2002 and then launched into a very active career based in Nairobi, but very much an international presence.

Contents: Essays / by Annie E. Coombes -- Works / by Miriam Syowia Kyambi -- Interview / by Nabila Alibhai -- Curatorial work / by 3Collect.


l’Ons, Frederick. 1802-1887

Redgrave, John Joseph and Edna Bradlow. Frederick L’Ons, artist. Cape Town: Maskew Miller, 1958. 74pp., 20p. of plates. illus. (pt. color). ND1096.I57R43 1958 AFA, OCLC 30241967.

Grahamstown, South Africa, in 1834 was a frontier town to which the artist Frederick I’Ons emigrated from England. The Xhosa wars were underway, and it was a period of political turmoil. I’Ons, a quiet and uncontroversial man, was able to eke out a living as artist for the next half century in this rough and tumble frontier. His landscape and scenes are of interest today not as great works of art (which they are not) but as historical documents. His true metier was portraiture, especially of African. Her was more spontaneity and lightness than it his stodgy landscapes and formal portraits of colonials. His œuvre reflects the history of a particular time and place. He established no school of art, left no imitators, but remains an important nineteenth century artist in South Africa. A catalogue raisonné of extant pictures is included (pages 48-72) by painting type and be collections.


Lasekan, Akinola, 1916-1974

Okediji, Moyo. The art of Akinola Lasekan. B. A. thesis, Department of Fine Arts, University of Ife, 1977. [unpublished]. [not available for review].


Wewe, Tola. The theme of nationalism in the art of Akinola Lasekan. B. A. thesis, Department of Fine Arts, University of Ife, 1983. [unpublished]. [not available for review].


Lattier, Christian, 1925-1978

Konaté, Yacouba. Christian Lattier: le sculpteur aux mains nues. Saint-Maur: France: Sépia, 1993. 141pp. illus., bibliog. NB1240.I75 K82 1993 AFA. OCLC 32524206.

Christian Lattier was a profoundly original sculptor who knew both success and torments in his life. Trained in France, where he discovered both his African roots and his distinctive medium: rope sculpture, Lattier returned to Côte d'Ivoire in 1962 in the euphoric wake of independence, but his prickly character and cantankerous genius put him at odds with the Ivoirien art establishment. Although he won the grand prize at the 1966 Dakar Festival and had exhibited in Europe, North America and Brazil, his career at home, especially during the final decade of his life, was marked by personality conflicts, battles with the school authorities where he taught (Institut National des Arts), and struggles against his own mortality. A smoldering, explosive temperament was masked by the image of a pipe-smoking professor and the whimsey of his car painted rose color.

Lattier's corpus embraces a remarkable diversity of subjects and themes. "Panthère," the larger-than-life crouching rope panther, one of his most powerful sculptures, won the Chenavard Prize in France in 1954, yet was turned down by three museums including IFAN. Lattier was bitter. "Panthère" seems far removed in spirit and intention from the emaciated "Christ" or his series of graceful, non-fearsome masks. He was not above slightly scatological humor, as in the work "Interdit d'uriner," which was a commentary on Abidjan. Nineteen of Lattier's sculptures are today in the Musée National de Côte d'Ivoire in Abidjan (see inventory, pp. 129-138).


Laubser, Maggie, 1886-1973

Ballot, Muller. Maggie Laubser: 'n venster op Altyd lig. Stellenbosch: SUNMedia, 2015. xii, 368 pp. illus. (color), bibliog. (p. 349-362). Text in Afrikaans. ND1096.L38 B35 2015 AFA. OCLC 939914758.

South African painter Maggie Laubser (Magdalena Maria Laubser) was born into a middle class Afrikaners family. After initial attempts at art—through which she came to know Cape Town artists—she traveled to Europe at age 27. She spent eleven years—minus one year when she was back in South Africa (1922-1924)—immersing herself in art and painting portraits and landscapes. After resettling in South Africa in the 1930s, she became focused on the world around her and began painting local people—Blacks and Coloreds—scenes of work, and animals. Ducks, geese, and other birds are her signature images. She joined the avant-garde New Group. Laubser was sometimes compared to Irma Stern, and they did have things in common—women of substance (literally and figuratively), never married, extensive experience in Europe, influenced by European Expressionism, and known for their portraits of Black South Africans.


Marais, Dalene. Maggie Laubser: her paintings, drawings and graphics. First edition. Johannesburg: Perskor, 1994. 420pp. illus., bibliog. (pp. 409-420). ND1076.L38A4 1994X AFA. OCLC 32778926.

Maggie Laubser was a painter all her life. She had the means and financial wherewithal that allowed her to devote her life to art. As a young woman, she spent many years in Europe painting and traveling. She studied at the Slade School of Art in London (1914-1919) but was more influenced by German Expressionism and Van Gogh than the formal academic art served up at the Slade. Her forte was landscape and portraiture. She painted from nature and was drawn to rural settings. This love of the outdoors and outdoor subjects (she was noted for her ducks and geese paintings) was rooted in her childhood on a South African farm. Her unique sense of reality was not always well received in South African art circles, but eventually she and her work became established and accepted.

The catalogue raisonné documents almost eighteen hundred of Laubser's paintings and drawings, arranged by period and theme. A detailed chronology and biographical essay of Laubser's life provide the context for her œuvre.


Legae, Ezrom, 1937-1999

Buntman, Barbara. Ezrom Legae 1976-1986. B.A. dissertation, Faculty of Arts, University of the Witwatersrand, 1987. 2 volumes (49 leaves, [17] leaves). illus., bibliog. [unpublished]. mfc 1759n AFA. OCLC 27203801.

Buntman looks at the social and ideological context of Ezrom Legae's paintings and sculptures in the decade of 1976 to 1986. The increasing turmoil in South Africa and, in particular, in the townships, is sharply reflected in Legae's work. Legae has always regarded himself as a township-based artist. Among the most visceral of his paintings is the "Chicken series."


Lewis, Dylan, 1964-

Lewis, Dylan, 1964- Dylan Lewis: an untamed force / photographs by Gerda Genis. Cape Town, Struik Nature, 2015. 224 pages. illus. (chiefly color). NB1096.L495 A4 2015 AFA. OCLC 947817532.

Dylan Lewis is a sculptor who lives in Stellenbosch, South Africa. He often works is metal—bronze and steel—creating dramatic figures. His early work depicted animals from the area surrounding his home, primarily wild cats—cheetahs, leopards, and lions—in a variety of motions, stalking and pursuing prey. Later he broadened his repertoire to include other animals, like birds, antelopes and buffaloes. His more recent work incorporates humans into animal scenes—“the human interface with the wild”—and occasionally focuses exclusively on human subjects. The present volume showcases this latest trend, accompanied by his own preliminary sketches, photographs by Gerda Genis and literary quotations.

Lewis is well-known as a wildlife sculptor in South Africa and beyond. His sculptures can be found throughout South Africa in botanical gardens, on golf courses, and in the foyers of sophisticated buildings. His work has been exhibited in the U.K., Europe and the U.S.


Lewis, Dylan. Forces of nature: the sculpture of Dylan Lewis. Cape Town, South Africa: Pardus, 2006. xiii, 189, xxxiii pages. illus. (color). NB1096.L495A4 2006 AFA. OCLC 180696180.

Dylan Lewis’ bronze and clay sculptures of felines are “forces of nature,” untamed, sinewy, muscular, contorted, writhing, fragmentary. So, too, his figurative sculptures of humans, the female form, capture the body in motion, stretching, leaning, bending. Always in motion. This catalog features a wide range of these human-animals sculptures.


Lilanga, George, 1934-2005

George Lilanga / Enrico Mascelloni and Sarenco. Milan: Skira, 2005. 143pp. illus. (color). (African collection, 1). Text in Italian and English. N7397.6.T33L552 2005 AFA. OCLC 65497799.

George Lilanga, Makonde artist, switched from sculpting to painting - - a betrayal, according to some of his fellow artists, to the Makonde sculpture tradition. But Lilanga was unfazed. Painting offered him more scope and flexibility and resulted in prolific output. His paintings pop with Makonde-style shetani figures crowded into every corner of the surface. Disabled by diabetes, Lilanga remained active until his death in 2005. In the later years, he reverted to sculpting the same grotesque shetani figures but coloring them in high-gloss paints. Lilanga exhibited extensively in Tanzania and abroad, including several high profile exhibitions.

Enrico Mascelloni and Sarenco, friends and patrons of the artist, put together this catalog, which includes a conversation with Lilanga about his life and inspirations. The works illustrated are mainly from 1997 to the present, including the high-gloss sculptures. There is also a series of ink on goat-skin paintings dating to 1975. So this is not a complete representation of his long career.


George Lilanga: colori d’Africa: opera scelte, 1971-2005 = George Lilanga: colours of Africa: selected works, 1971-2005 / curated by Cesare Pippi. San Sisto, Perugia, Italy: Effe, 2007. 148pp. illus. (color), bibliog. (pp. 145-146). Text in Italian and English. N7397.6.T33 L552 2007 AFA. OCLC 232002605.

Italians seem to have an affinity for the exuberant, cartoonish work of George Lilanga. Many of his patrons are Italian—followed by the Japanese. Works from several private Italian collections contribute to this retrospective exhibition of his entire career 1971 to his death in 2005. Initially apprenticed as a sculptor in rural southern Tanzania, Lilanga moved to Dar es Salaam in 1971 where he came under the influence of the Tingatinga painters. He switched to painting and transferred his shetani figures to two-dimensional formats. Instead of one or two figures, his canvasses are populated with lots of big-eared, large-mouth, two-fingered creatures.

His oeuvre was more varied than might imagined in that he executed batiks, etchings, ink drawings, goatskin paintings as well as the square board acrylic paintings typical of the Tingatinga painters. Late in life, he reverted to sculpting shetani figures, but they were updated in imagery and bright colors.


Lilanga, George. George Lilanga: rangi ya maisha = Farben des Lebens - colours of life / edited, conception, text and research by Hamburg Mawingu Collection (HMC), Peter-Andreas Kamphausen. Hamburg, Germany: Hamburg Mawingu Collection, 2005. 146pp. illus. (color). Text in German and English. N7397.6.T33L552 2005b AFA. OCLC 123958027.

The Hamburg Mawingu Collection (HMC) focuses exclusively on Makonde art. All the major and many of the minor Makonde artists are represented. George Lilanga, who is perhaps the most prominent of these, assisted his German patrons in documenting their collection of his works. This catalog (which the author refers to as a "work directory") was not complete at the time Lilanga died in 2005, but some of his trenchant observations and explanations of his work are included. The catalog comprises mainly his later Makonde-style figurative sculptures, painted in bright, high-gloss colors. The human figures that populate his paintings -- with their large ears, open mouths, three-toed feet -- now appear in 3-D. Traditional wrappers and loincloths are replaced by modern garb. Lilanga never lost his sharp observant eye, even as his health failed. These sculptures plus a few paintings are arranged thematically -- the world of spirits, school and education, sports, sickness and health, etc.

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Loko, El, 1950-

El Loko: Spuren: das malerische Werk 1984-2004 / edited by Joachim Melchers. Wuppertal, Germany: Peter Hammer, 2004. 119pp. illus. (pt. color), bibl. refs. ND1099.T63L653 2004 AFA. OCLC 61029340.

Togolese artist El Loko ends this retrospective exhibition covering 1984 to 2004 with a disturbing series of works entitled “Gotteskinder” (God’s children), which depict mayhem, violence, beating, and strangulations. So different from his more serene “Kosmische Lettern” (cosmic letters) series of a decade earlier. And all this is a long way from textile design, which was El Loko’s starting point in the arts, back in Accra in the late 1960s. He came to Germany in 1971 to study textile design and had the good fortune to work with Joseph Beuys, which led him in a wholly new direction. He has remained in Germany ever since. Today El Loko works in several media - - painting, printmaking, mixed media, sculpture, installations, and even performance art. This catalog includes essays by Ralf Kulschewskij, Tobias Wendl, Helga Gausling and others. Sixty-five color plates.


Lopes, Bertina, 1924-2012

Bertina Lopes: [exposição] Conseiho Executivo, República de Moçambique, 5-30 julho 1994. Maputo: Ministério dos Negócops Extrangeiros, Ministério da Cultura e Juventude, 1994. 71pp. illus. ND1097.6.M63L67 1994 AFA. OCLC 39540611.

This exhibition catalog is a tribute to Mozambican artist Bertina Lopes rather than a critical study of her work. She has lived most of her adult life outside of Mozambique, in Portugal and Italy, apart from nine years in the 1950s when she taught art in Maputo. But the artist retains ties to her natal country and in 1994 was invited for this exhibition on the occasion of Mozambique’s 19th Independence anniversary.
Bertina Lopes: dipinti e sculture 1861-2000: una radice antica / curated by Enrico Crispoiti. Milan: Silvana, 2002. 95pp. illus. (color). ND1097.6.M63L672 2002 AFA. OCLC 49791044.

Mozambican artist Bertina Lopes, based for many years in Rome, retains a strong spiritual link to her country of birth. Her first solo exhibition was in Maputo in 1958, and she has pursued an active artistic career ever since. Her work displays a deep African sensibility with saturated colors and bold compositions of mask-like figures and geometric forms. Best known as a painter, Lopes also sculpts in metal. Biodata is included.
Bertina Lopes: I Colori della Pace / curated by Claudio Crescentini and Massimo Domenicucci. Rome: Palombi, 2012. 92pp. illus. (some color), bibliog. (pp. 83–91). Text in Italian and Portuguese. N7397.6.M63 L672 2012 AFA. OCLC 819377526.

This catalogue was published for an exhibition of Bertina Lopes’ work held at the Auditorium Parco della Musica in Rome. The exhibition was held on the occasion of the twentieth anniversary of the signing of the General Peace Accord in Mozambique, where Lopes was born and raised. The catalogue is illustrated in color and includes tributes and short essays on Lopes and her work. Also included is a biography of the artist.
Bertina Lopes: tracciati e percorsi 1998-1958. Orvieto: Palazzo dei Sette, 1998. 75pp. illus. (color). ND1097.6.M63L673 1998 AFA. OCLC 55028739.

For Bertina Lopes, the road out of Mozambique, her land of birth (Portuguese father, Mozambican mother), is also the way home; fundamentally, she has never left. Although living overseas for many years, she is drawn back again and again through her work. This catalog of an exhibition held at Palazzo dei Sette, Orvieto, Italy, December 1998 to January 1999, retrospectively moves backward in time from 1998 to her artistic debut in 1958. Most of the paintings illustrated here are from her own collection.
Crescentini, Claudio. Bertina Lopes: tutto (o quasi). Roma: Palombi editore, 2013. 223pp. illus. (some color), bibl. refs. Text in Italian; biography in English & Portuguese. ND1097.6.M63 L6733 2013 AFA. OCLC 880518327.

Bertina Lopes (1924-2012) was a transnational artist—before we popularized that moniker. Born in Mozambique, lived in Lisbon and Rome, returned to Mozambique, she retained her spiritual connections to the land of her birth. Her art throughout her long life reflects her African roots in themes, aesthetics, and color. This biography published in the year after her death includes many archival photographs of family and friends well as tributes by those who knew her. Images of her art are all black-&-white.


Expressão artística entre duas civilizações. Lisboa: Fundação Calouste Gulbenkian, 1993. [83]pp. illus. (pt. color). ND1097.6.M6L86 1993 AFA. OCLC 30387608.

A retrospective of thirty years of Bertina Lopes' painting marks a successful career for this Mozambican woman, who has lived most of her adult life in Italy. Her African roots are evident in the vivid color, rich texture and dramatic forms of her painting; her painting style is abstract. Twenty-eight paintings are reproduced in color plus a series of bronzes executed in 1979. Tributes and short essays about the life and work of Bertina Lopes are contributed to this catalog by Simonetta Lux, Enrico Crispoldi, Nello Ponente, and Dario Micacchi.
Luck-Akinwale, Theresa, 1934-

Luck-Akinwale, Theresa. Theresa Luck-Akinwale (portrait artist): fine art exhibition : portraits of distinguished personalities. Lagos, Nigeria: National Gallery of Art, 2000. 60pp. illus. (pt. color). NC367.6.N53L832 2000X AFA. OCLC 48517442.

Theresa Luck-Akinwale trained as an artist at Camberwell School of Arts and Crafts and at the City and Guilds of London Art School in the late 1950s and early 1960s. Most of her career she has been an art teachers and had not exhibited widely. Best know for her realistic portraits of Nigerian dignitaries and, interestingly, of several prominent Nigerian artists, those are the focus of this 2000 exhibition. In 1984 she became a born-again evangelical with an active ministry. And that has provided her motivation for her recent religious work and Biblical illustrations.
Mabasa, Noria, 1938-

Noria Mabasa / edited by Karen Press; text by Kathryn Straughan and Rayda Becker. Johannesburg: David Krut Publishing, 2003. 95pp. color illus. (Taxi art books series). Includes educational supplement by Wilhelm van Rensburg. NB1096.M32N67 2003 AFA. OCLC 53099372.

Noria Mabasa is a self-taught, dream-inspired artist from the Venda region of northern South Africa. Her art-making grew out of her dreams and visions and continues to be engendered by them. Her clay figurines were first noticed in the mid 1970s and sold successfully. She advanced from clay modeling to wood carving, an unconventional medium for a woman in Venda tradition. This marked an important shift in the iconography and scale of her work. Her work is deeply rooted in Venda culture and ritual. She has contributed significantly to Venda Village, a recreated village site populated with her figures of people and animals. Mabasa now receives commissions for large public sculptures in prominent urban sites in Pretoria, Johannesburg, and elsewhere. Her work is also in demand on the art gallery circuit and in museum collections. Her rise to fame has coincided with the opening up of South Africa, and she has successfully negotiated the vagaries and competitions of the art market. However, given the naive character of her work, she may now find herself “re-classified” as a visionary, intuitive artist not quite of international standard.

Reviewed by Anitra Nettleton in De Arte (Pretoria) no. 69, 2004, pages 100-103.


Mahdaoui, Nja, 1937-

Mahdaoui, Nja. Nja Mahdaoui / text by Edouard J. Maunick. 2nd edition. Tunis, Tunisia: Cérès Productions, 1990. 82, 14pp. illus (color). (Collection “Peinture”). Text in French and Arabic. N7391.3.M34A4 1990 AFA. OCLC 61324364.

Nja Mahdaoui (also spelling Naja Mahdawi) does not paint, he writes. So says the artist, characterizing his work. Indeed Arabic calligraphy fills his paintings and graphics; the strokes can be delicate or bold, stark or dense, but always expressive. Born in 1937 in Tunis, Mahdaoui studied graphic arts in Rome and has traveled and exhibited widely in Europe. This book is chiefly illustrated with a slight essay by Edouard J. Maunick, serving as an introduction to the artist and his work.


Mahdaoui, Nja. Nja Mahdaoui: Jafr. The Alchemy of Signs / edited by Molka Mahdaoui. Milan: Skira, 2015. 405pp. illus. (mainly color), bibl. refs. Text in English and Arabic. N7391.3.M34 A4 2015 AFA. OCLC 904591488.

An extensive detailed look at Mahdaoui’s work, from his early experiments with photomontage to his later calligraphic work including inscribed drums, tapestries and sculpture. The book, edited by the artist’s daughter, Molka Mahdaoui, explores the development of Mahdaoui’s work, in which from early on in his career Arabic calligraphy was the main point of departure. Calligraphy was suggested to Mahdaoui and he began to explore and refine this discipline in his work, finding in it a way of connecting with the culture he was born into, without being limited or inhibited, since he was working as an independent artist and was free to experiment with the rich tradition informing his work.

The book is divided into three main sections, ‘Early Works’, ‘Calligrams’ and ‘Graphemes’. The section on early works includes Mahdaoui’s extremely detailed ink drawings on paper, use of found objects, oil paintings and photomontages. This section charts the move in Mahdaoui’s work from more representational images towards explorations of pure color and line, and the use of gestural and calligraphic marks. Also included in this section are essays on Mahdaoui’s work by Moncef Badday, Barbara Arnhold, Michel Tapié de Céleyran and Martina Cagnati. The ‘Calligrams’ section includes Mahdaoui’s screenprints and tapestries, as well as the bodies of work Calligrams on parchment and Calligrams on papyrus. Charbel Dagher writes on Mahdaoui’s calligraphy, looking at what aspects of the tradition Mahdaoui makes use of, and what he discards or distorts. ‘Graphemes’ focuses on these works in colored ink and gold on canvas and paper, and includes interviews with the artist by Normand Biron and Myrna Ayad.


Mahlangu, Esther, 1935-

Esther Mahlangu 80: UCT Irma Stern Museum / Richard B. Woodward . . . [and seven others]. Richmond, VA: Virginia Museum of Fine Arts, 2015. 61 pp. illus. (color) portraits, bibl. refs. ND1099.M34 E78 2015 AFA. OCLC 946874915

Esther Mahlangu put Ndebele murals on the global map. Known for her colorful geometric paintings, her murals belong to a traditional genre in Ndebeleland in northern South Africa. She was already well known in her homeland when her work was selected to be in Magiciens de la Terre in Paris in 1989. Two years later, she painted a car as part of the BMW Art Car Project. Now her designs are on pots, sneakers, canvases to hang in your living room, and other artifacts. This excellent book published by the Virginia Museum of Fine Art celebrates her commissioned murals inside the VMFA and her 80th birthday. Postscript—In 2018 Mahlangu was awarded an honorary degree at the University of Johannesburg.
Malangatana Valente Ngwenya, 1936-2011

Malangatana Valente Mgwenya / edited by Júlio Navarro; translated from the Portuguese by Harriet C. McGuire, Zita C. Nunes and William P. Rougle. Dar es Salaam: Mkuki na Nyota Publishers, 2003. 223pp. illus. (pt. color). N7397.6.M63M35213 AFA. OCLC 53923871.

Malangatana is Mozambique’s best known artist. He began making art in the late 1950s without benefit of formal training, but with the encouragement and patronage of a few foreigners, notably Amâncio “Pancho” Guedes. Guedes offers recollections of those early years in Maputo, which is valuable since he himself is a critical player in this history. Malangatana’s painting style and narrative compositions seem to have sprung full blown into a distinctive artistic vision. Even his early works show a maturity and confidence that might take others years to achieve. Thematically, too, Malangatana has a lot to say. His paintings narrate social and political themes (e.g. forced labor, prisons), morality tales (e.g., forbidden sex, sin), folk tales, horrific phantasmagoria (e.g., bleeding, dismemberment, suffering), and Biblical homilies. His lines are bold; his colors primary: red, blue, yellow. Malangatana has also executed murals and outdoor sculpture. This catalogue raisonné covers works from 1959 to 1998 with most coming from the artist’s own vast collection.

Reviewed by Joyce Youmans in Journal of museum ethnography (Wantage, Oxon) 17, 2005, pages 280-282; by Ashiedu P. Ogboli in Borno Museum Society newsletter (Maiduguri: Borno Museum Society) nos. 60 and 51, July-December 2004, pages 66-70.


Malangatana Valente Mgwenya / organização Júlio Navarro. Maputo, Mozambique: Ndjira, 1998. 223pp. illus. N7397.6.M63M352 1998 AFA. OCLC 45825001.

This is the original Portuguese language edition of this monograph, which was subsequently translated into English. See Malangatana Valente Mgwenya (2003).


Malangatana Valente Ngwenya: pintura, desenho, gravura, cerâmica / textos, Frederico Pereira, Manuel Vicente, Margit Niederhuber-Jäkel, António Melo, Victor Sala. Lisboa: Instituto Superior de Psicologia Aplicada, 2004. 171 pages illus. (some color), portrait. N7397.6.M63 M352 2004 AFA. OCLC 995855051.

This was Malangatana’s last major exhibition in Lisbon—seven years before his death. The catalog is arranged by four media: paintings, drawings, prints, and his less well known ceramics. The works are presented chronologically so one can traced the evolution of his creations from the 1960s onward. There is also a brief section on conservation of his paintings, showing before and after treatments. Five short essays—really tributes to the master—introduce the catalog.


Malangatana Valente Ngwenya; [exhibition held in Lisbon, October-November 1989] / text by Amâncio Guedes, Júlio Navarro, Marco Vannotti, and Linda Nhlongo. Lisbon: Secretaria de Estado da Cultura com a apoio de Embaixada de Moçambique em Portugal e da Sociedade Nacional de Belas Artes, 1989. 1 volume (various pagings). illus. (pt. color). N7397.6.M6M23ma 1989 AFA. OCLC 22227269.

Three years after his fiftieth anniversary exhibition in 1986 in Maputo, Malangatana was honored with an even grander retrospective in Lisbon. The summation of thirty active years as artist, this showing featured 246 paintings and drawings done from 1959 to 1989. In the several essays in the catalog, Malangatana's artistic career is set within his own personal history. Recognition came early to this self-taught painter, who received encouragement from Amancio "Pancho" Guedes (who writes one of the essays in this volume). His distinctive style of painting has undergone few experimental shifts; the early works no less than the late ones are quickly recognized as Malangatana's. This catalog includes biographical chronology, a list of past exhibitions, and numerous photographs of Malangatana.
Malangatana, 1936-2011. Malangatana: de Matalana a Matalana / organização e produção Ministério dos Negócios Estrangeiros, Instituto Camões. Lisboa: Instituto Camões, Praça marquês de Pombal, 1999. 113pp. illus. (color). ND1097.6.M63M352 1999 AFA. OCLC 48793577.

Malangatana’s ancestral roots are in Matalana, and it is to Matalana he returns now as an older man of the world. His Centro Cultural de Matalana is a dream fulfilled, a giving back, and a tribute to those roots. In this catalog the theme of coming full circle (“de Mataland a Matalana”) circumscribes the artistic life of the artist. The early years are documented with some fascinating photographs of Malangatana and his young family in the 1960s. The paintings and drawings in the catalog are mainly from the 1990s.


Malinda, Ato, 1981-

Ato Malinda. Nairobi, Kenya: Goethe-Institut Kenya, 2011. 128pp. illus. (color), bibl. refs. (Contact Zones NRB, volume 4). Text in English and French. NX588.9K44 M352 2011 AFA. OCLC 784448853.

Ato Malinda, born in Kenya in 1981 and raised in the Netherlands, returned to Kenya as a teenager before traveling to the U.S. for undergraduate work in art history and molecular biology. She completed an MFA at the Transart Institute in New York. She lives and works in Nairobi.

This volume demonstrates Malinda’s performance-based approach to investigating colonial history, gender, memory and power, based on her residences abroad in Cameroun, Curacao, and Kenya, and informed by postcolonial and postmodern theory. Photographs of her performance work are accompanied by essays. Content: Homeless /by Nancy Hoffmann -- Ato Malinda, the water sprite / by Didier Schaub -- A real imaginary / by Simon Njami -- Identity nudity / by Nathalie Mba Bikoro -- The performative nature of built space / by Ato Malinda -- A Black man's view, a white man's taboo / by Ato Malinda -- Politics of art and the art of politics / by Ato Malinda.

Her work as a performance artist, a relatively unknown art discipline in East Africa, consists of performance, drawing, painting, installation, video, and ceramic object-making, photographs of which make up this volume. Malinda aims her efforts at making performance art more accepted in East Africa. She seeks to dispel the notion of a stereotypical unitary African identity, focusing instead on identity issues, female, racial, and cultural and on issues of gender, female sexuality, and LGBTQ identity. She has also examined ideas of “africanity,” the hybrid nature of African identity, and contesting notions of authenticity.

Malinda was a Smithsonian Artist Research Fellow (2015) and was in residence at the National Museum of African Art. She was a 2016 honoree of the Museum’s first African Art Award Dinner. Ato Malinda has exhibited in numerous countries in Africa, Europe and the Caribbean.


Mancoba, Ernest, 1904-2002

Drawings & paintings from the studio: Ernest Mancoba. Cape Town: Michael Stevenson, 2014. Catalogue (Michael Stevenson Gallery)), no. 75). 63pp. chiefly illus. (color). N7396.M3 A4 2014 AFA. OCLC 879250080.

Ernest Mancoba was interviewed in March 2002 at the end of his life—he died later that year—by Hans Ulrich Olbrist. It is included in this catalog along with a series of photographs of the artist at his advanced age. An essay by Rasheed Araeen “Modernity, mlodernism and Afruica’s authentic voice” is reprinted in this catalog—originally published in Third text (London) 24 (2) March 2010. The art on offer in this exhibition are works on paper, using ink, oil, and oil pastel, or a combination thereof. They date from the 1960s to the 1990s.


In the name of all humanity: the African spiritual expression of E. Mancoba / curator and editor of catalogue, Bridget Thompson. Cape Town: Art and Ubuntu Trust, 2006. 123 pp. illus. (some color), bibl. refs. (pp. 119-121).

During an interview with Bridget Thompson, Ernest Mancoba revealed the inspiration behind the retrospective In the Name of All Humanity: The African Spiritual Expression of Ernest Mancoba. When Thompson asked Mancoba if his paintings mourned for his people, he quickly responded “Yes, but Bridget, never forget that my people are the people of the whole world.”

Leaving South Africa in 1938, Mancoba did not return home for another 56 years. During his time abroad he became a true citizen of the world, marrying a Dannish woman, finding himself in a Nazi internment camp, and attending university with a diverse group of artists from across the globe. His experiences led him to hold dear a proverb his mother had once told him “umuntu ngumuntu ngabanye abantu,” meaning “a person is a person by and because of the other person.” His work showcases his deep interest in the connection among humans and reintroducing community into the modern space.

This catalogue of "In the Name of All Humanity: The African Spiritual Expression of Ernest Mancoba," features a number of essays including a funeral oration from his son, Wonga Mancoba, and more, exploring the life and art of Ernest Mancoba’s non-Western aesthetic and his global social capacity. This retrospective exhibition of Mancoba's work was held at the Gold of Africa Museum, Cape Town, June 26-September 30, 2006.

Reviewed by Lize van Robbroeck in Third text (London) 22 (6) November 2008, pages 796-798.


Miles, Elza. Lifeline out of Africa: the art of Ernest Mancoba. Cape Town and Johannesburg: Human and Rousseau, 1994. 95pp. illus. (pt. color), bibliog. (pp. 74-75).

South African artist Ernest Mancoba has been rescued from undeserved obscurity by Elza Miles. An exile from South Africa since 1938, Mancoba achieved modest success and recognition as an artist in Paris and in Kattinge, Denmark, where he lived with his Danish wife and fellow artist Sonja Ferlov. Although they met in Paris before the Second World War, they were not married until 1942 during Mancoba's internment by the Germans. As artists, Mancoba and Ferlov influenced each other and they often worked together. Their remarkable collaboration lasted until her death in 1984.

Mancoba's most intriguing claim to fame was his membership in the well-known but short-lived (1948-1951) Cobra movement in northern Europe, the antithesis of the École de Paris. The influences on Mancoba's work are many and varied, but notable among them is African sculpture, medieval church murals, Charlie Chaplin, and, of course, his South African background. His earliest art education was at Grace Dieu mission in Pietersburg; he later earned a bachelor's degree from University of Fort Hare and, still later, in France, he studied at the École Nationale Supérieure des Arts Décoratifs de Paris. Although he began as a sculptor doing naturalistic pieces in wood, many with Christian themes, Mancoba gradually shifted to painting and drawing and became more concerned with shape and form. His work of the last four decades has become increasingly abstract.

Miles only recently discovered Mancoba's art and quite by accident. But her curiosity and indeed tenacity in pursuing this elusive subject led to the present volume Lifeline out of Africa: the art of Ernest Mancoba. She unearthed considerable information in unpublished sources, in obscure published ones, and from interviews about Mancoba's early life and art training in South Africa; she later carried out further research in France and Denmark. She tries to set his accomplishments within the context of the times, both in pre-war South Africa and post-war Europe. Miles interviewed Mancoba, who still lives in Paris, and his son, and has incorporated their perspectives and recollections into the story. Although this perhaps qualified as an authorized biography, Miles has not written a hagiography. Her account of Mancoba is unpretentious, sincere and carefully assembled. It is both biographical and art historical, although, of course, the two are interwoven. She has chosen a chronological framework as the most logical one within which to discuss Mancoba's development and his œuvre. Miles is herself an art historian and an artist (a printmaker), so she brings to this study both an historian's analysis and an artist's eye.

Miles is careful to point out gaps in the historical record, and she makes no claim to have written the definitive book on Mancoba, yet her thoroughness in gathering sources and in presenting almost a complete catalogue raisonné of his work suggest that her book will stand as one of the most solid, comprehensive studies of any black South African artist for a long time to come and as a model for future studies. The bibliographic apparatus and cross-referencing of text and images are meticulous. She provides translations into English of quotations from Danish sources. The quality of photographs is excellent; many are reproduced in color. Also included are photographs of Mancoba at various periods in his life.

Miles' scholarship deserves high marks for thoroughness of research, clear, unpretentious writing, and perceptive artistic analysis. Within the modest goals she set for herself -- "to provide a homecoming for this artist who left South Africa in 1938 and to introduce his work to a wider audience in his own country" (preface) -- she succeeds, even exceeds, admirably.


Maqhubela, Louis Khela, 1939-

Martin, Marilyn. A vigil of departure: Louis Khehla Maqhubela: a retrospective 1960-2010. Johannesburg: Standard Bank of South Africa, 2010. 107 pp. illus. (chiefly color), portraits, bibl. refs. (p. 107). ND1096.M37 A4 2010 AFA. OCLC 680223790.

Louis Maqhubela left South Africa in 1973, following a successful launching of his career at home. But politically he found the apartheid environment untenable. He moved to Spain and later settled in London, though his work continued to be shown in South African intermittently. His artistic roots go back to the Polly Street Art Centre and “township art.” The oils and drawings he created were largely figurative, but with greater exposure to Western art, Maqhubela’s work became increasingly abstract and personal. The catalog of his work, presented here chronologically, reveals this evolution. In addition to painting and drawing Maqhubela also did a series of mosaics in the 1960s and a series of etchings in the 1980s.

Contents: Louis Khehla Maqhubela: a vigil of departure / Marilyn Martin -- A journey: as artists and friends / David Koloane -- An appreciation / John McLean -- Catalogue of works -- Biography -- Exhibitions -- Public and corporate collections.

Reviewed by Emile Maurice in De arte (Pretoria) 83, 2011, pages 87-90.


Martinez, Denis, 1941-

Saadi, Nourredine. Denis Martinez, peintre algérien. Alger: Barzakh; Manosque: Bec en l’air, 2003. 134 pages, [39] pages of plates. illus. (some color). N7388.3.M37 A35 AFA. OCLC 53374296.

Born in western Algeria to Spanish parents, Denis Martinez studied art in Algeria and in France and became one of the founders of the artistic movement Ouchem (tattoo)—a movement inspired by Algerian traditional culture and its aesthetic expressions. It derives its theme and motifs from the beliefs of Tuareg, Amazigh, and Arabs, their hopes, aspirations, and superstitions. To this North African cultural heritage, Martinez adds another dimension deriving from his Andalusian roots in Spain and its background in Phoenician and Mediterranean civilization that tie the Iberian and North African worlds.

Many of the exchanges shed light on the artist’s philosophy in general, and the meaning of some of his works, as well as his music. The conversation goes into the artist’s relationships with other artists and intellectuals, such as the Algerian poet Jean Senac, his protests against torture and repression, threats to his life during the civil war, and his exile to France during that war. Numerous paintings illustrate the book.


Martins, Helen Elizabeth, 1897-1976

Emslie, Anne. A journey throught he Owl House. Johannesburg: Penguin Books, 1997. xii, 148pp. illus. N7396.M37E48 1997 AFA. OCLC 40074303.

A journey through the Owl House is Emslie’s second book on Helen Martins (see next entry). More than two decades after Martins’ suicide, her Owl House is being preserved and her life re-examined. Here one is taken on a virtual tour of Martin’s unique and idiosyncratic house and yard, room by room, indoors and out. Martins began this long project after her parents’ deaths when she inherited the turn-of-the-century Karoo cottage. Her partner (and lover) in the enterprise was Johannes Hattingh, a married man with family. It was he who constructed the first cement animals and built much of the early Owl House bestiary. After he died in 1963, Martins continued creating, modifying and re-arranging her menageries inspired by some inner life of imagination. She did this with the help of Hattingh’s old helpers, Piet van der Merwe and Jonas Adams. Koos Malgas joined in as a new hand and was with her until the end.


Emslie, Anne. The Owl House / photographs by Roy Zetisky. New York: Viking, 1991. 102pp. illus. (pt. color), bibl. refs. NK2089.8.S64M38 1991 AFA. OCLC 27196756.

Helen Martins, owner of the Owl House, lived an isolated life in the Karoo village of Nieu Bethesda until her suicide in 1976 at the age of seventy-eight. A cage of cement owls on the front veranda stands guard at the house and behind a high fence is a sculpture garden "peopled with a surging throng of pilgrims, ecstatic figures in acrobatic poses, elegant wide-skirted ladies and a bevy of alluring mermaids. A multitude of beasts and birds are all crammed together." Helen Martins visualized it all, while Koos Malgas, Piet van der Merwe, Jonas Adams and other temporary workers actually made and built the images.

Related articles include: "Moon lady of the Owl House: the strange legacy that Helen Martins left to a sleepy Cape dorp," People (South Africa) 16 (2) August 17-30 [1991?], pages 2-3; Madelein Van Biljon, "The Owl House: Karoo vision made form," South African arts calender = Suid-Afrikaanse kunskalender (Pretoria: South African Association of Arts) 16 (2) 1991, pages 16-17. There is also a brochure about Martins and The Owl House: Helen Elizabeth Martins, 1898-1976. [Nieu Bethesda, South Africa: The Owl House, 1991].


Ross, Sue Imrie. This is my world: the life of Helen Martins, creator of the Owl House. Cape Town: Oxford University Press, 1997. 271pp. illus. (color) , plan, bibliog. (pp. 266-268). N7396.M37R67 1997X AFA. OCLC 39515853.

Helen Martins’ creativity falls within that dubious category of “outsider art.” In 1976 at the age of 78, she committed suicide by taking caustic soda, ending her life in the same house where she was born in South Africa’s remote Karoo. In the last thirty years of her increasingly darkening world, she and three helpers created The Owl House and Camel Yard, propelled by her inner visions and personal demons. Liberated by the deaths of her aged, invalid and difficult parents whom she cared for for sixteen years, she turned increasingly inward and lived as a recluse in her natal village of Nieu Bethesda, obsessed with creating “her world.”

Martins redecorated her plain flat-roofed Karoo cottage with bits of crushed glass embedded in the walls and with panes of colored glass admitting eery, oppressive light. Clutter, bric-a-brac, trinkets, and mirrors are everywhere. Ceilings are painted with sun bursts and other designs. Sculpted owls in unexpected places give the name The Owl House. Outside, the Camel Yard is populated by dozens of cement sculptures in a chaotic display of no discernable pattern or theme. Camels and owls abound, of course, but also Mona Lisas, lambs, peacocks, pyramids and mermaids. There are wise men on camels in a caravan making a pilgrimage to the Christ child or to Mecca, all facing east. (Athol Fugard’s play “The Road to Mecca” is based on the life of Helen Martins).

In this well-researched biography, Ross seeks to find meaning in the life and work of this unconventional woman. She looks back at family life, her two marriages, abortions, and other factors that shaped Helen Martins. She looks at the subjects and symbols in Helen Martins’ bestiary and celestial sculpture garden and attempts some psychological interpretation. She provides context with comparisons to other “outsider” South African artists, including Noria Mabasa, Jackson Hlungwani, Sibusiso Mbhele and Nukian Mabusa.


Mason, Judith, 1938-2016

Mason, Judith. Judith Mason: a prospect of icons: a retrospective exhibition of the works of Judith Mason in commemoration of the artist’s 70th birthday: paintings, drawings, assemblage, installation, artist’s books, artist’s essays. Johannesburg: Standard Bank of South Africa, 2008. 138 pp. illus. (chiefly color), portraits, bibl. refs. (p. 124). N7396.M3755 A4 2008 AFA. OCLC 317248208.

Judith Mason (1938-2016) has been making art for more than 50 years. The path she has taken is individual and separate from her contemporaries. She was a master of drawing, as her haunting images reveal. She remained active internationally during the isolation years of apartheid, including representing South African at the 1966 Venice Biennale.

Religious imagery and literary allusions pervade her work, but she also reflects her political and social conscience. One section of this catalog shows her self-portraits; another, her artist’s books. This catalog includes an interview with Mason and several of her earlier essays, so we hear the artist’s voice explaining her work and the thought processes that go with it. There are essays by curator Wilhelm van Rensburg and Lorraine Chaskalson. The exhibition was held at the Standard Bank Gallery, Johannesburg and the Sasol Art Museum, University of Stellenbosch, October 2008-March 2009.


Mautloa, Kagiso Pat, 1952-

Kagiso Pat Mautloa / edited by Bettina Schultz ; text by Andries Oliphant. Johannesburg: David Krut Publishing, 2003. 93pp. illus. (color), bibliog. (p. 70). Text in English, French, and Afrikaans. (Taxi art books series). N7396.M38A4 2003 AFA. OCLC 54111007.

Kagiso Pat Mautloa is a thoroughly urban person, well attuned to the cityscapes of Johannesburg. He walks daily from his home in Alexandra township across town through shifting neighborhoods to his Fordsburg studio at the Bag Factory. The urban environment with all its clutter, dislocation, noise and motion is the wellspring from which his creativity emerges. His assemblages and installations incorporate the detritus of urban life and speak to the city spaces and the inhabitants who occupy these mean streets.

Mautloa studied art at the E. L. C. Fine Art School, Rorke’s Drift, the Jubilee Centre and the Mofolo Art Centre. He worked under Dan Rakgoathe and David Koloane. Since 1993 he has worked as an independent artist and participated in numerous exhibitions and workshops. His earlier works were prints and painting, and he occasionally returns to these media.

Reviewed by Wilma Cruise in De Arte (Pretoria) 70, September 2004, pages 65-67; by Thembinkosi Goniwe in Art South Africa (Cape Town) 2 (4) winter 2004, pages 88-89.


Mbatha, Azaria, 1941-

Mbatha, Azaria. Azaria Mbatha retrospective exhibition catalogue. Durban: Durban Art Gallery, 1998. 132pp. illus. , bibl. refs. NE768.6.S6M372 1999X AFA. OCLC 45466464.

Printmaker Azaria Mbatha has lived most of his adult life in Sweden far away from his KwaZulu homeland. Yet his œuvre has changed little from the early work of the 1960s. Known primarily for linocuts, Mbatha studied with Peder Gowenius at Ceza Mission Hospital and later at Rorke’s Drift E. L. C. Art and Craft Centre in the early 1960s and later taught there (1967-1968). He moved to Sweden in 1969 and has taken advanced degrees, studying other art forms, but always returning to the linocut.

The choice of Biblical themes, so typical of Mbatha’s work, has been minimized or ignored by art historians seeking to draw out the “African-ness” of this artist. This played well with the preferred narrative of artist-in-exile from apartheid South Africa. But it is now time to revisit this reading of Mbatha. The 1998 retrospective exhibition held in Durban and curated by Jill Addleson sets out precisely to do this. Essays by Mbatha and ten others form the text. More than one hundred prints are illustrated. Several are analyzed in depth thematically and iconographically.


Mbatha, Azaria. Im Herzen des Tigers: südafrikanische Bilder = In the heart of tiger: art of South Africa / text by Werner Eichel. Wuppertal: Verlag der Vereinigten Evangelischen Mission, 1986. 72pp. illus. Text in German and English. NE1336.M386A4 1986X AFA. OCLC 18981343.

Azaria Mbatha, a Zulu artist, conveys not only a sensibility for the suffering, isolation and endurance of people in his native South Africa, but also the hope that these conditions, which are universal to the human experience, will be seen as only one part, not the entirety of life. His work is imbued with poignancy, which evokes a cultural past that needs to be recovered and reclaimed. The all-powerful tiger -- the symbol Mbatha choses -- has within its heart the capacity to be redeemed. Other symbols and imagery from Zulu life and from Christianity recur in the thirty-six works reproduced here, which Mbatha carefully explains.


Mbatha, Azaria. Within loving memory of the century: an autobiography. Scottsville, South Africa: University of KwaZulu-Natal Press, 2005. xxv, 369pp. illus., bibliog. N7396.M29A2 2005 AFA. OCLC 57750448.

Azaria Mbatha chose a path of exile in Sweden, but even after 40 years the umbilical cord that ties him to his native South Africa remains strong. His Zulu heritage is central to his identity and to his work. So, too, is his Christianity. Born in 1941 into a Christian home, Mbatha first took up art in Ceza Mission Hospital, where he was a patient and soon after became part of the now renowned E.L.C. Art and Craft Center at Rorke’s Drift - - which he pointedly prefers to call by its indigenous name, Sandlwane. His early linocuts are infused with this autobiography and with Christian themes in the narrative Zulu tradition. Although he uses these prints to illustrate this book, he does not directly discuss his work, interestingly enough.

Mbatha’s is an unconventional autobiography, replete with tales of his ancestors, historical narratives of South Africa’s painful history, memories of childhood and life in exile. Being an exile, of course, frames his life story and becomes the prism and sounding-board through which he sees and hears his homeland. It is a stream of consciousness, non-linear presentation. The thread of his story that deals with his art is hard to pick out, scattered as it is in snippets here and there.

Mbatha’s retrospective take on the experience at Sandlwane is ambivalent. He certainly values the time he spent there and the friendships with other students and the mission teachers during the difficult apartheid period. (Mbatha does not refer to blacks and whites, but adopts a different color code: the blacks are the Blues, and the whites are the Greens). What he resents about Rorke’s Drift (Sandlwane) is that the Greens get all the credit for what they did there for the Blues, not with them. It was never an equal relationship. The Greens, he claims, used Sandlwane as an example of their “beneficent intervention,” and this rankles. Why the experiment ultimately failed, he doesn’t fully understand (see especially pages 300-310).

Reviewed by Julie L. McGee in African arts (Los Angeles) 39 (3) autumn 2006, pages 10, 90-91, 96; by Michael Chapman in Art South Africa (Cape Town) 4 (2) summer 2005, pages 86-87; by Laura Wright in African studies review (New Brunswick, NJ) 49 (3) December 2006, pages 49-57.


Mbella, Francis, 1961-

Mbella, Francis, 1961- “Menus propos sur l’œuvre peinte.” Ivry-sur-Seine, France: Merlot, 1988. 72pp. illus. (color). ND1099.C33M34 1988 AFA. OCLC 44465690.

This little dossier on Cameroonian painter Francis Mbella gathers past reviews, mini-essays, and self-reflections. Born in Duala in 1961, Mbella moved to Paris to study art, where he developed his personal painting style as a rich and textual colorist. His “Reflect de la couleur” elucidates his philosophy toward painting. Around a dozen of his paintings are reproduced in color.


Mbella, Francis, 1961- The reflections of colour: paintings by--Francis Mbella, 1978-1988 / translated in English by Charles B. McClay; painting commentaries, Sylvie Vergara. Livry-Gargan: Editions CIP, 1988. 172pp. illus. (color). ND1099.C33M4313 1988b AFA. OCLC 518036512.

The paintings of Francis Mbella featured in this volume are mixed media—tapioca, gouache, acrylic, felt-tip pen – and their subject matter is the Cameroon, his native country, and Paris, his adopted country. He experiments with color (earth tones) and form. Also includes testimonials by critics, journalists and well-wishers.


Mbella, Francis, 1961- Treatise on aesthetics: paintings by Francis Mbella: tapioca and coloured inks techniques, 1987-1997. Paris: Menaïbuc-Dila, 1998. 214pp. illus. (color). ND1099.C33M34813 1998 AFA. OCLC 45009678.

This is a revised, expanded and translated version of Mbella’s 1988 publication Short statements on my painting. In it Mbella expatiates on art, aesthetics and creativity. Not until page 100 does he talk about his own work and technique and intent. Writing on Mbella by others, previously published, are also included. Illustrated throughout with his paintings from 1987 to 1999.


McGregor, Sandra, 1928-

Fleischer, Dolores. Sandra McGregor: ‘onse artist’ in District Sis. Noordhoek, South Africa: Print Matters, 2010. 214 pp. illus. (chiefly color). N7396.M45 F54 2010 AFA. OCLC 680269636.

Sandra McGregor is not a household name among South African artists, but she was an accomplished, if conventional, portrait painter. Her upbringing in South Africa and her art training in Europe were ones of privilege. Until she returned to South African age 34, she had been financially supported by her family and emotionally dependent on them. Now she was on her own, setting up in Cape Town, where she embarked on her most significant body of work: painting District Six and its people—portraits, street scenes, buildings. She became a familiar figure in blue jeans on the streets and byways of District Six, making friends with “skollies” (local gangsters) and others. She was usually surrounded by children who watched her paint and draw.

McGregor assisted in this book project, which entailed locating many of these paintings whose whereabouts were unknown. McGregor, never practical about money, often gave away paintings or sold them for tuppence. Her life is laid bare in this very personal story, written by her old school mate Dolores Fleischer. The artist adds personal comments on individual paintings. What is remarkable are the names and details she offers—each painting its own story.


Mehretu, Julie, 1970-

Allen, Siemon. Julie Mehretu: city sitings / Siemon Allen, Rebecca R. Hart, and Kinsey Katchka. Detroit: Detroit Institute of Arts, 2007. 88 pp. illus. (color), bibliog. (pp. 86-88). ND237.M4165 A4 2007 AFA. OCLC 140103915.

Ethiopian-American artist Julie Mehretu has achieved name recognition in art circles. Her distinctive map-like, layered landscapes of geography are replete with motion, swirls, and turbulence. Born in 1970 in Addis Ababa, she earned a MFA at the Rhode Island School of Design in 1997 and by 2007 was living in New York. Her works are owned by an impressive list of international art museums. Essays by Siemon Allen, Rebecca R. Hart, and Kinsey Katchka discuss the works in this exhibition, which date mainly from 2006-2007.


Mesli, Choukri, 1931-

Liassine, Françoise. Choukri Mesli. Alger: Enag Éditions, 2002. 264 pp. illus. (some color), bibliog. (p. 257-258). ND1088.3.M47 L53 2002 AFA. OCLC 62868714.

Born in 1931 in Tlemcen, Algeria, Choukri Mesli lives in Algiers where he studied at l’Ecole des beaux arts. The artist’s life, his studies, and his artistic development are revealed against the colonial background of his homeland. His many works are cataloged in this book. Mesli comments insightfully on his numerous paintings of women--and how he responds to feminist criticism. Mesli also includes a fairly long commentary and reflections on the artistic movement Ouchem (tattoo), which he and other Algerian artists founded in the 1960s. Biodata included.


Meyer, John, 1942-

Hilton-Barber, Brett. John Meyer. Cape Town: Prime Origins, 2003. 160pp. illus. (color). ND1096.M44 2003A AFA. OCLC 54759637.

John Meyer, one of South Africa’s premier landscape painters, grew up in the Highveld with its beautiful mountains and fields and streams. He started his career as an illustrator before moving seriously to painting, specializing in realistic, elegant landscapes. He also did commissioned portraits, which were very successful commercially and artistically. He was commissioned to do a portrait of Vladimir Horowitz, which is on permanent view in Steinway Hall in New York. His representational style of landscape painting is rooted in European and American representational style, though his subject matter is South African. Being a realist painter is out of favor in international art circles today, yet his works still find avid collectors at home and overseas. John Meyer is a survivor, as artist and as cancer patient. In this attractive catalog, more than one hundred of his paintings are reproduced, along with essays that elucidate his life and work.


Mgudlandlu, Gladys Nomfanekiso, 1917-1979

Miles, Elza. Nomfanekiso who paints at night: the art of Gladys Mgudlandlu. Vlaeburg, South Africa: Fernwood Press in association with Johannesburg Art Gallery, 2002. 95pp. illus. (pt. color)., bibliog. (pp. 91-93). ND1096.M48M55 2002 AFA. OCLC 52458646.

Gladys Mgudlandlu was an art teacher who also had a remarkably successful career as a painter, despite the severe limitations of being black in South Africa under apartheid. Primarily self-taught -- her grandmother showed her mural painting in the Fingo tradition -- Mgudlandlu developed an expressionistic, naive style of painting using broad strokes and bold colors. She began exhibiting her work in the early 1960s and received wide press coverage which was unusual for a black woman at that time. Her work was much in demand, perhaps because of its naive style (like Grandma Moses to whom she was compared). Landscapes, cityscapes, Xhosa traditional life, animals, especially birds, are her common subject matter. Her personal life was less glamorous, always something of a struggle, living in a cottage in Guguletu township outside of Cape Town. Because she had to teach during the day, she painted at night always by paraffin lamp, which she preferred to electric light -- hence, her nickname Nomfanekiso, “she who paints at night.” Following a car accident in 1971, she stopped painting and died in poverty in 1979.

Reviewed by Marion Arnold in De Arte (Pretoria) no. 69, 2004, pages 104-106.


Mntambo, Nandipha

Mntambo, Nandipha. Nandipha Mntambo: Standard Bank Young Artist Award 2011 / texts by Ruth Simbao and David Elliott. Cape Town: Stevenson, 2011. 120pp. illus. (color). N7396.M56 A4 2011 AFA. OCLC 761963310.

This book features work which toured South Africa when Mntambo was named young artist of the year by Standard Bank in 2011. It includes an interview with Mntambo by Ruth Simbao, a piece by David Elliott, and full-page color illustrations of the work. Simbao’s interview focuses on spectacle and how the artist explores the idea. They begin with a discussion of bull-fighting, which was the subject of Mntambo’s Praça de Touros series and informed other works as well. Praça de Touros documents a performance by Mntambo in an empty, disused bull-fighting arena in Mozambique. Mntambo dressed in a traditional bull-fighter’s costume and a cowhide, becoming the bull-fighter, the bull and the audience. Mntambo takes apart and reconfigures the traditional spectacle, with a sense of it all already being over—the crowd has left, decades ago maybe, and the skin is all that’s left of the bull.

They also discuss ‘Africanicity’ as spectacle and the expectation that African art will above all be about Africa. Mntambo describes her interest in shaking off more narrow classifications of her subject matter, and searching for more open-ended interpretations. Simbao and Mntambo discuss the artist’s interest in playing with oppositions which society sometimes treats as fixed, such as masculine/feminine and human/animal. David Elliot looks at how Mntambo expresses the divided self and how the self as represented in her work never forms a coherent, settled form but continues to question and argue. Elliott also discusses Mntambo’s use of cowhide as her main medium, looking at its connections to death and ritual, and its significance across many cultures.


Mnyele, Thami, 1948-1985

Thami Mnyele + MEDU Art Ensemble : Johannesburg Art gallery / edited by Clive Kellner and Sergio-Albio González. Sunnyside, South Africa: Jacana, 2009. 216pp. illus. (some color). DT1963.M59 2009 AFA. OCLC 501159351.

Artist and activist Thami Mnyele was killed in Botswana in a raid by the South African Defense Force in June 1985. He had been deeply embedded in the South African resistance and was a central figure in the MEDU Art Ensemble, established in exile in Gaborone by Wally Serote. This book and the accompanying exhibition recover and reconstruct the life and times of Thami Mnyele and MEDU through private archival sources, through those who knew him or were collaborators in MEDU. This is also a story of cultural resistance, through political art and graphics and drama and music and poetry. The culmination was the 1982 Culture and Resistance Symposium and Festival of the Arts, held in Gaborone, which is the subject of one chapter in this book. The first chapter focuses on Mnyele himself and his art, and the second, on the work and programs and personalities of MEDU Art Ensemble. A final chapter documents the horrific raid of June 14, 1985, and the aftermath. Mnyele was not the sole victim of that attack, but his death bestowed a martyr status. Poignant period photographs, archival documents as well as art work from the 1970s and 1980s fill any important gap in the history of 20th century South African art.

Critiqued by Pamela Allara in De arte (Pretoria) 82, 2010, pp. 83-88; reviewed by Vusumzi Vusi Melane in Mail and Guardian Friday (Johannesburg) August 12-18, 2016, pages 1,3.


Wylie, Diana. Art + revolution: the life and death of Thami Mnyele, South African artist. Charlottesville: University of Virginia Press, 2008. 258pp. illus. (pt. color), bibliog. (pp. 253-256). N7396.M57W95 2008 AFA. OCLC 184906137.

Thami Mnyele’s life as an artist is inextricably tied up with the anti-apartheid struggles. He was shaped by the struggle. In fact, he lost his life as a victim, killed by the South African police in a raid while living in exile in Botswana. Diana Wylie, who knew Mnyele during the last five years of his life, reconstructs his story amid the fragmented sources, fading memories, and posthumous mythologizing.

An uneasy childhood in Alexandra, Johannesburg, and a coming of age without prospects, Mnyele’s world was overshadowed by the increasingly repressive South African government. He aspired to be an artist but lacked training and opportunities. He was befriended by writer and poet Mongane Wally Serote and gradually began to meet like-minded people who supported and encouraged him in various ways. He studied briefly at Rorke’s Drift, but eventually went into exile in Gaborone, Botswana, in 1979. There Mnyele became part of MEDU Art Ensemble where he could put his artistic talent to use toward the cause, making posters and drawings and teaching art. Exile offered little comfort and less security, as he was drawn deeper into militant ANC politics. The end for Mnyele and eleven others came in a burst of gunfire in June 1985 in the notorious Gaborone Raid.

This book is not an art history but rather the story of an artist and activist and the turbulent decades in which he lived. It does, however, reproduce many of Mnyele’s drawings and posters.


Moataz, Nasr, 1961-

Moataz, Nasr, 1961- Moataz, Nasr: the journey of the griffin / edited by Ilaria Mariotti. Pistoia: Gli ori, 2014. 215pp. illus. (chiefly color). Text English and Italian. N7385.N37 A4 AFA. OCLC 905853001.

The journey of the griffin illustrates Moataz’s creativity and artistic philosophy. The title refers to a griffin featured in an exhibition at Villa Pacchiani Centro Espositivo in 2013. It is a reproduction of a bronze griffin that sat on the top of the town church since the 12th century until it was removed and replaced by a cement reproduction. Showing his ability to reach across cultural divides and to tap into local imaginary, Moataz used leather to construct a copy of the griffin, including its elaborate designs and Arabic calligraphy. Like the migrant workers at the local leather factory, the original griffin is an object of art that came from another time and from a different place, but is still capable of inspiring and giving universal meaning to a changing world. The richness and beauty of the griffin speaks to the depth and power of Moataz’s creativity and the sensibilities that shaped it, especially Sufism, an influence he received from his uncle.

Moataz brings his highly refined aesthetics to the multi-media he uses (installation, video performances, calligraphy, and porcelain), not only to please the viewers, but also to engage their awareness of oppression and injustice around the world.

Born in Alexandria, Egypt, in 1961, Moataz studied art in Old Cairo and become known locally. His work Ear of mud another of dough (2001) launched his artistic success. He made his entry in the international art scene in 2001 after winning the Grand Prix of the International Cairo Biennial, followed by receiving the Biennale Prize at Dak’art in Senegal.


Mofokeng, Santu, 1956-

Mofokeng, Santu, 1956- Chasing shadows: Santu Mofokeng: thiry years of photographic essays / edited by Corinne Diserens. Munich: Prestel, 2011. 239pp. illus. (pt. color), bibl. refs. TR820.5.M652 2011 AFA. OCLC 711052612.

Photographer Santu Mofokeng rode the rising tide of South African photography from the 1980s onward. He was not so much a documenter of the struggle but of the lives and landscapes behind it. This retrospective of his journeys through South Africa and beyond, told with his photographs and his written words, reveal not only his seriousness and earnestness, but also his humor. A long extended interview with Mofokeng allows us to hear his voice, which outshines the commentators writing about him.


Mofokeng, Santu. Santu Mofokeng. Johannesburg: David Krut Publishing, 2001. 96pp. illus. Text in English and French. (Taxi art books series). TR820.5.M65 2001X AFA. OCLC 49635524

Santu Mofokeng’s personal reminiscences on coming up the hard way and an essay on Mofokeng by Sam Raditlhalo accompany more than ninety of the photographer’s black-and-white images of South Africans and South African city/landscapes. Born in 1956, Santu began his photo career as a street photographer in Soweto and in the 1980s began to pursue photography in earnest. Today he is one South Africa’s foremost documentary photographers. Biodata is included.


Mpané, Aimé, 1968-

Mpané, Aimé, 1968- Aimé Mpané: J’ai oblié de rêver = I forgot to dream / commoissaires, Valérie Formery, Aimé Mpané; textes, Eddy Devolder, Roger-Pierre Turine. Belgique: Musée Ianchelevici, 2017. 79pp. illus. (color). Text in French and English. ND1099.C63 M73 2017 AFA. OCLC 1004425440.

The Musée Ianchelevici, in Belgium, invited Aimé Mpané to exhibit his views of “social and political reality” on the Democratic Republic of the Congo and beyond. Through sculptures, installations and performance, Mpané addresses Congolese/African history, tragedy, trauma, and survival. Among his themes are Ota Benga—the Pygmy who was put into a human zoo—the slave trade, and colonial atrocities in the Belgian Congo. Eddy Devolder describes each of these historical themes. Roger-Pierre Turine discusses the motivations and symbolism and how “the artist links the past with the present.”


Mthethwa, Zwelethu, 1960-

Mthethwa, Zwelethu, 1960- Zwelethu Mthethwa / interview by Isolde Brielmaier; essay by Okwui Enwezor. New York: Aperture, 2010. 119pp. illus. (color), bibl. refs. (p. 118-119). TR680.M843 2010 AFA. OCLC 326569636.

p>This catalog is published in conjunction with an exhibition of Zwelethu Mthethwa’s photographs at Jack Shainman’s, New York gallery. Featured are several of his color photographic series: interior series 1995-2005; empty beds 2002; sugar cane 2003; brick workers 20008; contemporary gladiators 2008; gold miners 2006; quartz miners 2007-2008; common ground 2008 featuring peopleless, abandoned, ruined homes and interiors. In an interview with Isolde Brielmaier, Mthethwa speaks about the evolution and progressions of his photographic series and his move from shooting people in interiors to workers and outside spaces. In the main catalog essay, Okwui Enwezor explores Mthethwa’s conscious choice of color fine arts photography over black-and-white photo-journalism.


Zwelethu Mthethwa: sacred homes–Mother and child / curated by Maria Grazia Tolomeo and Teresa Macri. Turin, Italy: Marco Noire Editore, 2000. 80pp. illus. (pt. color), ports. TR680.M74 2000 AFA. OCLC 49694357.

The photographic series of South African photographer/artist Zwelethu Mthethwa featured in this Italian exhibition focuses on themes of mother and child, sacred homes and rebirth. All the photographs date from 1999-2000 and are in color, vivid, bright color. These shots of peoples inside their homes, on their own terrain, posed as they chose to present themselves, is an avenue that Mthethwa has been exploring for several years. The visual results reconstruct “an area of South Africa that is cut off from globalization” but has cultural integrity of its own.


Muafangejo, John Ndevasia, 1943-1987

Levinson, Orde. The African dream: visions of love and sorrow: the art of John Muafangejo. London: Thames and Hudson, 1992. 120pp. illus., bibliog. NE1336.M83L66 1992 AFA. OCLC 26998734.

Orde Levinson has cornered the market on the work of the late John Muafangejo. He is a veritable cottage industry on the subject. An unusual choice of subject, however, for a big art publisher like Thames and Hudson, not given to publishing monographs on African artists. Perhaps a benefactor subsidized this book. Whatever the case, The African dream is a neat, economical (at $14.95) introduction to the life and work of John Muafangejo, who was an engaging, guileless artist with a deep current of Christianity and humanity running through his work. Best known for his woodcuts and linocuts in the style and tradition of Rorke's Drift Fine Art School, Muafangejo had an undeniable originality and sincerity. The African dream reproduces 124 of his black-and-white prints. For true Muafangejo aficionados, the deluxe edition I was lonleyness is the real thing. See I was lonelyness (1992)

Reviewed by Brenda Danilowitz in African arts (Los Angeles) 29 (2) spring 1996, pages 94-96.


Lilienthal, Adelheid. John Ndevasia Muafangejo (1943-1987): etchings, woodcuts, and linocuts from the collection of the Arts Association Heritage Trust. Winhoek, Namibia: Arts Association Heritage Trust, 2010. 124pp. illus. NE1336.M83A4 2010 AFA. OCLC 651014963.

John Muafangejo is arguably Namibia's most famous artist. So it is appropriate that the Arts Association Heritage Trust (AAHT) of Namibia should have a collection of his prints, which are being officially transferred to the National Art Gallery of Namibia. This catalog showcases the AAHT collection of Muafangejo's prints, primarily linocuts, but also etchings. The four chapters address his life and art, his style and technique, and his enduring legacy with a final chapter on the AAHT and its role in preserving Namibia's artistic heritage.


Muafangejo, John N. John N. Muafangejo (1943-1987): Linolschnitte aus der Sammlung der National Art Gallery of Namibia: Forum fur Kulturaustausch, Institut fur Auslandsbeziehungen Stuttgart, 26. Januar bis 27. Marz 1994 / [Text, Annaleen Eins; Katalogredaktion, Monika Winkler; Ubersetzung des englishsprachigen Beitrags, Elisabeth Brockmann]. Stuttgart: Das Institut,, [1994]. 95pp. chiefly illus. NE1336.M83A4 1994X AFA. OCLC 30475831.

The collection of prints by John Muafangejo in the National Art Gallery of Namibia (NAGN) were exhibited at the IFA Gallery in Stuttgart in 1994. Annaleen Eins, curator of the NAGN, writes a biographical essay of this much revered Namibian artist whose life was cut short just as he was beginning to receive serious recognition. A complete list of solo and group exhibitions from 1968 to 1994 is included. Sixty-one prints are reproduced in this catalog, all black and white linocuts. This was the medium of choice for Muafangejo throughout his life from his training at Rorke's Drift in the 1960s until his death in 1987.
Muafangejo, John. I was lonelyness: the complete graphic works of John Muafangejo: a catalog raisonné 1968-1987 / compiled and edited by Orde Levinson. Cape Town: Struik Winchester, 1992. 427pp. illus. (pt. color)., bibl. refs. NE1336.M94A4 1992 AFA. OCLC 26865306.

This is the ultimate Muafangejo book, a catalogue raisonné, for which The African dream (preceding entry) was an introuduction. Orde Levinson is again at the helm, steering the course through the art corpus of Muafangejo. He offers an essay "John Muafangejo, Cubism and traditional African art" (pages 327-333). Other essays include: "The life and art of John Muafangejo," by Olga Levinson; "John Muafangejo," by British art critic Edward Lucie-Smith; "On not being a political artist," by Pat Gilmour; "The historical development of art in Namibia," by Olga Levinson; and "The Rorke's Drift Art and Craft Centre," by Steven Sack. Also included are a selection of interviews, statements and published conversations with Muafangejo.

Plus, there are the reproductions of Muafangejo's prints -- more than 300, a few in color. Public museum collections which own Muafangejo prints are listed (pages 384-385); his exhibition history is given (pages 387-394); and a complete Muafangejo bibliography is included (pages 397-420). In short, for anyone interested in the artist John Ndevisa Muafangejo, this is the vade mecum.

Reviewed by Brenda Danilowitz in African arts (Los Angeles) 29 (2) spring 1996, pages 94-96.


Muafangejo, John. John Muafangejo: linocuts, woodcuts and etchings = Linolschnitte, Holzschnitte und Radierungen / text by Bruce Arnott. Cape Town, Johannesburg: C. Struik, 1977. [64]pp. illus. Limited edition of 750 copies. Text in English and German. NE788.S6M94 1977 AFA. OCLC 03863719.

This was the earliest compilation of Muafangejo's corpus of prints, published when the artist was still alive. Twenty-seven of his works dating from 1969 to 1975 are reproduced in this limited edition volume. By the early 1970s Muafangejo had already achieved some international acclaim and exposure, possibly, according to Arnott, a "premature elevation." Muafangejo is presented as a man tormented by "paradox, contradictions, and injustices," which are reflected in his art. Having trained at the Fine Art School at Rorke's Drift, Muafangejo returned to his homeland in northern Namibia to work and teach. In 1976 he was back at Rorke's Drift as artist-in-residence.
Muafangejo, John. John Ndevasia Muafangejo (1943-1987): Second Guest Artist Award 1998 / text by Olga Levinson; introduction by Alan Crump. Standard Bank National Arts Festival 1988. A project of the 1820 Foundation. [South Africa]: Broederstroom Press, [1988]. [unpaged] chiefly illus. NE1336.M83A4 1988 AFA. OCLC 85844535.

The Second Guest Artist Award of the 1988 Standard Bank National Arts Festival went to John Ndevasia Muafangejo. What began as a celebration of this mid-career artist ended as a commemoration of his life. He died suddenly in November 1987 as the exhibition was being assembled. In this catalog of his linocuts and etchings, Olga Levinson writes of “The life and art of John Muafangejo” - - an essay that is reprinted in I was lonleyness (1992).
Sundermeier, Theo. Hoffnung für Namibia: Linolschnitte von John Ndevasia Muafangejo. Bielefeld: Luther-Verlag, c1991. 79pp. illus., bibl. refs. (page 77). NE1336.M83A4 1991X AFA. OCLC 28807906.

The late John Muafangejo was a deeply religious man whose childhood spent on a mission station in northern Namibia and Christian belief permeates his art work. Although Muafangejo's lino-cut prints done in the Rorke's Drift style sometimes have social, even political themes, the thirty selected for this volume are biblical. An essay on the life and work of the artist introduces the prints.
Mudzunga, Samson Ratshilumela, 1934-

Coates, Kathy. Samson Mudzunga: artist’s book. Johannesburg: David Krut Publishing, 2001. 77pp. illus. NB1096.M83A4 2001 AFA. OCLC 51460720.

South African performance artist Samson Mudzunga found his métier following the surge of popularily in the “discovery” of Venda sculptors in South Africa in the late 1980s. Mudzunga, a wood sculptor, spent most of his working life in Johannesburg in a succession of menial jobs. Around 1990, having been sacked from his last job, he tried selling sculptures and staging exhibitions. By 1996, he started staging performances based on traditional Venda rituals – funerals, marriages – both in his home area in Limpopo and in urban gallery settings. According to Coates, Mudzunga is “the ultimate devil’s advocate: interrogating and using both urban and rural systems, he moves within and between both with subversive intent” (page 12).


Mukomberanwa, Nicholas, 1940-2002

Guthrie, Roy. Nicholas Mukomberanwa / introduction by Frank McEwen. Harare: Zimbabwe Publishing House, 1989. 168pp. illus. (pt. color), bibl. refs. (Prominent sculptors of Zimbabwe). NB1096.6.R5N59 1989 AFA. OCLC 25809778.

Nicholas Mukomberanwa is one of the best known of Zimbabwe's stone sculptors. Encouraged by Frank McEwen, Mukomberanwa began to seriously sculpt in the early 1960s, and his artistic career has been on the rise ever since. In this tribute to Mukomberanwa, Roy Guthrie contributes a short biography; includes excerpts from reviews and commentary by other critics, and the artist himself discusses his work. The bulk of the volume, however, is comprised of photographs of Mukomberanwa's sculpture, all of which is identified by title and dated. Mukomberanwa works in several stones, most commonly springstone and serpentine.


Muntu, Mode, 1940-1985

Plaen, Michaël de, 1979- Mode Muntu: l'homme modeste = Mode Muntu: the modest man / textes, Michaël De Plaen, Guy De Plaen, Sabine Bompuku-Eyenga-Cornelis. Bruxelles: Prisme Editions, 2015. 256 pp. illus. (chiefly color), map, portraits, bibl. refs. ND1099.C63 M862 2015 AFA. OCLC 936208068.

Congolese painter Mode Muntu (1940-1985) was one of the Lubumbashi artists trained by Laurent Moonens at the Académie des Beaux-Arts in Lubumbashi. He joined the academy at the early age of 14, in 1954, where he became a dedicated painter. A modest man, he was more interested in painting than selling paintings. In the 1960s, when Katanga erupted politically and militarily, life was difficult for the artists. Mode Muntu had to seek other employment, but never gave up painting. Mode never married and died of dysentery in 1985.

The author of this thorough and thoughtful biography, Michael de Plaen (1979- ), first met Mode in the early 1980s in the Musée de Lubumbashi. De Plaen’s father, Guy de Plaen, was director of this museum from 1972-1990. Much of the archival material and photography incorporated in the Mode Muntu story belongs to the De Plaen family.

Although Mode Muntu is mentioned in numerous publications about the Lubumbashi artists, he has never before been studied so carefully and extensively. The portfolio of paintings presented in the book is as complete as possible and is arranged chronologically to show the artist’s progression. De Plaen tracked down the artist’s work from many museums and private collections in Belgium and beyond. Mode Muntu’s subject matter and style of painting reveal elongated human figures, birds, snakes and fish. The paintings all have intense background of dots and other repetitive elements that cover every inch of the canvases.

The introductory essays offer detailed history of Lubumbashi art school, known as the ‘Hangar.’ The key expatriates in this story are Moonens and his predecessor, Pierre Romain-Desfossés (1887-1954), who not only taught art but also promoted the artists through exhibitions of their work in Kinshasa, Belgium and elsewhere.


Munyaradzi, Henry, 1933-1998

Guthrie, Roy. The magic of Henry: the 1987 one man exhibition of stone sculpture by Henry Munyaradzi (Henry of Tengenenge); [exhibition held, Chapungu Sculpture Gardens, Msasa, Harare, March 20-April 1987]. Msasa, Zimbabwe: Chapungu, The Gallery Shona Sculpture, 1987. 64pp. illus., bibliog. NB1096.6.R5M95 1987 AFA. OCLC 25807202.

Henry Munyaradzi, like many of Zimbabwe's stone sculptors, came by chance to his art. At Tengenenge Sculpture Community where he took up sculpting in 1967, Henry developed his distinctive geometric style. Roy Guthrie credits Tom Blomefield with encouraging and supporting Henry's career, which has moved along a trajectory of success. Henry's sculptures are exhibited and collected internationally. Until the end of his life, he continued to be active. Several of Henry's sculptures are reproduced in this book, though mainly undated.


Murray, Brett, 1961-

Brett Murray / with essays by Steven Dubin, Steven Rubin, Ivor Powell, Michael Smith, and Roger van Wyk. Auckland Park, South Africa: Jacana, 2013. 298pp. illus. (chiefly color), bibliog. (pp. 294-296). N6350.M865 2013 AFA OCLC881560544.

Brett Murray, a 1989 graduate of Michaelis School of Art, Cape Town, is regarded as impish but earnest. He is thought of as trickster by some, and traitor by others. His art, as in Hail to the thief, is a revolt against injustice, and an attack on abuse of power and official corruption.

Satirical in his critique of religion, as in Hero (2001) and Sleep sleep (2006), Murray is also critical of racial culpability and complicity; modern-day neo-tribalism; and “white studies.” Frequently, his art is self-deprecatory, as in his public sculpture I love Africa, (2000). As in his exhibitions White like me (2002), and in New beginnings (2006), Murray’s art is a bold mix of the comical and the tragic to express the ironic. To accomplish this, he uses various media, including, paintings, sculpture, silk screen, video, and etchings.


Musa, Joe, 1962-

Musa, Joe. Joe Musa: recent works, February 2-29, 2008. Lagos, Nigeria: The Joe Musa Gallery, 2008. vi, 143pp. illus. (color). [not yet available for review]


Mvusi, Selby, 1929-1967

Miles, Elza. Selby Mvusi: to fly with the north bird south. Pretoria: University of South Africa Press, 2015. xxv, 123 pp. + 1 CD-ROM. illus (some color), bibliog. (p. 115-118). N7396.M88 M54 2015 AFA. OCLC 944504107.

South African artist and writer Selby Mvusi is a rather mysterious figure. He led a nomadic existence on several continents during adulthood, and he died relatively young—at 38. Elza Miles has made a tremendous contribution in pulling back the curtain on Mvusi by searching archives, reaching out to people who knew Mvusi, and fitting all the known jigsaw pieces into a coherent and poignant narrative.

She presents an inventory of Mvusi’s artworks before she launches into his biography. Equally important, she compiled his scattered writings—poems, lectures, essays, and conference papers. Like she has done in earlier books, Elza Miles brings to life a black South African artist whose story has long been hidden and overlooked.

CD-ROM contents: Letter to Peter Clarke, 26 August 1956 -- Letter to Peter Clarke, 2 October 1956 --Design development in Africa today : problems and programming 1964 -- Visual perception 1966-7 -- Problem growth or growth problem 1967 -- The arts : an introduction to appreciation 1960 -- Africa and the United States 1961 -- Toward a contemporary art in Africa 1942 -- A general survey of current research in art education 1962 -- An exhibition of industrially made goods 1963 -- The things we buy 1964 -- The education of industrial designers in low-income countries 1964 -- Perspectives on industrial design education In low-income countries n.d -- Industrial design in low-income countries : principles and programmes n.d -- Social and cultural dynamics 1965 -- Craft production today n.d -- Standardisation n.d -- Untitled writing n.d -- Current revolution and future prospects 1966 -- Urbanisation and industrialisation 28 April 1966 -- Development and control n.d -- Structure 1966/7 -- Educating designers today 16 September 1965 -- Industrial design in Africa 1969.


Mzimba, Velaphi, 1959-

Mzimba, Velaphi. Selected works 1994-1999. Johannesburg: Everard Read Gallery, 1999. [68]pp. chiefly illus. (color). ND1096.M98A4 1999 AFA. OCLC 47087806.

George Velaphi Mzimba paints evocative portraits which are “immaculately conceived, painstakingly drafted and beautifully painted.” Largely self-taught, Mzimba did take art classes with Dan Rakgoathe and Bill Ainslie. The Everard Read Gallery in Johannesburg features thirty-one color paintings, mainly portraits in this five-year retrospective exhibition.


Mzuguno, David

Bogaert, Pascal. David Mzuguno: the last days of the master / photography by Reinout Dujardin. Dar es Salaam: Mkuki na Nyota, 2013. 76pp. illus. (color). N7397.6.T3 M98 2013 AFA. OCLC 879465408.

David Mzuguno (1951-2010) was a Tanzanian artist who painted in the Tingatinga style. Pascal Bogaert, a teacher at the International School of Uganda, organized an exhibition of Mzuguno’s work at the school in 2010. This book chronicles the time from Mzuguno’s arrival in Uganda before the exhibition to his death a few months later, as well as Mzuguno’s sons’ exhibition at the school the following year.
Naguib, Elias Abdula, 1955-

Naguib, Elias Abdula. Nao matem a cultura: nao matem o craveirinha. Maputo: Museu Nacional de Arte, 2008. 107pp. illus. (chiefly color). Text in Portuguese and English. N7397.6.M63N342 2008 AFA. OCLC 463434366.

Naguib, a mid-career Mozambican painter, shows recent paintings and mixed media works in this 2008 exhibition in Maputo.


Ndiaye, Iba, 1928-2008

Enwezor, Okwui and Franz W. Kaiser. Iba N’Diaye, peintre entre continents: vous avez dit “primitif”? = Iba N’Diaye, painter between continents: Primitive? Says who? Paris: Adam Biro, 2002. 63pp. Text in French and English. illus. (pt. color), bibliog. (pp. 62-63) ND1099.N43N3834 2002. OCLC 49199501.

Iba N’Diaye from Saint-Louis, Senegal, went to Europe in 1948 to learn “the craft of painting,” as he describes it. He stuck with the belief that an artist must learn to draw first and foremost, no matter what his ultimate style or metier. As a traditionalist, he found himself a bit at odds with the vortex of Negritude in which he found himself during the heyday of Senghorian dominance.

In a revealing interview in this catalog, N’Diaye talks reflectively about his painting career, his inspirations and convictions, his views on art movements and other artists. The paintings illustrated in the catalog are primarily recent ones dating from 1999-2001. The themes are familiar. N’Diaye returns repeatedly to re-explore jazz musicians, portraits, landscapes, and Tabaski, the sacrifice of the lamb.

Okwui Enwezor introduces N’Diaye – does he need introducing? – beginning with the painting “Juan de Pareja menacé par des chiens” (1986), which features in the seminal Africa explores exhibition (1991). Franz-W. Kaiser offers a tangential essay on Primitivism and authenticity.


Iba N'diaye: peindre est se souvenir. [s.l.]: NEAS-Sépia, 1994. (Conde-sur-Noireau (France) : Corlet). 77pp. illus. (pt. color), bibl. refs (pp. 76-77). ND1099.S4N332 1994 AFA. OCLC 32042768.

Iba N'Diaye is the grand old man of Senegalese visual arts. Although he has lived and painted in France for almost fifty years, his ties to his homeland remain strong, and he has spent extended periods in Senegal. The most noteworthy of these was when he was called home in 1959 by President Senghor to found a new school of art, the Ecole nationale des arts. He stayed until 1967.

The œuvre of N'Diaye reflects a lifetime of studio explorations in form, style, and theme, which weave in and out rather than progressing in simple linear fashion. Common themes in his work are portraits, women in the market, jazz musicians, the courtryside, and "the cry of the continent." The text in this book is spliced together with excerpts from previous catalog essays and commentary on the work of N'Diaye. There is also an interview with the artist, a photo-shoot in his Paris studio, and a new essay by Mario Cappone. A biographical resume is included.

Reviewed by Mark DeLancey in African book publishing record (Oxford) 23 (1) 1997, page 15.


Ndiaye, Iba. Iba Ndiaye: l’oeuvre de modernité: une retrospective, au retour du peintre prodigue. Dakar, Senegal: Dak’Art, 2008. 97pp. illus. (pt. color).

Iba Ndiaye died in October 2008, a few months after he was fêted at Dak’Art as “the prodigal painter returned.” In this retrospective catalog, Ndiaye’s early contacts in Parisian artistic circles reveal several prominent names – Ossip Zadkine (in whose studio the young Ndiaye worked), Gerard Sekoto, Ernest Mancoba, and Skunder Boghossian. It was here in Paris that he first discovered African art as well as European masters. Did we know he was inspired by Diego Velasquez’s portrait of the mulatto Juan de Pareja (1610-1670) to paint his own interpretation, “Juan de Pareja menace par des chiens” (1985-1986)? Various tributes by colleagues, collectors, and critics (some reprinted from previous catalogs) comprise the text. Almost fifty paintings and drawings are reproduced.
Ndlozy, 1970-

Ndlozy. A minha alma em madeira: esculturas, 1988-1994 = Mon âme en bois: sculptures, 1988-1994 = Mijn ziel in hout: beeldhouwwerken, 1988-1994 / Sebastiao Armando Jonze, Ndlozy; fotografia, Troels Norlem, Centro de Formacao Fotografica; realisacao, Promoção de Mark Haertjens Arte]. [Maputo]: A Promoção, [1994]. 64pp. illus. (pt. color). Text in Portuguese, French, and Flemish. NB1097.6.M63J66 1994 AFA. OCLC 39545704.

Ndlozy was born Sebastião Armando Jonze in Maputo. In 1988 he quit school and apprenticed himself to the well known sculptor Albert Chissano. Soon he was on his own, developing his unique style. His highly polished wood sculptures are characterized by attenuated, sweeping, and abstracted human forms. In 1992 he was invited to an artists’ retreat at the Virginia Center for the Creative Arts in Sweet Briar, Virginia. Apart from that experience, he has exhibited mainly in Maputo. In this catalog, thirty-two sculptures from 1988 to 1994 are illustrated in color.
Nel, Hylton, 1941-

Hylton Nel: conversations. Cape Town: Michael Stevenson Contemporary; London: Fine Art Society, 2003. 127pp. illus. (color). NK4210.N378A35 2003 AFA. OCLC 66981049.

Hylton Nel grew up in the Northern Cape in South Africa. After studying fine art in Grahamstown and in Antwerp in the early 1960s, he spent a decade between England and South Africa before returning permanently in 1974. Nel describes himself as an “artist-potter” which aptly refers to his interest in painted imagery as well as in form and function. Over the past four decades he has developed a style of work that is rich in references to the decorative arts and literary and art historical sources. His plates, bowls, vases, plaques and figurative pieces are idiosyncratically decorated with witty – and sometimes poignant – line drawings and script. His imagery ranges from penises to Madonnas, and from cats through to angels, and his quotes are drawn from poetry and the daily press as well as his observations of the world around him. He presently lives on the outskirts of Calitzdorp, a small town in the Klein Karoo – from the cover.

Reviewed by Sue Williamson in Art South Africa (Cape Town) 2 (4) winter 2004, page 89; by Wilma Cruise in De arte (Pretoria) 71, April 2005, pages 72-75.


Nel, Hylton. Hylton Nel: a curious world / edited by Michael Stevenson. Auckland Park: Jacana, 2010. 144pp. illus. (chiefly color), portraits. NK4210.N378 A36 2010 AFA. OCLC 707070575.

This is a companion volume to the 2003 catalog (preceding entry), anticipating the occasion of Hylton Nel’s 70th birthday in 2011. The ceramics featured are his most recent works, which are as whimsical, naughty, imaginative, and omnivorous as ever. Cats, reminiscent of reborn Egyptian cat mummies, remain one of his favorite themes, as do dinner plates with pithy painted texts, e.g., “Champagne for my real friends.”

Reviewed by Melanie Hillebrand in De arte (Pretoria) 84, 2011, pages 109-111.


Nhlengthwa, Sam, 1955-

Sam Nhlengethwa / edited by Kathryn Smith. Johannesburg: Goodman Gallery, 2006. 183pp. illus. (color). (Goodman Gallery Editions). ND1096.N48A4 2006 AFA. OCLC 84889636.

Collage artist Sam Nhlengthwa’s successful career spans the critical decades of apartheid brutality, the struggle for democracy, and the Mandela years. His work mirrors that historical arc in South Africa's history. Born in 1955, Nhlengthwa attended the Johannesburg Art Foundation, where he studied with Bill Ainslie, and later went to Rorke’s Drift E. L. C. Art and Craft Centre. He got a day job at the South African Broadcasting Corporation (SABC) as a set designer, but continued making art on his own time. He participated in the Thupela workshop and was one of the first artists ensconced in the Bag Factory art studios. In 1993 he was given the Standard Bank Young Artist Award.

For this book in the Goodman Gallery Editions, the editor has assembled a distinguished set of writers and admirers of Nhlengthwa, including among others Nadine Gordimer, Robert Hodgins, and David Koloane. Included also are an interview with the artist and more than 150 color reproductions of his works.


Njau, Elimo, 1932-

The Murang'a murals / edited by Harold F. Miller. Nairobi, Kenya: H. F. Miller, 2014. 72 pp. illus. (chiefly color), bibliog. (p. 69-70). N7988.8.M87 2014 AFA. OCLC 1014344673.

Elimo Njau is the centerpiece of this book about the murals in the Saint James and All Martyrs Cathedral in Murang’a (formerly Fort Hall), Kenya. Painted in 1959 as a memorial to the martyrs killed during the Mau Mau uprising in Kenya, these five murals depict the Nativity, Baptism, The Last Supper, Agony in the Garden, and Crucifixion. Three additional chapters focus on the artist, Njau, and his long career, notably his art center in Nairobi, Paa Ya Paa. Born in Tanzania in 1932, Njau studied art at Makerere University in Uganda, but he is best known for his contributions to the Kenyan art scene.


Ntuli, Jabulani, 1898-1988

Schlosser, Katesa. Zulu life as drawn by the Zulu artist Jabulani Ntuli. Kiel: Museum für Völkerkunde der Universität Kiel, 2008. xxvi, 51pp., 97pp. of plates. illus (chiefly color), bibliog. (pp. 46-47). DT1768.Z95S36 2008 AFA. OCLC 228042170.

Jabulani Ntuli’s paintings and drawings depict Zulu history and culture. Typically they are battle, ceremonial or domestic scenes. Anthropologist Katesa Schlosser has been documenting Ntuli’s work and Zulu culture for more than twenty years (until his death in 1988). She includes in this volume many photographs of Zulu life.


Ntuli, Pitika

Ntuli, Pitika. Pitika Ntuli: scent of invisible footprints: the sculpture of Pitika Ntuli. Pretoria: University of South Africa, 2010. 197pp. illus. (some color), bibl. refs. NB1096.N96A4 2010 AFA. OCLC 712644979.

South African sculptor, poet, activist and humanitarian, Pitika Ntuli returned to South Africa in 1994 after 32 years in exile. In 2010 he had a retrospective exhibition followed by the publication of this catalog, which covers his entire career and oeuvre. Ntuli sculpts in wood, stone, bone, bronze and recycled metals; many examples of each are represented here. His sculptures are anthropomorphic and very organic in form. Some are whimsical. Ntuli is rarely without a poem to complement the visual; his poems are poignant, political, or humorous, or a combination thereof.

Contents: Foreword / Phuthuma Nhleko -- Pre-enable -- "It's been a long journey": the life and times of Pitika Ntuli / Ali Khangela Hlongwane -- Touching the heart of anguish: Pitika -- reflections and reminders in the mirror of your past / Antoinette Ntuli -- At the nerve end of our dream / James Swinson -- Indigenous African art & healing: forgotten memories, planting memories of tomorrow / Pitika Ntuli -- Explorations of space and time / Nalini Naidoo -- Poem / Astrid von Kotze -- Pitika Ntuli, magic, and the transmutation of objects / David Koloane -- The backwards flight of a wily entangler / Ari Sitas.


Nwoko, Demas, 1935-

Godwin, John and Gillian Hopwood. The architecture of Demas Nwoko. Lagos: Farafina, 2007. 122pp. illus. (pt. color). NA1599.N53N682 2007 AFA. OCLC 299698439.

Demas Nwoko is thought of as one of Nigeria’s premier modern artists, but actually he moved away from painting and sculpture quite early in his career. Or rather, he shifted his creative energy into other endeavors. Less well-known outside Nigeria are his extensive architectural projects which incorporate vernacular styles, materials and aesthetics into contemporary, sustainable buildings. Nwoko himself claims he always wanted to become an architect, but found the formal training offered at Zaria too reliant on technical draftsmanship and engineering at the expense of art and creative design.

His first project was on Oremeji Hill in Ibadan where in 1967 he began what became New Culture Studios. This and sixteen more completed, designed but un-built, and ongoing architectural projects are featured in this book, including plans, elevations, and perspective drawings as well as color photographs:

Projected and completed buildings : New Culture Studios, Oremeji, Ibadan, 1967; The Dominican Institute, Ibadan, 1970-1975; Akenzua Cultural Centre, Benin City, 1972-1995; New Culture Pilgrims' Mosque proposal for Abuja, 1974-1977; House for Demas Nwoko, Idumuje-Ugboko, 1976; Country house for Alhaji Abdulazeez Ude, Abor, 1984; St. Paul's Cathedral, Issele-Uku, 1984-1988; House for Mrs. Josephine Aligbe, Idumuje-Ugboko, 1985; Miss Pearce Chapel, Issele-Uku, 1986; Church for the Daughters of the Divine Love, Enugu, 1986; Theatre of Hubert Ogunde, Yaba, Lagos, 1987; Benedictine Monastery, Ewu, Edo State, 1987-2005; Onobrakpeya Art Gallery, Agbarha-Otor near Ughelli, 1987; Lightweight steel-framed prototype office for ADDEC, 1995 -- Christ the King Parish Church, Idumuje-Ugboko, 1996-2006; Millennium Hill, 1999; Jesuit Chapel, Abuja, 2000. Nwoko also applies his design skills to furniture.

Reviewed by Frank Salamone in African book publishing record (Oxford) 36 (1) 2010, page 11; by Joseph Kenny in Nigerian field (Ibadan) 74 (1-2) April-October 2009, page 101.


Oberholzer, Obie

Oberholzer, Obie. Diesel & dust: South Africa, Egypt, Ethiopia, Yemen, United Arab Emirates, Emirate of Al-Sharjah, Namibia, Botswana. The Netherlands: Koos Hussem, 2011. 199pp. illus. (color). TR655.O244 2011 AFA. OCLC 772856044.

Photographer Obie Oberholzer calls himself a “visual thug.” The title phrase “diesel & dust” is his metaphor for the endless road trips through the byways and back roads of all the countries listed in the title of this work. In his photography and accompanying text for each image, Oberholzer displays a wry irreverent sense of humor.


Odundo, Magdalene, 1950-

Court, Elsbeth. “Magdalene A. N. Odundo: pathways to path maker,” Critical interventions: journal of African art history and visual culture (Abingdon, UK) 11 (1) 2017, pages 77-104. illus., bibliog. (p. 103-104). N7380.C758 AFA. OCLC 182624333.

Elsbeth Court traces the pathways of ceramicist Magdalene Odundo through her initial training, her many artistic influences from across the globe, her impressive list of exhibitions, and her roots in Kenya—though she is and has been for some time an internationally acclaimed artist. This very thoughtful essay looks at dimensions in Odundo’s well-documented career from fresh angles, emphasizing how deeply ‘Kenyan’ she is.


Magdalene Odundo / edited by Anthony Slayter-Ralph; with essays by Emmanuel Cooper and Simon Olding. Aldershot, England: Lund Humphries, 2004. 128pp. chiefly illus., bibliog. NK4210.O37 2004b AFA. OCLC 56442838.

Magdalene Odundo’s ceramic vessels are distinctive, elegant, and unique. She has perfected burnishing and firing to create smooth, silky, iridescent surfaces of these graceful sculptural forms. Her carbonized and oxidized surfaces result from much experimentation with slips and firing. This is the first major book on Magdalene Odundo, and it reveals what a well-rounded career she has had, being not only a professional ceramicist, but also a teacher and curator. Her sources of inspiration are wide-ranging, including pottery traditions from Nigeria, New Mexico, Japan, and ancient Greece. Beautifully illustrated, this catalog shows the evolution of her ceramics from 1982 to 2001.


Odutokun, Gani, 1946-1995

Odutokun, Gani, 1946-1995. Gani Odutokun, 1946-1995: a legend of Nigerian art / organized by the National Gallery of Art, Nigeria; edited by Simon O. Ikpakronyi and Jacob Jari. Abuja, Nigeria: National Gallery of Art, Nigeria, 2007. xiii, 152pp. chiefly color illus. N7399.N53 O343 2007 AFA. OCLC 252012797.

Gani Odutokun’s death in an automobile accident in 1995 sent shock waves through the Nigerian art community. A prominent colorist painter and teacher at Ahmadu Bello University, he is poignantly remembered in this catalog by a host of colleagues and fellow artists from Zaria and beyond. Most of the reminiscences are very personal. A few of the essays discuss his biography and his artwork. Although not really art historical, the tributes and contributions do provide a fuller picture of the man. Quite a number of his paintings and a few drawings and posters are illustrated (without attribution as to present ownership or location). Unfortunately, there is no bibliography on the artist. A serious study of the artist remains to be done.


Odutokun, Gani, 1946-1995. Accident & design: Gani Odutokun and his influence / curated by Annabelle Nwankwo and Jacob Jari. London: Brunei Gallery, School of Oriental and African Studies, 1999. 57pp. illus. (color). ND1099.N53O27 1999 AFA. OCLC 53157749.

Gani Odutokun was one of the luminaries of the Zaria art school at Ahmadu Bello University. He taught and inspired many younger Nigerian artists and was admired by his peers. His death in 1995 cut short a brilliant career, and prompted this catalog of tribute by followers and admirers. His life story is told and his work, mainly paintings, are showcased with commentary by Jacob Jari, Ziky Kofoworola, and Annabelle Nwankwo. Also featured are works by several of Odutokun’s students and followers: Kehinde Ken Adewuyi, Babatunde Babalola, Lasisi Lamidi, Matthew Ehizele, Kefas Danjuma, Lami Bature Nuku, Mu’azu Mohammed Sani, Ayo Aina, and Jacob Jari.
Ogundipe, Moyo, 1948-

Ogundipe, Moyo, 1948- Life’s fragile fictions: the drawings and paintings of Moyo Ogundipe. Ibadan, Nigeria: Institute of African Studies, University of Ibadan, 2011. 108pp. illus. (color), bibliog. ND1099.N53 O355 2011 AFA. OCLC 746576315.

Moyo Ogundipe, born 1948 in Ado Ekiti, Nigeria, is “firmly anchored to the Yoruba traditional biosphere.” He studied at the University of Ife (now Obafemi Awolowo University) and at the Maryland Institute of College of Art, in Baltimore. For fifteen years he lived in the United States, as a political exile from Nigeria, but returned home in 2008. Ogundipe is primarily a painter of large colorful canvasses. Lots of pink & blue, green & yellow cover the surface, exhibiting a true horror vacui. The paintings illustrated here are mainly from the late 1990s to date, many from the artist’s collection. This is his first major retrospective with substantial essays.

Contents: Syntheses of cultures and sensibilities /O.I. Pogoson, A.O. Akande --Nigerian artists reinterpreting Hellenic images /Peju Layiwola --An Egungun aesthetic: a critical study of Moyo Ogundipe's paintings from the United States and Nigeria /Janine Sytsma --Forest of a thousand wonders: the mid-career paintings of Moyo Ogundipe /Niyi Osundare --Moyo Ogundipe: neo-nomadic art venture /Moyo Okediji --The ferment of Moyo Ogundipe's talent /Bode Sowande.

See also Ogundipe's earlier catalog: Kaleidoscopes: new work by Moyo Ogundipe by Janine Sytsma and others. Lagos, Nigeria: Terra Kulture Art Gallery, 2008.


Ojeikere, J. D. 'Okhai, 1930-2014

Ojeikere, J. D. ‘Okhai, 1930-2014. J.D. 'Okhai Ojeikere / edited by Bisi Silva. Lagos, Nigeria: Centre for Contemporary Art, Lagos, 2014. 303pp. illus., portraits, bibliog. (p. 296). TR655.O345 2014 AFA. OCLC 950469889

Nigerian photographer J. D. ‘Okhai Ojeikere is best known for his photographs of Nigerian women’s hairstyles and head-ties, but his repertoire is much broader than that. It encompasses urban architecture and portraits, which speak to Nigerian modernity. A rich selection of Ojeikere’s photography is included in this catalog.

Ojeikere is interviewed by Don Barber and Jide Adeniyi-Jones. Essays by Ikem Stanley Okoye, Antawan I. Byrd, and Bisi Silva offer commentaries and analysis of his oeuvre. Erin Haney’s essay on early Nigerian photographers is especially enlightening. A chronicle of his life, exhibition history, and bibliography fills out this comprehensive work.


Okafor, Boniface, 1950-2002

Nwosu, Uchechukwu G. Metaphysical and surrealist painting in contemporary Nigerian art: a study of Boniface Okafor / Nwosu, Uchechukwu G. Thesis (B.A.)--University of Nigeria, 1991. [ix], 146 leaves. illus., bibliog. (pp. 107-109). [unpublished]. N7399.N53O43 1991a AFA. OCLC 37259040.

Nigerian painter Boniface Okafor is regarded by some as a metaphysical-surrealist artist, at least in some of his work. Trained as a graphic artist, Okafor brings to his art his personal quest for spiritual fulfillment -- a quest that led him earlier in life to become a seminarian and student of theology. Although he abandoned that career path, it has had a profound influence on his life and art. The shocks of the Biafran war, which he experienced as a young man, also left their marks on his psyche. Nwosu examines Okafor's life and œuvre within these contexts, within the larger context of contemporary Nigerian art and Europeans traditions of metaphysical and surrealist art.
Okeke, Uche, 1933-2016

Chukueggu, Chinedu Chris. Uche Okeke: Father of Modernist Art in Nigeria. Saarbrücken: Lambert Academic, 2011. 276pp. illus. (black and white, poor quality), bibl. refs. N7399.N53 O41 2011 AFA. OCLC 873865451.

Chukueggu traces the history of modern art in Nigeria and Uche Okeke’s role in its development. He begins by discussing Nigeria’s oldest known art traditions – rock painting, ceramics and sculpture. The Benin massacre of 1897 is examined as a turning point in Nigerian art history, when artists lost court patronage. Chukueggu also explores the role of the church in art since the late nineteenth century, the renewal of patronage for artists after a government-friendly ‘puppet Oba’ was installed in 1926 and the growth of the tourist market. Chukueggu also looks at art education in the country, including the opening of the Nigerian College of Arts, Science and Technology in 1952, with branches around the country.

Chukueggu provides a biography of Okeke, focusing on his studies at Zaria and his teaching career at Nsukka. Chukueggu discusses Okeke’s involvement in the Zaria Art Society, a student group set up to protest the curriculum’s focus on academic realism and neglect of indigenous art forms. Okeke joined the Nsukka art department in 1970 after the civil war, and worked to make Nigerian art traditions a part of the curriculum. Okeke introduced uli, a body art and mural tradition, to the curriculum, so that students were encouraged to integrate the tradition with various studio disciplines. Okeke is viewed here as an artist and art educator who worked hard to have indigenous art traditions recognized and accepted as valid sources of knowledge, when academic realism was seen (at least by many of those making decisions about art education) as being better.


Ndu di na mba: Uche Okeke and modern Nigerian art / edited by Paul Chike Dike and Patricia Oyelola. Abuja, Nigeria: National Gallery of Art of Nigeria, 2003. viii, 368pp. illus. (pt. color), bibl. refs. N7399.N5N58 2003 AFA. OCLC 61513950.

Uche Okeke is one of Nigeria’s most important artists of the mid- to late-20th century. From “Zaria rebel” to revered elder artist, Okeke’s career spans independent Nigeria’s artistic flourishing. This volume is both tribute and archival documentation of Okeke’s role and contribution to that history. Okeke was most active as an artist in the 1950s through 1970s. After his retreat from Nsukka to Nimo, he devoted more energy to his Asele Institute and spent less time in the studio. This is reflected in the large number of illustrations of his work reproduced in this volume - - almost all date from those early decades. Also included are lots of photographs of Okeke with friends and colleagues at conferences, exhibitions, at work. There is a certain amount of repetition in the many personal tributes by fellow artists and others. References to uli, Asele, Mbari, Zaria Art Society, Nigerian Society of Artists, and name of well-known Nigerian artists appear throughout. Still, this is a valuable resource book on Uche Okeke for future biographers and critics.


Ndubisi, Ngozi, M. Uche Okeke: formative years (1956-1963). B. A. project report, Department of Fine and Applied Arts, University of Nigeria, Nsukka, 1991. ix, 110 leaves. illus., bibl. refs. (leaf 110). N7399.N53N337 1991 AFA. OCLC 32523230.

The outlines of Uche Okeke's personal history have been recounted before. Ndubisi aims to flesh out the story by looking at what motivated, influenced and inspired the artist. How, for example, did his childhood love of Igbo folktales lead him to collect and later illustrate them? What led him to uli? And how did these interests and his acquired knowledge about his cultural background translate onto paper and canvas? The two central chapters of Ndubisi's thesis look at the early pen-and-ink and charcoal drawings and at the paintings.
Uche-Okeke, Ego. Uche Okeke: his work and his thoughts on art. B.A thesis, Department of Fine and Applied Arts, University of Nigeria, Nsukka, 1975. 120 leaves, 30 plates. [unpublished]. [not available for review].


Ole, António, 1951-

Ole, António, 1951- António Ole & contiguidades: Instituto Camões, Centro Cultural Português, Luanda 2003. Luanda: Instituto Camões, 2003. 75pp. illus. (color), bibl. refs. (p. 74). Text in Portuguese and English. N7399.A53O45 2003 AFA. OCLC 214317070.

António Ole is one of Africa’s successful installation artists. Born in Luanda, Angola, in 1951, he studied film at UCLA, but became a visual artist instead. His works, which incorporate video, photography, and found objects, cry out about Angola’s war-torn history, devastation and poverty. Things rusty, yellowed, pock-marked, peeling, broken, cracked, scorched and improvised characterize his work.


Ole, António, 1951- António Ole / textos de Rocha de Sousa, J. Delfim, Luís Jardim e David Mestre. Luanda: Banco Espirito Santo, 2007. 229pp. illus. (color), bibliog. (pp. 228-229). Text in Portuguese and English. N7399.A53O45 2007 AFA. OCLC 436682981.

António Ole’s artistic career began as a teenage graphic artist, and this retrospective exhibition catalog starts there in 1968. Moving on to his 1970s series of black-and-white photographic portraits of Angolan refugees, and then to his 1980s carnivalesque, colorful paintings, one can see his progression and evolving themes and styles. By the 1990s, his paintings become more subtle, softer with a quieter palette. The 1990s also witnessed his move to sculpture, mixed media and installation, such as his Township Wall series. Ole has never shied away from tough themes--war-torn Angola, legacies of the slave trade, survival in the face of hardship, and human resilience despite the odds.


Ole, António, 1951- António Ole: hidden pages / edited by Ulf Vierke & Johannes Hossfeld. Wuppertal: Peter Hammer, 2009. 128pp. illus. (chiefly color), bibl. refs. Text in German and English. N7399.A53O45 2009b AFA. OCLC 503453313.

Excavation and appropriation are hallmarks of António Ole’s œuvre, which breathes second life into found objects and forgotten places of Angola’s traumatic history. The slave trade, forced labor, wars, and life among ruins are themes Ole explores through photography, film, sculpture, and installation. To capture and keep alive a collective memory of Angola’s history are what fuels his creative drive. This retrospective exhibition, shown in Germany and Kenya, sums up four decades of one of Angola’s most important artists.


Ole, António, 1951- António Ole: Luanda, Los Angeles, Lisboa / coordenação editorial, Carla Paulino, Ana Maria Campino. Lisboa: Fundação Calouste Gulbenkian, 2016. 187 pp. illus. (chiefly color), bibliog. (pp. 159-164). Text in Portuguese and English. N7399.A53 O452 2016 AFA. OCLC 970953704.

“Luanda, Los Angeles, Lisboa” in the title of this catalog maps the triangulation of António Ole’s career as an artist. These cities are where he lived, studied, and worked. In the interview by Isabel Carlos, Ole elaborates on this geographical trajectory and how it has informed and inspired his art production. Nadine Siegert’s essay present a well-organized chronology of his artistic evolution. We can also follow the artist’s progression through the color illustrations of his art arranged chronologically. His best known installation series Township Wall, which spans the years 1994 to 2004, also reveals his visual storytelling (pp. 154-157).


Onabolu, Aina, 1882-1963

Agoro, Oladehinde. Aina Onabolu: pioneer of modern Nigerian art tradition. B.A. thesis, Department of Fine and Applied Arts, University of Nigeria, Nsukka, 1980. viii, 113 leaves. illus., plates, bibliog. (pp. 112-113). [unpublished]. N7399.N533O5 1980a AFA. OCLC 37228276.

Aina Onabolu is credited as the father of modern Nigerian art. He was certainly a pioneer in being the first Nigerian to have formal art training, enrolling in St. John’s Wood Art School, London, in 1920. But his art career had begun two decades earlier when, self-taught, he took up portrait painting and landscape painting. A pioneer in promoting art education in Nigerian schools, Onabolu felt duty-bound to demonstrate that Africans could paint as well as Europeans. Agoro’s thesis is a summation of the man, his œuvre, and his impact on Nigerian artists – both his students and later generations.
Aina Onabolu: symbol of the National Studios of Art / edited by Paul Chike Dike, Patricia Oyelola. Lagos: National Gallery of Art, 1999. 64pp. illus. (pt. color), bibliog (pp. 56-61). N7399.N53O56 1999 AFA. OCLC 46796851.

Aina Onabolu (1882-1963) holds a revered position in the history of twentieth-century Nigerian art. Though not a great painter, he was undoubtedly a trailblazer, a promoter of art, and an advocate of art education. Initially self-taught, he achieved some acclaim as a portrait and landscape painter in Lagos during the decades 1900 to 1920. In 1920 he set sail for England and France, where he studied art at St. Johns Wood School, Académie Julian in Paris, and the Royal Academy of Art in London. Back in Nigeria, he set about laying the foundation for art education in this British colony whose educational curriculum excluded art. An art syllabus was eventually accepted. Onabolu’s other noteworthy legacy was inspiring a younger generation of artists. He was also instrumental in getting Kenneth C. Murray invited to Nigeria to teach art, a move that had far reaching ramifications for Nigerian art.

This catalog is the first, rather belated, effort to pay tribute to Aina Onabolu. A modest publication, it does, however, reproduce numerous Onabolu paintings and drawings, most never published before, though the quality of reproduction leaves much to be desired and many works are undated. The National Studios of Art in Lagos, which have been named in Onabolu’s honor, hosts an active art program today, and their programs are described. The catalog also includes an essay by Kunle Filani on the social status of artists in Nigeria today.


Onobrakpeya, Bruce, 1932-

Eze, Emmanuel Okeke. Bruce Onobrakpeya: a research into the print experiments of a contemporary Nigerian artist. B.A. thesis, Department of Fine and Applied Arts, University of Nigeria, Nsukka 1976. 92 leaves. [unpublished]. [not available for review].


Onobrakpeya, Bruce. Bruce Onobrakpeya: footprints of a master artist / edited by Simon O. Ikpakronyi. Abuja, Nigeria: National Gallery of Art, 2012. viii, 143pp. illus. (color), bibl. refs. NE7399.N53 O582 2012 AFA. OCLC 858865654.

In August 2012 Bruce Onobrakpeya marked his 80th birthday amid much celebration in Lagos. For its part, the National Gallery of Art in Nigeria published this catalog with a long essay by Simon O. Ikpakronyi and short tributes by colleagues, fellow artists, art collectors, students and friends. Ninety-seven plates of Onobrakpeya’s art works from 1957 to 2012 are included.


Onobrakpeya, Bruce. Bruce Onobrakpeya: jewels of nomadic images / essays by Olu Amoda, Peju Layiwola, Ekpo Udo Udoma. Lagos: Ovuomaroro Studio and Gallery, 2009. xi, 196pp. illus. (chiefly color), bibliog. (pp. 195-196). N7399.N53O582 2009 AFA. OCLC 608100586.

In Jewels of nomadic images Onobrakpeya carries forward his artistic experimentation with series of miniature plastocasts, low-reliefs which can be worn as pendants or incorporated into installations or larger composite works. Onobrakpeya is nothing is not prolific, especially considering that this body of work was conceived and executed between 2006 and 2009. Essays by Olu Amoda, Peju Layiwola, and Ekpo Udo Udoma.


Onobrakpeya, Bruce. Bruce Onobrakpeya: the spirit in ascent / edited by G. G. Darah and Safy Quel; foreword by J. P. Clark; introduction by Dele Jegede. Lagos: Ovuomaroro Gallery, 1992. 270pp. illus. N7399.N5O582bru 1992 AFA. OCLC 29546200.

"The spirit in ascent" documents Bruce Onobrakpeya's work for the extremely creative decade 1967 to 1978, during which the master printmaker developed and perfected several print techniques. It is a period in which Onobrakpeya reached a level of maturity and assuredness in his art. It also marks his move away from easel paintings, his university major, to full-time printmaking. In 1967, he set up and equipped a print studio in Lagos, which has become a center of creativity and training in Mushin -- Ovuomaroro Art Studio.

Onobrakpeya's prints are luxuriant in patterning and color, just as they are saturated with cultural referents and deeper meanings. Onobrakpeya is a true medium through which Nigeria's many cultures take visual form -- his own Urhobo, but also Yoruba, Hausa and others. His imagery is accessible, yet symbolically rich at the same time. He illustrates folk tales, most notably Amos Tutuola's My life in the bush of ghosts, which led to a whole series of prints. He has also done Christian-inspired works, but even these have a Nigerian flavor. Among his last paintings are a Stations of the Cross mural series for a church in Ebute Metta, Lagos (illustrated here).

In this volume Onobrakpeya publishes dozens of his works -- many in color -- and offers his very personal, unpretentious explanations for what inspired him and what he is portraying. Biographical information and photographs are also included. In 1989, Bruce Onobrakpeya was awarded an honorary doctorate by University of Ibadan; citations from that occasion are reprinted.

Bruce Onobrakpeya: the spirit in ascent complements his previously published visual anthologies -- Symbols of ancestral groves and Sahelian masquerades, which together document the later years, 1978-1988.

Reviewed by Ayo Elebute in Thumbprint (Ibadan, Nigeria) 1, 2003, pages 76-78.


Onobrakpeya, Bruce. Forty years of Bruce Onobrakpeya in contemporary visual art: the portrait of a visual artist. Lagos: Ovuomaroro Gallery, 1999. 70pp. illus. NE787.6.N5O583 1999 AFA. OCLC 50632450.

This catalog was published as part of the celebration of forty years of Bruce Onobrakpeya in contemporary Nigerian visual art practice. It contains short tributes and recollections by friends and colleagues, many of whom are Nigerian artists, culled from Bruce Onobrakpeya: retrospective (Lagos: Society of Nigerian Artists, 1992). Simon O. Ikpakronyi provides an introductory biographical essay. Onobrakpeya’s curriculum vita is also given.
Onobrakpeya, Bruce. Sahelian masquerades: artistic experiments, Nov. 1985-August, 1988 / edited by Safy Quel. Papa Ajao, Mushin, Lagos: Ovuomaroro Gallery, 1988. xi, 132pp. illus. (pt. color). N7399.N53O582s 1988 AFA. OCLC 18847528.

Bruce Onobrakpeya is one of the few modern artists in Africa who has systematically published collections of his works and writings. Sahelian masquerades continues this effort. Earlier compilations include Symbols of ancestral groves (1985), Sabbatical experiments, 1978-1983 (1983) and a series of limited edition Print notes and comments (nine of which have appeared to date).

The arid Sahel of Northern Nigeria, a region Onobrakpeya first encountered during his student days in Zaria, inspired the present series of artistic experiments. The illustrated works include plastographs and metal foil reliefs. Onobrakpeya gives a brief explanation of each and offers his poetry as complementary text.

In addition, there are seven of Onobrakpeya's essays addressing more general themes: "Nigerian visual arts since 1960," (pages 46-54), "Tourism, arts and culture: Nigeria's untapped export goldmine," (pages 62-72), "Exotic worlds and European fantasies," (pages 74-80), "Role of women in arts," (pages 85-89), "Traditional arts and crafts in Africa's educational programme," (pages 90-93), "Nigerian art: influence of traditional tales and culture through the ages," (pages 94-101), and "Nigerian and foreign patronage of the arts," (pages 104-110).

Reviewed by Bolaji Campbell in Kurio africana; journal of art & criticism (Ile-Ife) 1 (1) 1989, pages 132-134 [127-129 in revised edition]; by Emma Ejiogu in West Africa (London) no. 3732, February 27-March 5, 1989, pages 316-317..


Onobrakpeya, Bruce. Symbols of ancestral groves: a monograph of prints and paintings, 1978-1985 / introduction by Babatunde Lawal. Lagos: Bruce Onobrakpeya, 1985. 256pp. illus. (pt. color), bibliog. (pp. 236-247). N7399.N5O58 1985 AFA. OCLC 15225143.

Bruce Onobrakpeya is fond of naming his art works in indigenous Nigerian languages, not only his native Urhobo, but several others as well. This very conscious tendency reflects his ecumenicism within a fractious Nigeria and reveals a deep respect for the "symbols of ancestral groves," which ultimately bind Nigerians together.

Onobrakpeya has been a role model for other Nigerian artists in many ways, not the least of which is his assiduous documentation of his œuvre through publications. Symbols of ancestral groves is but one in a continuing series to visually track phases of his career. This one covers the years 1978 to 1985 during which he perfected his plastocast and plastograph deep etching processes. For the works illustrated in this book, Onobrakpeya takes the reader on a personally guided tour, carefully explaining the meaning and content of each. The reproductions, while not of high quality, are sufficiently good to allow one to follow along with his story. Biodata and bibliography on the artist are included as well as a glimpse of his Ovuomaroro Art Studio and Gallery in Mushin, Lagos -- a mecca for Onobrakpeya aficionados.

Reviewed by Jean Kennedy in African arts (Los Angeles) 20 (1) November 1986, pages 90-91.


Singletary, Richard A. Bruce Onobrakpeya: the ethnic, national, international, and modernistic impulses in the works of a contemporary African artist. PhD dissertation, School of the Arts, Virginia Commonwealth University, 1999. xix, 417 leaves. illus. (pt. color), bibliog. (leaves 303-313). N7483.O56S54 1999 AFA. OCLC 47233700.

Bruce Onobrakpeya is an exemplar of Nigerian modernism who blends several strands of “ethnic, national, international and modernistic impulses” in his work. Best known as an experimental printmaker, Onobrakpeya studied painting at the Nigerian College of Arts, Science, and Technology in Zaria (predecessor of Ahmadu Bello University) where was a member of Zaria Art Society (later dubbed the “Zaria rebels”).

In this thesis Singletary explores these four themes in Onobrakpeya’s work. Under the ethnic rubric are Urhobo (Onobrakpeya’s own ethnicity), Bini, Yoruba, Igbo, and Hausa/Fulbe. Cultural pluralism and unity in diversity are represented by Onobrakpeya as positive national identity. Taking humanistic themes beyond Nigeria, some of Onobrakpeya’s work is religious in nature (largely Christian) or even political. The modernist impulses in Onobrakpeya’s work are more about style, color and composition than about theme. Ever an experimenter, Onobrakpeya has also tried sculpture and installations (his shrine sets). More than 140 reproductions of Onobrakpeya’s work are illustrated from the earliest in the 1950s up to 1999.

Appendix I is a full curriculum vita. Appendix II contains an interview with Bruce Onobrakpeya recorded over the period December 1996 to January 1997. Appendices IV and V document Onobrakpeya’s experiments with creating ideograms based on Urhobo culture.


Singletary, Richard A. Onobrakpeya. Portsmouth, VA: [the author], 2002. xvii, 100pp., [88]pages of plates. illus. (pt. color), bibliog (pp. 79-90). N7399.N53O586 2002 AFA. OCLC 58393121.

This book is the published version of Singletary’s doctoral dissertation on Bruce Onobrakpeya completed in 1999 (see Singletary, 1999) with no substantive revisions or updates.


Onyango, Richard, 1960-

Onyango, Richard. The African way of painting. Colognola ai Colli, Italy: A. Parise, 1992. viii, 128pp. chiefly illus. ND1097.6.K4O59 1992 AFA. OCLC 27867148.

The strange relationship between Richard Onyango and his expatriate companion Drosie is recorded in stark and startling realism in Richard's paintings. The corpulent yet bizarrely fashionable Drosie in her Mercedez Benz and cowgirl boots found happiness with poor Richard, whose painting career was launched with these voyeuristic Drosie paintings. Richard's other fascination is with transportation vehicles -- he was, among other things in his variegated life, a bus driver. He paints buses, trains, lorries, land rovers, and, of course, Mercedez Benz. Richard opened an art gallery in Malindi, following Drosie's untimely death; here he exhibits his Drosie paintings and the rest, catering to the expatriates and tourists who frequent the Kenyan coast.

In this book Richard tells in his own words the story of Drosie, which he calls "the rise and fall of Richard." The main part of the book, however, is his collection of paintings and a photo-essay of Richard in Malindi in the post-Drosie period.

Exhibition reviewed by Barbara MacAdam, "An affair to remember," [Kenyan painter Richard Onyango exhibits at New York's Salvatore Ala Gallery, 1993]. Art news (New York) 92 (3) March 1993, page 20.


Osaghae, Ben, 1962-2017

Castellote, Jess, 1956- and Akinyemi Adetunji. Osaghae: visual chronicles of a society in flux. Lagos, Nigeria: Pan-Atlantic University; Ibadan, Nigeria: Bookcraft, 2014. 152 pp. Illustrations (color), bibliog. ND1099.N53$bO82 2014 AFA. OCLC 907660762.

Nigerian painter Ben Osaghae died mid-career, which makes this monograph even more valuable. He was an independent artists concerned with social and political realities rather than the expectations of the Lagos art market. His painting style was figurative but highly expressive. He liked color, broad-brush strokes, and flat background of a single color that allowed the figures to float. Osaghae trained at Auchi Polytechnic (1982-1986) and later taught there. In 1999 he moved to Lagos where he had already participated in several exhibitions at Signature Gallery, Didi Museum, the Russian Cultural Centre and Mydrim Gallery.

Unlike many Lagos artists, Osaghae was angry about socio-political realities in Nigeria. His paintings, sometimes caustic, sometimes ironic, clearly reflect this anger. They chronicle the life of city people and their struggles—electricity outages, police harassment, prisons, thieves, injustice, corruption.

We hear Osaghae’s voice throughout—explanations of his approaches to painting, his influences, and commentary on particular paintings. In the final chapter, Osaghae shares his art philosophy. Who would have known his fate would come so soon? His legacy is encapsulated in one sentence: “No other artist has been able to portray so vividly the liveliness, complexity and vibrancy of Lagos life.” (page 133).


Oshinowo, Kolade, 1948-

Campbell, Bolaji. Kolade Oshinowo's Drummer Series: a critical appraisal. B. A. thesis, Department of Fine Arts, University of Ife, 1984. [unpublished]. [not available for review].


Oshinowo, Kolade. Kolade Oshinowo / edited by Olayinka Fisher & Jess Castellote. Ibadan, Nigeria: Bookcraft, 2016. 309 pp. illus. (chiefly color). N7399.N53 O8434 2016 AFA. OCLC 1019904872.

If there is one thing that defines Kolade Oshinowo, it is perhaps his deep connection with truth and life. Often painting rural village life, or downtrodden individuals, Oshinowo uses landscape and portraiture to display Nigerian society free of glamorization, yet full of idealism, and rife with social empathy. His work elucidates the mundane, the forgotten, and the unique, showing not just the romantic aspects of life, but life in itself in its many forms. As dele jegede writes in the second chapter “Oshinowo’s oeuvre is a visual catechism on life” (page 84).

Though Kolade Oshinowo came of age after those considered to be the great pioneers of Nigerian art, emerging on the art scene in the late 1970s, he is nonetheless a pivotal figure within the Nigerian art scene, with some considering him a late addendum member of the pioneer group. From early childhood, Oshinowo has passionately pursued a career in fine arts, and cultivated more than thirty-five years of artistic development and academic experience. Teaching at Yaba College of Technology until 2008, Oshinowo worked both creatively and academically furthering his engagement with the art community in Nigeria.

In this monograph, Olayinka Fisher and Jess Castellote present a number of essays, written by a number of scholars and friends, on Kolade Oshinowo’s work and personal life among a smattering of some 250 images of his works across the decades. It contains the following essays: Olayinka Fisher – Forward; Jess Castellote – Preface; Jess Castellote – Introduction; dele Jegede – Putting the Sex in Sexagenarian; Simon O. Ikpakronyi – His Biography and Interest in Painting; Kunle Filani – Scenic and Figural Scheme and the Nexus of Social Psychology; and Akinyemi Adetunji – Oshinowo on Oshinowo.

Reviewed by Pat Oyelola in Nigerian field (Newtown Linford, Leicester) 82, 2017, pages 116-118.


Oswaggo, Joel, 1944-

Oswaggo, Joel. Ich habe sie studiert: Joel Oswaggos Zeichnungen und Erzählungen über die Freikirchen bei den Luo (Kenya) / edited by Johanna Agthe and Josef F. Thiel. Frankfurt am Main: Museum für Völkerkunde, 1991. 60pp. illus. (color), portrait, bibl. refs. (Interim, 12). ND1097.6.K43O862 1991 AFA. OCLC 25025913.

Joel Oswaggo, whose earlier paintings depict Luo customs, takes a more sardonic look at Luo contemporary religious practice, which is engulfed in the fervor of the independent Christian churches. Syncretic religions as the Legion of Marie Church or Mowar Roho Israel, with their mandatory white dress, self-proclaimed prophets, and faith healing, provide easy targets for the artist's visual commentary. In a series of eleven paintings, Oswaggo captures the evangelical scenes that are becoming more and more common in his native South Nyanza region of Kenya, where these churches are pulling people away from old customs and mores. The underlying theme in these paintings is the conflict of a new religion with old values. Women in particular are drawn as devotees to these churches and frequently end up putting church ahead of family. Oswaggo also provides a verbal commentary on each painting illustrated. Johanna Agthe's essay discusses these new churches in Kenya, and Josef Thiel places these local movements within a broader context of new African religious movements generally.

Reviewed by Norbert Aas in Tribus (Stuttgart) no. 41, 1992, page 199.


Owusu-Ankomah, 1956-

Owusu-Ankomah, 1956- Owusu-Ankomah: Microcron begins / edited by Stefan Barmann. Bad Salzdetfurth: Kunstverein Bad Salzdetfurth e. V., 2014. 307 pp. illus. (color). Text in German and English. ND1099.G53 O98 2014 AFA. OCLC 898121280.

In 2007 Owusu-Ankomah began conceptualizing his Microcron series. In 2009 he created his first Microcron painting in this new series, Cosmic Seed. Symbols, glyphs, and signs—beyond his earlier use of adinkra ideograms, permeate these Microcron paintings. So, too, do his depictions of embedded nude make figures. The cosmic and ethereal Microcron paintings were exhibition in Germany and other venues from 2014 to 2016.


Oyelami, Muraina, 1940-

Oyelami, Muraina. Abefe: an autobiography of Muraina Oyelami / edited by Ulli Beier. Bayreuth: Iwalewa-Haus, University of Bayreuth, 1993. 83pp. portrait. ND1099.N53 O94 1993 AFA. OCLC 35827185.

Muraina Oyelami is well known as one of the first generation of Oshogbo artists, but he is also a master Yoruba drummer, a performer, and now a chief of Iragbaji, his home town. In this autobiography he recounts his early life, the Mbari Mbayo experience, the theatrical projects in Oshogbo and Ile-Ife, the Iwalewa-Haus residencies, and his rise to chieftaincy. Based on interviews, seamlessly edited by Ulli Beier, Muraina’s story reads as witness to the artistic ferment of Nigeria in the post-colonial era.
Pemba, George Milwa Mnyaluza, 1912-2001

Feinberg, Barry. George Pemba: painter of the people / edited and adapted by Ivan Vladislavic. Johannesburg: Viva Books, 2000. xx, 69pp. illus. (pt. color). ND1096.P46F45 2000X AFA. OCLC 47916146.

This book is the story of South African painter George Pemba and also a guide to looking at art, written for middle school students and up. Using the context of Pemba’s life and art, the reader is guided through the biography and shown paintings that parallel the political changes in South Africa and the evolution of Pemba’s work. The commentary on individual paintings invites looking closely and asks questions (such as why did George include pictures of the crucifixion of Christ in shebeen paintings). The author, Barry Feinberg, is a long-time friend of Pemba’s who for more than twenty years sent money covertly to Pemba that allowed the artist to keep painting.


George Pemba: painter of the people. Produced by Barry Feinberg and Mike Vincent; directed by Barry Feinberg. Belleville, South Africa: Mayibuye Centre and Jasmin Films production in association with Nedbank, 1995. 29 minutes. sd. color. VHS format. ½in. video 000294 AFA. OCLC 36165744.

This film documents the life and career of George Pemba through the artist’s own on screen commentary and reflections. The camera views him painting in his studio and outdoors, shows his paintings, and records perspectives by colleagues and supporters. George Pemba was a survivor, living most of his life on the edge of poverty, but pursuing his painting against all odds. Although not overtly political by nature or in his work, Pemba’s paintings are a kind of quiet protest against apartheid and at the same time are a celebration of everyday life. His style is very painterly and impressionistic. His portraits are very sensitive and poignant. It was only in the 1990s with apartheid crumbling that this unsung artist began to be more widely recognized and honored.


Hudleston, Sarah. George Pemba, against all odds. Johannesburg: Jonathan Ball Publishers, 1996. 156pp. illus. (pt. color), bibliog. (pp. 91-93). ND1096.P46H435 1996X AFA. OCLC 36990706.

George Pemba became a painter "against all odds." He began painting as a child copying photographs using a watercolor set given to him by his father. And he has continued to paint all his life, convinced from an early age that this was his true calling. Though not without mentors at various periods in his life, Pemba has had to struggle to find the spare time and the resources to pursue his life as a painter.

Pemba is best known for his portraits, which are sympathetic yet full of character. His scenes of life in the townships and in rural areas are windows on his own long life. Pemba was never openly political, but like other black South Africans, he was acutely aware of the injustices of apartheid and some of his paintings capture those injustices and miseries. But just as many capture the ordinary joys and sorrows of everyday existence. One of his most poignant paintings is the autobiographical 1930 watercolor "The Funeral" depicting himself in the donkey-drawn hearse of his father, followed by mourners.

Huddleson's story of George Pemba is biographical rather than art historical. The artist cooperated freely with the writer, sharing his diaries and family photographs and recollections. A portfolio of paintings presented chronologically reveal the development and maturation of this outstanding pioneer artist.

Reviewed by Annette Loubser in Artreach(Grahamstown, SA) 3 (1) autumn 1998, page 8.


Pemba, George Milwa Mnyalaza. George Milwa Mnyaluza Pemba: South African National Gallery, 27.4.1996-28.7.1996. [Bellville]: Mayibuye Books: South African National Gallery, c1996. 108pp. illus. (pt. color), bibliog. (pp. 72-73). (Mayibuye history & literature series; no. 64). ND1096.P46A4 1996X AFA. OCLC 36385732.

George Pemba (1912- ) was the one who stayed at home. A contemporary of Gerard Sekoto (1913-1993), Pemba has been unfairly cast in the shadow of the heroic exile Sekoto. Pemba's life as an artist has been a steady, slow progress, largely unheralded until a 1991 exhibition "introduced" this elderly painter to an uninformed public.

Pemba has been painting since childhood, spent in and around Port Elizabeth. His forte is portraiture and his depictions of township life are albums of the daily lives of the masses. In fact, it was Sekoto who urged Pemba to move away from portraits to depictions of township life and from watercolors to oils -- advice that Pemba heeded. In this catalog, Barry Feinberg provides a biographical essay on Pemba, and Jacqueline Nolte, who is writing a book on Pemba, shares her insights in an essay on "Sources and style in the oil paintings of George Milwa Mnyaluza Pemba." Clearly, Pemba is an artist who deserves more attention. This first retrospective exhibition of 123 works opens the way to that discovery. This catalog includes numerous illustrations, several in color, and photographs of Pemba at various periods in his life.

Reviewed by Peter Limb in African book publishing record (Oxford) 24 (3) 1998, page 193.


Phokela, Johannes

Phokela, Johannes. I like my neighbors. Johannesburg: Gallery MOMA; David Krut Publishing, 2009. 69pp. illus. (color). ND1095.C3P46 2009 AFA. OCLC 314377041.

Soweto-born Johannes Phokela trained at the Royal Academy of Art, London. He is best known for his reinterpretations of the Dutch Old Masters' paintings in ways that resonate with the Dutch colonization of the southern tip of Africa. He Africanizes them by substituting or adding modern elements into the pictures. Paul O'Kane offers a personal interpretation of Phokela's ouevre.

This catalog is published on the occasion of the exhibition Johannes Phokela - I like my neighbours, at the Standard Bank Gallery, Johannesburg, 3 February-21 March 2009.

Reviewed by Karen von Veh in De arte (Pretoria) 81, 2010, pages 66-68.


Pinker, Stanley, 1924-

Pinker, Stanley. Stanley Pinker. Cape Town: Michael Stevenson, 2004. 112pp. chiefly color illus. ND1096.P63A4 2004 AFA. OCLC 58466899.

Painter Stanley Pinker is not widely known outside South African artistic circles, although he has painted and taught for his whole adult life. Partly this is due to his reserved, self-effacing nature and a disclination to follow prevailing trends. As a young art student in South Africa and Europe, he absorbed modernist principles, but in his work he engages with his South African identity, environment, and tumultuous history. His paintings are not overtly political, yet he deals with the realities of South Africa with “humour of a very cynical nature.” Pinker frames his paintings as an integral part of the painting; “painted batons,” he calls them. He sometimes uses imagery of African sculptures in his work. Pinker submitted to be interviewed for this catalog and offers wonderful insights on the 82 paintings illustrated.

Reviewed by Karin M. Skawran in De arte (Pretoria) 72, 2005, pages 82-85.


Poerneef, Jacob Hendrik, 1886-1957

J. H. Pierneef: his life and his work / a cultural and historical study published in cooperation with the University of Pretoria / photography by K. B. Finniss and H. J. Visser. Cape Town: Perskor, 1990. 261pp. illus. (pt. color), bibliog. N7396.P57J2 1990X AFA. OCLC 25025428.

Jacob Hendrik Pierneef was born in Pretoria, lived there the greater part of his life and died there. His love of nature and close association with it provided inspiration for his art. He worked in a range of media: watercolors, oils, tempera, woodprints, linocuts, etching and drawing. His daughter, Marita Bailey-Pierneef, considers "Composition in Blue," a cubistic abstract oil, his greatest work. She writes that it not only conveys his impression of the Bushveld landscape but it is much more, a poem and a philosophy. "It is cloudy and yet drenched with sun, calm and yet stormy; a creed, prayer and an adulation. An eternal reflection of his mind."


Preller, Alexis, 1911-1975

Berman, Esmé. Alexis Preller: a visual biography / by Esmé Bermand and Karel Nel; edited and indexed by Valda Strauss. Saxonwold: Shelf Pub., 2009. 2 volumes. Illus. (pt color). N7396.P74A4 2009 AFA. OCLC 469482374.

This may well be the definitive biography and complete catalogue raisonné of South African painter Alexis Preller. Esmé Berman and Karel Nel collaborated over many years in this labor of love. Berman wrote the biography and Nel compiled the catalogue raisonné, but they gathered and poured over together the archival photographs, letters, diaries, and other documents. Berman’s biography brings Preller out of the shadows, revealing his longtime partner Christi Truter and other deep friendships, the dramatic twists and turns in his life, and the equally bizarre aftermath of his death.

Preller is best known for his sympathetic portrayals of Africans and African-inspired paintings. His Mapogga series of the 1950s stands out. His debt to Irma Stern and Maggie Laubser are apparent. But his work evolved as Preller explored new themes, such as classical Greek sculpture, Hieronymus Bosch, and new techniques. He did several major commissions, including Discovery All Africa. His veld home Dombeya was itself an architectural work of art. He died of cancer in 1975.

A subsequent less costly edition of this book was published as a single volume in 2010 by Pan Macmillan South Africa.


Prinsloo, Dina

Prinsloo, Dina, Points for departure. Parkwood, South Africa: distributed by David Krut Publishing, 2007. 107pp. illus. (color), bibl. refs. (p. 103). NB1099.P75A4 2007 AFA. OCLC 173343159.

At the heart of Dina Prinsloo’s ceramic sculptures is the interplay between flora and the clay. Her garden and outdoor installations are inspired by rock crevices and other natural outcrops through which veld plants push outward toward the light. Since the 1970s she has experimented with these clay and botanical forms in geometric and figurative shapes and sizes. Her work is largely based on architectural commissions for specific sites in South Africa. In this book she documents her creative journey from the early 1970s to 2005.


Qes Adamu Tesfaw, 1922-

Silverman, Raymond Aaron. Painting Ethiopia: the life and work of Qes Adamu Tesfaw. Los Angeles: UCLA Fowler Museum of Cultural History, 2005. 119pp. illus. (pt. color), bibliog. (pp. 118-119). ND1086.3.Q24A4 2005 AFA. OCLC 57185609.

Qes Adamu Tesfaw (born 1922) began as a painter for the Ethiopian Orthodox Church in Bichena. By the 1960s, he had moved to Addis Ababa and was painting for the market, though still creating mainly religious and biblical themes. Some of his paintings are of historical figures, battle scenes, or other cultural scenes. It is known now that Adamu’s paintings have occasionally been signed by others and passed off as their work. This exhibition of Qes Adamu Tesfaw’s paintings is drawn largely from the collection of the Institute of Ethiopian Studies, acquired in the 1990s.

Ray Silverman has conducted extensive interviews with Adamu and even commissioned a few paintings, which Adamu agreed to do while protesting that they were not subjects he would normally paint, e.g., a cityscape of Addis Ababa. Although very prolific, Adamu does not copy himself, even while treating the same themes. He employs a variety of palettes and sometimes ages works to appeal to the market for “old painting.”


Qgam, Coex'ae

Gollifer, Ann, 1960- A biography and portrait, conversations and images: Coex’ae Qgam, Dada "I am one of a kind. I don't know why I was created": story teller, dancer, beadworker, painter, printmaker, daughter, sister, mother, lover, wife. Gaborone, Botswana: Eggsson Books, 2011. 1 volume (unpaged). illus. (chiefly color), bibl. refs. (p. xxxv). N7396.D33 G65 2011 AFA. OCLC 801997126.

Coex’ae Qgam, a Naro woman, known by the name of Dada, became famous within her community as an artist of extraordinary character. She exhibited her work throughout Southern Africa, Europe, Japan, and the United States. A founding member of the Kuru Art Project, based in the small village of D’Kar in the Ghanzi district of Botswana, Dada was not only a painter and printmaker but also became the translator, spokesperson and ambassador for her art group and ultimately her tribe, the Ncoakhoe, or as the name translated, “The red people.” – from the book’s cover.

Reviewed by Sara Goldoni in Africa e Mediterraneo: cultura e società (Bologna) 11 (2) no. 75, dicembre 2011, pages 71-72.


Ractliffe, Jo, 1961-

Atkinson, Brenda. Jo Ractliffe: artist’s book. Johannesburg: David Krut Publishing, 2000. 95pp. illus (pt. color). (Taxi art books series). Includes educational supplement. TR647.R33 2000 AFA. OCLC 47774760.

Jo Ractliffe is a practicing artist, working with photo-based media, video and installation. Born in Cape Town, she completed her art degrees at the University of Cape Town, and has taught at universities in South Africa. At present she is on faculty at the University of Witwatersrand. In 1999 she won the prestigious Vita Art award. Among the art projects of Ractliffe’s discussed in this book are Nadir, Shooting Diana, Guess Who Loves You; End of Time.


Rakgoathe, Dan, 1937-

Langhan, Donvé. The unfolding man: the life and art of Dan Rakgoathe. Cape Town: David Philip; London: Global, 2000. 171pp. , [16] pp. of color plates, bibliog. (p. 167). NE788.6.S6L36 2000X AFA. OCLC 46970134.

Dan Rakgoathe’s life story epitomizes the struggling black South African artist growing up under the oppressive apartheid era: the struggle to advance his art education, the struggle to gain employment, the struggle to achieve recognition as an artist, and personal struggles against alcoholism and, worst for an artist, blindness. A spiritual loner with a philosophic bent, Rakgoathe did have two soul mates. One was Cyprian Shilakoe, whom he knew at Rorke’s Drift but who was killed in 1972, and David Koloane, whom he met in 1981. Ratgoathe’s personal mysticism and spirituality are clearly reflected in his prints, the best of which were produced in the decade 1968 to 1978. In a final chapter, Langhan analyzes the style and content of Ratgoathe art, interwoven with commentary by the artist.

Reviewed by Juliette Leeb-du Toit in De arte (Pretoria) 64, September 2001, pages 101-103.


Ramedane, Jérôme, 1936-1991

Deverdun, René. Jérôme Ramedane: peintre paysan, peintre d'histoire / préface d'Yvan Audouard. [Saint-Maur]: Sepia, c1995. 63pp. illus. (pt. color), color map. bibl. refs. (page 61). ND2087.6.C43R3634 1995X AFA. OCLC 33984420.

Jérôme Ramedane, a self-taught painter, created a body of paintings that constitute incomparable witnesses to history of colonial Oubangui-Chari and independent Central African Republic. Done in a naive style, his paintings narrate life in a colonial outpost and his personal odyssey from mission boy to cotton farmer. They capture the grand and the mundane events of the day. Ramedane grew up in Fort-Crampel (today Kaga-Bandoro), where he began painting murals on houses of chiefs and officials. In the early 1960s, now living in Sibut, he switched to painting on paper, and it is in this metier that he found his "voice." His life was filled with ups and downs; success as a painter accompanied by the traumas and dramas of everyday life. Despite having an expatriate clientele, he was never tempted to decamp to Bangui, the capital, but seemed content to modest accomplishment in Sibut, part-time farmer with a love of painting -- "le maître of Sibut."
Rhode, Robin, 1976-

Rhode, Robin. Animating the everyday / edited by Helaine Posner and Louise Yelin. Purchase, NY: Neuberger Museum of Art of Purchase College, 2014. 160 pp. illus. (chiefly color). N7396.R46 A4 2014 AFA. OCLC 880716266.

Animating the everyday surveys of Robin Rhode’s work, featuring digital videos and photographs. Referenced as “animations,” they include objects, movements, and sounds. In the tradition of street art, Rhode uses walls, sidewalks, and playgrounds as canvases for his paint and charcoal designs that integrate moving objects or humans, creating narratives that capture movement trying to escape the confines of the ordinary. Often, the presentation is of the artist and a human figure engaged in animation drawing such as walking, jumping, riding a bicycle, or hitting a tennis ball with a racket. In part, Rhode’s art draws in the initiation rituals he underwent in South African high schools where new students were forced to draw and interact with their drawing.


Rhode, Robin. Robin Rhode: variants / edited and coordinated by Honey Luard. London: White Cube, [2011]. 163 pp. chiefly illus., bibl. refs. (pp. 162-163). N7396.R46.A4 2011 AFA. OCLC 746317603

This is the catalog of Robin Rhode’s exhibition held at White Cube Hoxton Square, London, June 8-July 9, 2011, which includes a contribution by Skye Sherwin. For his second exhibition at White Cube, Rhode presented five animations that take the chair designs of Dutch furniture designer and architect Gerrit Rietveld as a starting point. A member of the De Stijl movement, Rietveld aspired to bring high design to the masses. A precursor to the 'flat pack' furniture style now prevalent, Rietveld's designs 'advocated pure abstraction and universality by a reduction to the essentials of form and colour.' In the work 'Piano Chair', the chair acts alongside Rhode's doppelganger as an accomplice to a crime - - in this case the annihilation of a piano. Expanding upon a scene created by Rhode for 'Pictures Reframed' (a collaboration with the composer Leif Ove Andsnes), 'Piano Chair' presents the unusual scenario wherein a composer tries to 'kill' his piano. In the original work, the composer succeeds in drowning his piano by taking it out to sea, and here the protagonist persists with his futile, self-destructive pursuit by attacking the piano. – publisher’s description.


Rhode, Robin. Robin Rhode: who saw who. London: Hayward Pub., 2008. 118pp. illus. (pt. color), bibl. refs. N7396.R46A4 2008 AFA. OCLC 276644770.

Robin Rhode's art is rooted in street performance in Johannesburg where he established a name for himself before decamping to Germany. Walls are his canvas into which he inserts himself playing backetball or riding a bike with shoes made of white chalk. This 2008 catalog accompanys his first London exhibition at Hayward Gallery.


Robin Rhode: walk off / edited by Stephanie Rosenthal. Ostfilden: Hatje Cantz, 2007. 183pp. illus. (some color), bibliog. (pp. 180-181). N7396.R56 A4 2007 AFA. OCLC 154788056.

South African performance artist Robin Rhosd knew early on that he was not going to follow a conventional art career. His work originated out of Johannesburg street art combined with filmed performances. South African was too confining, and he moved to Berlin in 2002 from where his career took off. His photographic series and animation drawings incorporate things such as phantom bikes, basketball hoops, benches, black ties, skateboards, pay phones, yoyos, ping pong tables, merry-go-rounds, and trees. Because his work is meant to be viewed in film-like sequences, the top-to-bottom layout is used in this book.

”Walk off” is how Robin Rhode characterizes his work: he “walks off” from the series of photographs into which he inserts himself and leaves them to the viewer. Best known for his photographic series, Rhode also does animation, performance, films, drawing and sculpture—all of which are featured in this catalog. This catalog is published in conjunction with the exhibition, "Robin Rhode: walk off,” at the Haus der Kunst, Munich, September 16, 2007-January 6, 2008.

Contents: Walk off / Stephanie Rosenthal -- Smudger / André Lepecki -- "Wait a minute, this is Heineken, this should be Black Label..." / Thomas Boutoux interviews Robin Rhode -- Illustration of works : photographic series, animations, performances, film projects, slide shows, drawings, sculptures.


Sadimba, Reinata, 1945-

Gandolfo, Gainfranco. Reinata Sadimba: esculturas/ceramicas, esculturas/ceramicas: sculpture/ceramics. Maputo: Kapicua, 2012. 253pp. illus. (some color), bibliog. (pp. 242-247). Text in Portuguese, English, Spanish. NK4176.9.M6 G36 2012 AFA. OCLC 844691012.

Mozambican artist Reinata Sadimba began as a potter, then moved on to create anthropomorphic pots, which in turn led to her ceramic sculptures for which she is best known today. In this biography Gandolfo draws together the ‘heterogeneous origins and uneven quality of information available’ about her life and work.

Sadimba learned how to make traditional Makonde pots from her mother. As an adult, she has led an atypical life, leaving behind two husbands, moving to Dar es Salaam—where she exhibited her ceramics at Nyumba Ya Sanaa—then settling in Maputo. She has been very productive and enjoys experimenting in creating these unusual sculptures. Gandolfo analyzes the evolution of Sadimba’s work in clay, its vibrant imagery, and her position as an artist between tradition and modernity. Extensively illustrated.


Samb, Issa 1945 -

Word! Word? Word!: Issa Samb and the undecipherable form = Parole! Parole? Parole! Issa Samb et la forme indechiffrable [editor: Koyo Kouoh]. Exhibition catalog. Berlin: Sternberg Press; Oslo: OCA, Office for Contemporary Art Norway, 2013. Text in English and French. 352 pp.: ill (chiefly col.). N7399.S43 S362 2013 AFA. OCLC 890589721

This book accompanied the first presentation in Europe of Issa Samb's eclectic collection of work.

Issa Samb (born in Dakar, Senegal, 1945) is a Senegalese artist and founding member of the Laboratoire Agit’Art, an art movement in Senegal (1973-1983) that emphasized ideas of process, experimentation, and social and political agitation. It especially critiqued and challenged dominant philosophical constructs, including the philosophy of Negritude codified by Aime Cesaire and Senegal’s founder, Leopold Senghor. Samb’s work is interdisciplinary, encompassing sculpture, performance, painting, and theater. He draws from African traditions as well as European avant-garde movements such as Dada and Surrealism.

The Office for Contemporary Art Norway presented Word! Word? Word! Issa Samb and the Undecipherable Form, a collection of Samb’s works over the past 25 years, which included paintings, drawings, sculptures, assemblages, and installations. His collected works also included objects, i.e., artworks make by others, as well as diverse materials from his Dakar studio.

Photographs of all these works, along with Samb’s essays, poetry, and self reviews form the bulk of this exhibition catalog.


Samba, Chéri, 1956-

Jewsiewicki, Bogumil. Chéri Samba: the hybridity of art = l'hybridité / Bogumil Jewsiewicki; [English translation ... Jean-Claude Lefebvre, Frieda Sewald]. Westmount, Québec: Galerie Amrad African Art Publications, c1995. 102pp. illus. (pt. color), bibliog. (pp. 98-99). (Contemporary African artists series; no. 1). Text in English and French. ND1099.C63J59 1995 AFA. OCLC 33153205.

Chéri Samba, who launched his painting career back in the 1970s as "Dessinateur Samba," has become an international artist through perseverance, audacity, and lots of luck. His work, as Jewsiewicki understates it, "is not held back by civilities." Samba tackles all the contradictions, atrocities, and infidelities of contemporary life in Kinshasa and beyond, and in so doing, he captivates an audience in the West. Jewsiewicki explores the nature of this fascination in terms of the dialectic of the Other.

The life story of Chéri Samba provides the backdrop to view the pictorial evolution of his painting and his emergence from artisan to artiste. Jewsiewicki discusses the themes in Samba's painting including self-portraits, mermaids, eroticism, and political and social commentary. Twenty-eight color plates and thirty-eight black-and-white illustrations are included.

Reviewed by Allen F. Roberts in Africa (London) 66 (3) 1996, pages 468-469; by Dennis F. Essar, "Contemporary African art: two portraits," Canadian journal of African studies (Ottawa) 31 (2) 1997, pages 371-377.


Samba, Chéri. Chéri Samba: a retrospective / essay by Jean-Pierre Jacquemin. Oostende, Belgium: Provinciaal Museum voor Moderne Kunst; London: Institute of Contemporary Art, [1991]. 84pp. illus. (pt. color), bibl refs. ND1099.C63S2 1991 AFA. OCLC 25011642.

Chéri Samba has caught the imagination of the West, or some part of it, with his frank, bawdy, satirical, uncompromising vision of contemporary Congo as expressed in his paintings. Characterized by realism and his ever-present running commentary in word-filled cartoon bubbles, Samba's paintings strike a fresh chord for viewers unfamiliar with this style. Though Samba regards himself with pride as one of Kinshasa's popular painters, he has clearly risen above the pack, at least to the extent of being given retrospective exhibitions, such as this one in Oostende, Belgium, and in London. Excerpts from interviews with Samba published here reveal the same brash, self-assuredness as his paintings. The central essay by Jean-Pierre Jacquemin ("Chéri Samba, his life and (im)pious works") tries to capture the spirit of Samba's œuvre -- the moralism, voyeurism, and narcissism. His early paintings in the Mammy Wata genre have been supplanted by more original themes. Samba's patronage has undergone shifts as well, not without influences on his art. Fifty-three paintings, dating from 1979 to 1990, are reproduced in color plates; others are illustrated in black-and-white.

Exhibition reviewed by Wolfgang Bender, "Portrait of life," West Africa (London) no. 3834, February 25-March 3, 1991, page 284.

Samba, Chéri. Chéri Samba: Musée national des arts d’Afrique et d’Océanie, 14 mai-18 août 1997. Paris: Musée national des arts d’Afrique et d’Océanie: Hazan, 1997. 95pp. color illus., bibliog. (pp. 94-95). ND1099.C63S262 1997 AFA. OCLC 38024538.

Of all the new artists presented in the 1989 “Magiciens de la Terre” exhibition, Chéri Samba has gone the farthest and made the biggest name for himself. Yet he remains rooted in his urban milieu of Kinshasa. His sharp eye is always on the lookout for the foibles, indiscretions, villainies and sins of his fellow travelers. He is a passionate chronicler through word and image. In this his first solo exhibition in France in 1997, Samba shows around forty paintings, mainly from private collections, including his most faithful patrons, Jean Pogozzi and Jean-Marc Patras.
Samba, Chéri. J’aime Chéri Samba / edited by André Magnin. Aries, France: Actes sud; Paris: Fondation Cartier pour l’art contemporain, 2004. 137pp. illus (color), bibliog. (pp. 134-135). Text in French and English. ND1099.C63S262 2004 AFA. OCLC 54512752.

Chéri Samba, known for his self-glorification, is quite ready to admit that there is no “harm in singing my own praises.” Extremely successful both at home in Kinshasa and abroad, Samba’s painterly style is direct, didactic, sharp, and always self-referential. One can actually see him age in his paintings from the mid-1970s to the present. This 2004 exhibition, however, focuses on his more recent paintings, mainly from the 1990s and 2000s. Almost all are from the Jean Pigozzi Collection, his biggest patron.

The supremely confident, brash, and sharply observant Samba was making it in Kinshasa as a self-taught artist before being catapulted to international attention in the 1989 exhibition “Magiciens de la Terre.” He rejects the notion of “self-taught,” saying that he was born an artist. In an extended interview with André Magnin (one of his many European patrons and promoters), Samba expatiates on his life, his work, and his success as a world-famous artist. Forty-two paintings are illustrated in color along with a series of photographs from his album, which reveal the full extent of his “dandyism.” Robert Storr provides an essay, “Chéri Samba, painter of modern life,” in which Samba’s work is placed within the larger context of popular art and Congolese life. Samba is obsessed with art-as-art and that his art is recognized as such.

Sash, Cecily, 1924-

Sash, Cecily. Cecily Sash: working years / edited by Victor Thorne. Powys: Studio Sash, 1999. 96pp. illus. (pt. color), bibliog. (page 95). N7396.S25C43 1999 AFA. OCLC 52741798.

Cecily Sash is remembered in South Africa equally as artist and art teacher. Her long and distinguished career is firmly rooted in South Africa, although she chose exile in England in 1974 less for political and social reasons than for personal and artistic ones. She was a member of the short-lived Amadlozi Group in the early 1950s and taught at the University of the Witwatersrand through the 1950s and 1960s. Early travels and study in Europe and America had introduced her to international trends of Op and Pop art, which led to experiments with Modernism in provincial South Africa. The enduring motif in her work are the anthropomorphic birds, which take many forms in her paintings and tapestries. She also executed several public murals in South Africa. In this retrospective look at her œuvre, the several essays that constitute the text are reprinted from earlier publications and catalogs, so there are certain repetitions. The excellent reproductions of her work are presented in a chronological manner to show their evolution and her maturation as an artist.


Schreuders, Claudette, 1973-

Schreuders, Claudette, 1973- Claudette Schreuders / texts by Rory Bester, Faye Hirsch and Antijie Krog. Munich; New York: Prestel Art, 2011. 239pp. illus. (color), bibl. refs. NB1096.S37A4 2011 AFA. OCLC 694395013

Claudette Schreuders’ diminutive figurative sculptures, inspired by West African colon figures, exude an alien, slightly disturbing silence. Some are actual portraits of real people. Even though many of her sculptures depict domesticity and maternity, the unsmiling faces and blank stares create distance between them and the viewer. This catalog covers 17 years of Schreuders’ art production. Text essays are by Rory Bester, Faye Hirsch and poet Antijie Krog.

Reviewed by Elfriede Dreyer in De arte (Pretoria) 85, 2012, pages 92-95.


Searle, Berni

Berni Searle / text by Rory Bester. Cape Town: Bell-Roberts, 2003. 71pp. chiefly illus., bibl. refs. N7396.S43A4 2003b AFA. OCLC 53457252.

By 2003 when Berni Serale was honored with the Standard Bank Young Artist Award, her art career was already well launched. This catalog presents her main body of work from 1999 to 2003, including Colour Me, Discoloured, Snow White, A Matter of Time, and Home and Away. In photos and videos, she uses her own body to explore gender and race within the context of South Africa's peculiar history.


Searle, Berni. Berni Searle: Recent work 2007/8. Cape Town: Michael Stevenson, 2008. 72 pp. illus. (color). N7396.S43 A4 2008 AFA. OCLC 297177990.

This catalogue was published following South African artist Berni Searle’s fourth solo exhibition at Michael Stevenson in Cape Town in 2008, and includes other work as well. The catalogue includes many color illustrations, pieces on different artworks, and a short biography. A poem by Gabeba Baderoon accompanies Searle’s Bathe triptych, while Tracy Murinik writes about Spirit of ’76, a video piece which references American independence and the Soweto uprising of 1976. Marion Arnold examines Once Removed (Head) and Once Removed (Lap), two more triptychs that show wet black crêpe flowers staining first a white veil and then a white skirt. Tamar Garb explores Alibama, a video piece set to the Cape song about the ship Alibama. Annie E. Coombes writes about the video Mute, which Searle made in response to the outbreak of xenophobic violence across South Africa in May 2008. Elvira Dyangani Ose reviews the video Seeking Refuge, which was made on the island of Lanzarote in the Canary Islands for an exhibition on migration. Gavin Jantjes analyses Searle’s Day for Night, a video shot from a lighthouse in Norway.
Sebidi, Mmakgabo Mmapula Mmankgato Helen, 1943-

Leeb-du Toit, Juliette. Mmakgabo Mmapula Mmankgato Helen Sebidi. Parkwood, South Africa: David Krut Publishing, 2009. 96pp. illus. (chiefly color), bibliog. (p. 93). Taxi art book series, 14. N7396.S45A4 2009 AFA. OCLC 448910452.

”I am a colour lady,” declares Mmakgabo Helen Sebidi. And it is true her crowded canvasses – somewhat reminiscent of Malangatana – are full of people of color. Sebidi’s earlier artistic efforts were romanticized rural scenes, but, on the advice of John Koenakeefe Mohl to explore her roots, she developed her distinctive style. Sebidi came up the hard way, lots of pulling her own bootstraps, but she was also fortunate to meet helpful people along the way, in addition to Mohl , David Koloane and Bill Ainslie. In 1989, she was awarded the Standard Bank Young Artist Award

Contents: Introduction / Andries Walter Oliphant -- Basadi ba Malapa : reflections on the self-realisation of Mmakgoba Mmapula Mmankgato Helen Sebidi / Juliette Leeb-du Toit -- Fragments of a conversation : David Koloane and Mmakgabo Sebidi, December 2008 -- Notes -- Bibliography -- Collections, exhibitions, awards.

Critiqued by Brenda Schmahmann in De Arte (Pretoria) 82, 2010, pages 82-92.


Sedira, Zineb, 1963-

Sedira, Zineb. Zineb Sedira: beneath the surface. Paris: Kamel Mennour, 2011. 240pp. illus. (color), bibl. refs. Text in French and English. TR647.S427 2011b AFA. OCLC 79562831.

Zineb Sedira returned to her parents’ homeland Algeria in 2002 after studying art in England. Her early film and photographic work was autobiographical and spoke to memory and personal family history. Larger memories fill her later film work—landscapes of the past. Abandoned buildings, desolate ports, lighthouses, wrecked ships and junked cars speak to memory. So, too, her film of the widow of one of Algeria’s few photographers of the Algeria War, Mohamed Kouaci. Among her best known film projects discussed here: Saphir, MiddleSea, Floating Coffins, Gardiennes d’images, Lighthouses in the Sea of Time, and End of the Road.


Seejarim, Usha, 1974-

Usha Seejarim: show reel [videorecording]. South Africa: Usha Seejarim, [2002]. 1 videocassette. 19 minutes. sd, color. PAL format. OCLC 173512101. video 000780 AFA.

South African artist Usha Seejarim tries her hand at video art with five unrelated sequences, dating from 1999 to 2002. The artist herself does not appear in this video compilation. One segment shows shadows of cars dancing on guard rails, curbs, and verges of highways from a moving vehicle. Another segment watches a flock of city pigeons milling around in a paved lot. Another interviews South African Indians about their origins and ties to India. Seejarim is herself of Indian descent.


Sekoto, Gerard, 1913-1993

Lindop, Barbara. Gerard Sekoto / edited by Mona de Beer. Randburg: Dictum, 1988. xv, [3], 294pp. illus., bibliog. ND1096.S46L74 1988 AFA. OCLC 20732265.

This catalog is an elegant tribute to Gerard Sekoto (in 1988 still living in long exile in Paris), motivated by a desire "to return Gerard Sekoto's paintings to the people of South Africa." It grew out of a correspondence between Lindop and Sekoto from 1986 to 1988 part of which is reprinted here; in it Sekoto tells his own story. Although not a catalogue raisonné, Lindop tried to gather and document paintings from public and private collections both inside and outside of South Africa, covering his entire artistic career, including early works before his permanent departure in 1947 and his subsequent œuvre. Presented in faithful color reproductions, the paintings are both poignant and powerful. Although arranged by chronological period, it was not possible to date individual paintings. The catalog, produced in a deluxe limited edition of fifty copies and a regular edition, quickly went out of print and is now a collector's item.

Reviewed by Merle Huntley in De arte (Pretoria) no. 39, April 1989, pages 78-82; by Anitra Nettleton in South African journal of cultural and art history (Pretoria) 3 (3) July 1989, pages 287-290


Lindop, Barbara. Sekoto: the art of Gerard Sekoto. London: Pavilion, 1995. 64pp. illus. (pt. color), portraits. ND1096.S46L74s 1995 AFA. OCLC 32922527.

Gerard Sekoto chose not to return to South Africa at the end of his life because he felt he would be a victim -- a victim of his newly found, long overdue success. He knew he would be hounded by the curious and could not accomplish anything useful after so long an absence. In a poignant postscript to this book, Sekoto, in a letter to Barbara Lindop, spells out the reasons for his decision.

Sekoto's letters to Barbara Lindop are the seam running through this text. This is a new condensed edition of the now out-of-print 1988 book (see above), which fills in the last years of his life. One of the most compelling features are the brief commentaries on the paintings in Sekoto's own voice. On his famous "Song of the Pick" painting (1946-1947) he writes: "The warden, with his hands in his pockets while smoking his pipe, thinking himself the power, yet being overpowered by the `Song of the pick' with strong rhythm which he can clearly hear so that it diminishes his thin legs into nothingness." (page 49). Some of the comments are not on specific paintings, but are general observations on time and place.

Reviewed by Donna Seaman in Booklist (Chicago) 92 (6) November 15, 1995, page 527.


Manganyi, N. Chabani. A black man called Sekoto. Johannesburg: Witwatersrand University Press, 1996. xiv, 201pp. illus., bibl. refs. (pp. 176-195). ND1096.S45M36 1996X AFA. OCLC 36227481.

This is a clinical biography of Gerard Sekoto by fellow South African, who is a psychologist by profession, whose initial interest was studying "prominent black South Africans who were neglected." Manganyi interviewed Sekoto in Paris and London in several long sessions during the period 1984 to 1986. These interviews, supplemented by letters and other material, form the basis of the biography. It is worth noting that this book project was begun before Barbara Lindop embarked on her rescue mission of Sekoto's career and critical reputation. Delays in publication of Manganyi's book have meant that Sekoto's rediscovery in South Africa and now his death have all transpired.

As a psychobiography, the story of Sekoto is told chronologically and developmentally. The focus has been to see how the man and the artist developed as an adult psychologically, emotionally, and professionally. Each chapter concludes with "interpretative summaries" -- which are not as bad as that sounds -- drawing together the threads of the life and suggesting "possible meanings and significance of various events and situations." Manganyi's text reads more smoothly than this clinical approach would suggest, and it certainly steers clear of "psycho-babble." It enables the reader to better understand what motivated Sekoto and how painting was absolutely central to his life.


Manganyi, N. Chabani. Gerard Sekoto: “I am an African” : a biography. Johannesburg: Wits University Press, 2004. xi, 244pp. illus (pt. color), bibliog. (pp. 229-235). ND1096.S45M37 2004 AFA. OCLC 60504570.

This is a new version of the biography of Gerard Sekoto originally published in 1996 with the title A black man called Sekoto (see preceding entry). Not only is the text rewritten, but new archival material (Sekoto’s suitcase full of private documents) and more interviews are incorporated. This is a biography, not an art historical text. It is about the man, more than his art, but it brings understanding to his œuvre. Sekoto, of course, holds a unique place in the history of 20th century South Africa art, even though he lived in exile for most of his adult life. Manganyi spent many hours with Sekoto in preparing the first biography, and these encounters and exchanges are now part of the story. The critical role of Barbara Lindop in bringing overdue recognition to Sekoto in his later years and after his death, overseeing the untidy affairs of his estate, is also now part of the Sekoto story.

Reviewed by Julie L. McGee in African arts (Los Angeles) 39 (3) autumn 2006, pages 10, 90-91, 96; by Wilhelm van Rensburg in De arte (Pretoria) 72, 2005, pages 90-91; by Michael Chapman in Art South Africa (Cape Town) 4 (2) summer 2005, pages 86-87; by Janet Stanley in African book publishing record (Munich) 33 (3) 2007, page 210.


Sekoto, Gerard, 1913-1993. Exiles: drawings by Gerard Sekoto / Barbara Lindop, Christine Eyene. Johannesburg, South Africa: Afronova, 2008. [96] pp. illus. (chiefly color), portraits, bibl. refs. NC368.6.S6 S452 2008 AFA. OCLC 265000206.

Sekoto’s drawings in exile focused on Paris, his home for 46 years, and Senegal, his only trip back to the African continent. These drawings are very impressionistic, many hastily sketched on scraps of paper. The drawings in this catalog belong to a larger archive of his letters, photos, and other documents, known as the Spier Collection They are now repatriated to South Africa. Also included in this catalog are vintage photographs of Sekoto at the easel, in the jazz club, at the piano. Short essays by Barbara Lindop and Christine Eyene provide context. Despite all those years in Paris, Sekoto never achieved recognition in French art circles or art history.


Sekoto, Gerard. Gerard Sekoto: my life and work / edited by Ivan Vladislavic. Kensington, South Africa: ViVa Books, 1995. 117pp. illus., plates. N7396.S46A4 1995 AFA. OCLC 36371583.

This is the story of South African painter Gerard Sekoto (1913-1993) adapted for young readers (middle school and above). It is also a book about how to look at art. The biographical chapters are based on letters that Sekoto wrote to Barbara Lindop toward the end of his life from his home in France. His paintings artfully tell part of his story from a rural mission station to Sophiatown to District Six and Eastwood to Paris. They not only illustrate the text but also are captioned to heighten awareness of what they reveal about a particular phase of his life. Some of Sekoto's richest paintings come from this early period once he set his course on art.

In 1947 Sekoto left South Africa never to return. He settled in Paris and studied art for a time at the Académie de la Grande Chaumière, but life was a struggle for an impoverished artist who spoke little French. Sekoto was also a talented musician (piano and guitar) and was able to get gigs in nightclubs, which is how he survived. But he suffered a breakdown and spent time in a mental hospital, where ironically he did some poignant charcoal drawings.

Sekoto met Léopold Senghor and later went to Sénégal for the 1966 festival and stayed to travel and sketch. The last decades of his life were hard ones with hospital stays, battles with alcoholism, and futile attempts to keep the soul of his work alive. His later paintings never sustained the vibrancy and vitality of his South African ones, but undoubtedly accurately mirrored his life and surroundings. Fame came at the end of his life from around 1988 until his death in 1993, during which time he was reclaimed by South Africa.

Reviewed by Gerard Hagg in De arte (Pretoria) 54, September 1996, pages 58-60.


Spiro, Lesley. Gerard Sekoto: unsevered ties; [exhibition, Johannesburg Art Gallery, November 1, 1989-February 2, 1990]. Johannesburg: Johannesburg Art Gallery, 1989. 99pp. illus. (color), bibliog. ND1096.S46S75 1989 AFA. OCLC 20845762.

Sekoto was given a long overdue retrospective exhibition at the Johannesburg Art Gallery in 1989. An exile in Paris for four decades has made Sekoto something of a "mythical figure" in South Africa, but his pioneering role in modern South African art is undeniable.

Piecing together the life of Sekoto from primary sources and interviews, Lesley Spiro builds the foundation of Sekoto's biography from his birth in 1913 in the Transvaal. Perhaps his most creative, productive and ultimately influential years were those spent in Sophiatown and elsewhere in Johannesburg and later Cape Town areas in the late 1930s and 1940s. His paintings from this period provide a window on township life, as he experimented in oils, color, shadow and composition; he also began exhibiting at this time. In 1947 he left for Paris. During his long Paris stay, he continued to draw upon South African subjects and rework earlier themes. This catalog is a worthy testimony and tribute to the renewed interest in Sekoto coming as it does toward the end of his life. There were 135 works in the exhibition. Well illustrated; thorough bibliography.

E'skia Mphahlele delivered the opening address at the 1989 Sekoto retrospective exhibition in Johannesburg. His tribute to the trials and achievements of Sekoto are reprinted in full: "Sekoto's story is a sheer blistering effort to survive," Sowetan (Soweto) November 6, 1989, page 4.

Exhibition reviewed by Anitra Nettleton, "From `step-child' to 'father'" South African journal of art and architectural history (Pretoria) 1 (2): 74-75, May 1990; by Marion Arnold in De arte (Pretoria) 41: 66-68, April 1990; in New Nation (Johannesburg) November 3-9, 1989, page 16; "Towering exhibitions," Sowetan (Soweto) November 27, 1989; by Olga Horowitz, "Missing: the artist himself," Star (Johannesburg) November 6, 1989; "Gerard Sekoto works on show in Jo'burg," Star tonight (Johannesburg) October 30, 1989. See also Andrew Steele, "Eminent Sekoto unlikely to return," Sowetan (Soweto) November 7, 1989, who reports that despite belated acclaim of his work in his own country, the seventy-five-year-old Sekoto, South Africa's leading black painter, refuses to come home from forty-two years of self-imposed exile.


Shawky, Wael

Shawky, Wael. Wael Shawky: Al Araba Al Madfuna / edited by Susanne Pfeffer and Heike Catherina Mertens. London: Koenig, 2013. Various pagings, illus. (mainly color). Text in English and Arabic. N7385.S53 A4x 2013 AFA. OCLC 865465079.

This book deals mainly with Wael Shawky’s video installations, including Al Araba Al Madfuna, Cabaret Crusades and theTelematch series. There are essays by Nina Tabassomi, Sarah Rifky, Jessica Morgan, Carolyn Christov-Bakargiev and Heike Catherina Mertens. Also included is the short story by Mohamed Mustagab which is based on, and a conversation between the artist and Susanne Pfeffer. Tabassomi writes on Shawky’s interest in storytelling, as it comes across in Al Araba Al Maduna. Rifky’s essay explores the way in which literature and film have had to take over where religion left off as providers of magical or transcendental experience, using Shawky’s approach to storytelling as an example of this. In their conversation, Shawky and Pfeffer discuss the artist’s early life, education and recent projects. Morgan looks at Shawky’s re-enactments of history, where history is reimagined, with puppets or children replacing adult protagonists, so that any standard or conventional reading of the historical events depicted becomes difficult. Christov-Bakargiev’s essay examines the significance of Shawky’s use of puppetry in a time when other forms of animation are far more common, while Mertens’ discusses the artist’s ‘mystical realism’. Shawky explores cultural and religious identity as attached to the culture he was raised in, providing alternative perspectives on existing narratives by retelling and reframing them.
Shilakoe, Cyprian, 1946-1972

Shilakoe, Cyprian. Cyprian Mpho Shilakoe revisited (born 1946-died 1972): an exhibition of paintings, prints and sculpture: Durban Art Gallery, March 2006-March 2008, Durban: Durban Art Gallery, 2006. 96pp. illus (pt. color), bibl. refs. (p. 14-15). N7396.S55A4 2006 AFA. OCLC 77691835.

One wonders how Cyprian Shilakoe’s art would have evolved had he lived beyond the age of 26. Certainly his was a remarkable and promising beginning. But his premonitions of early death came true in 1972 in a fatal car crash. Shilakoe was a product of Rorke’s Drift art school and was best known for his sensitive and haunting etchings. Less well-known are his wood and clay sculptures. Both are featured in this retrospective catalog.


Shonibare, Yinka, 1962-

Shonibare, Yinka, 1962- Looking up-- :Yinka Shonibare, MBE. Milan, Italy: 5 Continents; Monaco: NMNM, Nouveau musée national de Monaco, 2010. 175pp. illus. (color). Text in French and English. N6797.S53 A4 2010 AFA. OCLC 690879650.

This exhibition is “a dialogue between the imaginary world of Monaco's heritage and that of an Anglo-Nigerian artist. The work of Yinka Shonibare, MBE, including models, sculptures, photographs, and videos, provides the guiding thread for an exploration of collections from the Principality's artistic history that have never previously been shown, or very rarely." –back cover.


Shonibare, Yinka. Yinka Shonibare, MBE. Munich: Prestel, 2008. 224pp. illus. (color), bibliog. (pp. 220-222). N6797.S53 A4 2008 AFA. OCLC 228358419.

In 2005 Yinka Shonibare was honored as Member of the Order of the British Empire that enabled him to add the letters MBE after his name. This arcane British honorific ties in nicely with Shonibare’s Victorian dandies, who represent a time when there actually was a British Empire. That era is gone with the wind. But not Shonibare; he’s on a roll – and he takes his MBE quite seriously. His headless mannequins dressed in Dutch wax prints are proliferating alarmingly with no end in sight. He must be one of Vlisco’s best customers.

The works in this large retrospective catalog include sculptures, paintings, photographs, and films. Contents: Forewords / Elizabeth Ann Macgregor, Arnold L. Lehman, Sharon F. Patton -- Time and transformation in the art of Yinka Shonibare MBE / Rachel Kent -- Yinka Shonibare MBE : The politics of representation / Robert Hobbs -- Setting the stage : Yinka Shonibare MBE in conversation with Anthony Downey -- Plates: Sculpture; Painting; Photography; Film.

The 2014 'revised and expanded' edition was not significantly updated, apart from the addition of photographs of some recent work created between 2009 and 2013.


Yinka Shonibare: Be-muse / curated by Elena di Majo, Cristiana Perrella. Rome: Soprintendenza speciale alla Galleria nazionale d'arte moderna e contemporanea: Museo Hendrik Christian Andersen; Torino: Distribuzione, U. Allemandi,[2001]. 110pp. illus. (color), bibliog. (pp. 108-109). N6797.S53A4 2001 AFA. OCLC 50143148.

Yinka Shonibare sees the use of African fabrics in his art work as a metaphor for his own bi-culturalism, belonging to two worlds: he was born in London, raised in Lagos, lives in England; the fabrics originated in Indonesia, are manufactured in Europe, used in Africa. His headless Victorian dandies clad in African fabrics have become his signature work. His career took off in the mid-1990s with his “Double Dutch” installations, and he is now one of Britain’s rising stars. The figures, tableaux, photographs, and installations are filled with humor and subversion.

In this exhibition in Rome, Shonibare introduces a new series of works based on sculptor Henrik Christian Anderson and writer Henry Janes, two more Victorian dandies, and a photographic series based on Dorian Gray (2001). The catalog goes further back to Shonibare’s seminal “Double Dutch” installation. Includes an interview with Shonibare.


Yinka Shonibare: double dress. Jerusalem: The Israel Museum, 2002. 71pp. illus. (color), bibliog. (p. 71). N6797.S53A4 2002 AFA. OCLC 51060775.

The Israel Museum presented a retrospective exhibition for this mid-career, successful artist, Yinka Shonibare. The catalog features his Double Dutch series, his Victorian dandies photo-montages and tableaux, and his manikins, astronauts, and aliens clad in African fabrics. There are two essays: one by curator Suzanne Landau; the other by art critic Jean Fisher.


Yinka Shonibare: double Dutch. Rotterdam: Museum Boijmans Van Beuningen; Vienna: Kunsthalle Wien; Rotterdam: NAi Publishers; New York: D.A.P./Distributed Art Publishers, 2004. 144pp. illus. (pt. color), bibliog. (page 142). N6797.S53A4 2004 AFA. OCLC 55649109.

Yinka Shonibare adds astronauts and aliens to his repertoire of Victorian dandies, all clad in African fabrics. Humor, whimsy, irony, social critique, and irreverence intermingle in his artistic explorations of cultural identity. In this retrospective exhibition catalog, the multi-faceted Shonibare is viewed by several renowned scholars and critics, who provide deep background on the work – Manthia Diawara, John Picton, Achille Mbembe, Angela McRobbie and others. One essay, by Peter Bailey, discusses the upperclass British Victorian social scene by way of backdrop to Shonibare’s figures and photo-montages. Artist Onyema Offoedu-Okeke offers the Nigerian perspective on international artists such as Shonibare. John Picton gives a history and contemporary context for the African “fancy prints.” Shonibare’s works are widely collected as provenance cited in the catalog reveals.

Reviewed by Margaret E. Reed in African arts (Los Angeles) 38 (2) summer 2005, page 91.


Sidibé, Malick, 1936-2016

Malick Sidibé / André Magnin. 1st Scalo edition. Zürich: Scalo, 1998. 182pp. chiefly illus. TR820.5.S5313 1998 AFA. OCLC 124045786.

Malick Sidibé follows in the footsteps of Bamako photographer Seydou Keïta, but he takes his photography to another level and moves outside of the studio -- to the clubs of Bamako. The photographs from Sidibé’s archive presented here capture the youthful, hip and cool men and women of Bamako at play in the 1960s and 1970s -- mini-skirts and bell-bottoms abound. Sidibé became well-known around Bamako as a party photographer. André Magnin in collaboration with Jean Pigozzi claim credit for introducing Malick Sidibé to a wider world. This book is their project.

There is also a German edition of this compilation (published by Scalo, 1998).

Reviewed by Matthew DeBord in Nka: journal of contemporary African art (Ithaca, NY) nos. 11-12, fall-winter 2000, page 117.


Malick Sidibé, Mali Twist. Paris: Éditions Xavier Barral, 2017. 256 pp., 40 unnumbered pages of plates, illus., bibl refs. (p. 249-250). TR680.S452 2017 AFA. OCLC 1012946468.

Intensely popular among the established artist community and the younger generation alike, Malick Sidibé displayed an intense love for his work and for the people he worked with. As his friend Andres Magnin explains ‘He loved the young people and they loved him. All of his work comes from there, from that love’ (page 9).

Born in Soloba, a small village near the Guinean border, Sidibé’s father decided that Malick should leave and study. From there, Sidibé gained the attention of influential political figures and established artists and eventually opened up his own photography studio, Studio Malick, in the center of Bamako. Though shy, he immersed himself in the youth culture, taking some of his most influential works. As the photographer himself describes in an essay in this monograph, the youth ‘trusted me and felt relaxed around me. This just made the photos all the better. I went to their parties like I would go to a movie or a show. I moved about, always looking for the best position. I was always on the lookout for a photo opportunity, a lighthearted moment, an original attitude, or some guy who was really funny.’ (page 116).

Included within this monograph are essays exploring Malick Sidibé’s oeuvre, a collection of Sidibé’s most influential photographs, as well as replications of a handful of Sidibé’s archives revealing his methods of organization and documentation. All aspects of this book reveal the truly personal connection Malick Sidibé had to his work and the Bamako community. Published in conjunction with an exhibition held at the Fondation Cartier pour l'art contemporain, Paris, October 20, 2017-February 25, 2018.


Malick Sidibé, Mali Twist. Paris: Éditions Xavier Barral, 2017. 256 pp., 40 unnumbered pages of plates, illus., bibl refs. (p. 249-250). TR680.S452 2017 AFA. OCLC 1012946468.

Intensely popular among the established artist community and the younger generation alike, Malick Sidibé displayed an intense love for his work and for the people he worked with. As his friend Andres Magnin explains ‘He loved the young people and they loved him. All of his work comes from there, from that love’ (page 9).

Born in Soloba, a small village near the Guinean border, Sidibé’s father decided that Malick should leave and study. From there, Sidibé gained the attention of influential political figures and established artists and eventually opened up his own photography studio, Studio Malick, in the center of Bamako. Though shy, he immersed himself in the youth culture, taking some of his most influential works. As the photographer himself describes in an essay in this monograph, the youth ‘trusted me and felt relaxed around me. This just made the photos all the better. I went to their parties like I would go to a movie or a show. I moved about, always looking for the best position. I was always on the lookout for a photo opportunity, a lighthearted moment, an original attitude, or some guy who was really funny.’ (page 116).

Included within this monograph are essays exploring Malick Sidibé’s oeuvre, a collection of Sidibé’s most influential photographs, as well as replications of a handful of Sidibé’s archives revealing his methods of organization and documentation. All aspects of this book reveal the truly personal connection Malick Sidibé had to his work and the Bamako community. Published in conjunction with an exhibition held at the Fondation Cartier pour l'art contemporain, Paris, October 20, 2017-February 25, 2018.


Malick Sidibé: la vie en rose / curated by Laura Incardona, Laura Serani. Milano: Silvana, 2010. 157pp. illus. Text in Italian, French, and English. TR647.S5225 2010 AFA. OCLC 610825444.

Malick Sidibé’s photography studio in Bamako is now a tourist destination, following his meteoritic rise to international fame after being exhibited at the first Rencontres africaines de la photographie in Bamako in 1994. Now a septuagenarian, Sidibé has scaled back his photography work, but still has his studio. This 2010 exhibition catalog and similar catalogs focus almost exclusively on his oeuvre of the 1960s and 1970s, clearly his most productive period. According to this catalog, “Sidibé is considered Africa’s most important living photographer” (page 149).

See also the catalog of Sidibé’s photography in Cotonou, Bénin, at the Fondation Zinsou in 2008: Malick Sidibé: exposition Malick Sidibé, 08-16.02-16.05.2008, à Cotonou, Musée de la Fondation Zinsou. Cotonou: Fondation Zinsou, 2008. 191 pp.


Malick Sidibé: photographs. Göttingen, Germany: Steidl; Göteborg, Sweden: Hasselblad Center, 2004. 107pp. illus., bibliog. (p. 104). TR647.S4738 2004 AFA. OCLC 55012477

Malick Sidibé’s black-and-white portrait photographs capture the spirit, aspirations and desires of his subjects in Bamako, Mali. Group portraits, family portraits, friends’ portraits, solo portraits – they are a fascinating body of work. Sidibé does not think of himself as an “art” photographer, but others see great artistry in his work. Manthia Diawara, fellow Malian, writes of Bamako in the 1950s and 1960s to offer the social and cultural milieu of what he calls the James Brown era, the era when Sidibé got started in his profession. André Magnin interviews Sidibé to fill in the biographical and personal perspective. Included are photograph from the 1960s through the 1980s, plus a recent series of people from behind (2001).

See also Malick Sidibé, Cotonou, Benin: Fondation Zinsou, 2008, published on the occasion of an exhibition of his photographs in Cotonou, Benin.


Malick Sidibé: portrait of the artist as a portraitist [videorecording] / directed by Susan Vogel for the National Museum of Mali ; Prince Street Pictures ; produced by Susan Vogel, Samuel Sidibé, Catherine de Clippel. New York: First Run/Icarus Films, 2006. 1 videodisc (8 minutes) : sd., color ; 4 3/4 in. In French with white English subtitles. video 000693 AFA. OCLC 68907552.

This film looks at the work of a renowned Malian artist whose photographs have documented social and cultural changes in Mali over a 40-year period. In an interview, this self-taught photographer discusses his views of photography as a social art form and explains his documentary and portrait techniques.

Reviewed by Lisa Binder in Nka: journal of contemporary African art (Ithaca, NY) nos. 22-23, spring-summer 2008, pages 200-201.


Sidibé, Malick, 1936-2016 Chemises / curated by Paul Cottin, Jérôme Sother. Göttingen: Steidl, 2007. 1 volume (unpaged). illus. (color). TR681.Y6S53 2007 AFA. OCLC 229995192.

This photo archive of Malick Sidibé is lifted directly from the photograph folders of the people and events of Bamako that he photographed. Typically Sidibé would photograph in the evening at a party or club, return to his studio to develop the film, then number and paste the photos into folders, and let people order copies. These photos are from the 1960s and 1970s. The archive of his earlier work was destroyed in a fire.


Sidibé, Malick, 1936-2016. Malick Sidibé: The portrait of Mali / edited by Laura Incardona, Laura Serani and Sabrina Zannier. Milan: Skira, 2011. 183pp. illus. (some color), bibliog. (p. 165). Text in English, Italian and French. TR680.S45613 2011 AFA. OCLC 793773986.

We cannot seem to get enough of Malick Sidibé. Here he is shoehorned into a series on travel photography--Sinetica Landscape. The ‘traveler’ is the viewer going to Mali, not Sidibé who remains anchored in Bamako. Apart from the usual black-&-white portraits and clubbing scenes, there are sports players and less familiar rural scenes of his hometown of Soloba, 300 km. from Bamako. The portrait of Mali focuses on work made by Sidibé from the early 1960s up to the late 1980s and includes essays by Sabrina Zannier, Laura Serani and Laura Incardona. There is also an Italian edition, Il ritratto del Mali.


Sihlali, Durant, 1935-

Sihlali, Durant, 1935- Durant Sihlali: mural retospective = les murales, 1960-1994 / [edited by Marc Sarrazin]. Soweto: Alliance Francaise, 1994. 72pp. chiefly color illus., bibl. refs. (page 11). ND1096.S57S57 1994 AFA. OCLC 33163394.

Sowetan artist Durant Sihlali has always been an experimenter with different techniques and different materials. Exploring possibilities with materials at hand, he feels that no artist should complain that things are lacking with which to make art. His own explorations have led to linoprinting, collage, and painting. Sihlali's recent work re-claims the significance of mural art, which harks back to his childhood in the Eastern Cape where Ndebele murals were part of the landscape.

In this retrospective catalog, Sihlali writes of his early life and its influences on his later art. Elza Miles provides an essay on Sihlali and his artistic career. A complete resume is also given (pages 66-70). The illustrated works begin with his watercolors from the 1960s, which capture the colors and patterns of rural Ndebeleland. By the 1990s, these colors and patterns have metamorphosed into abstract compositions of complexity and movement, which Sihlali calls his "wall series." Another metamorphosis is evident in the shift to a graffiti series, which bursts with urban energy.


Siopis, Penelope, 1953-

Penny Siopis / edited by Kathryn Smith. Johannesburg: Goodman Gallery Editions, 2005. 171pp. illus. (color), bibliog. (pp. 166-167). N7396.S58A4 2005 AFA. OCLC 58594077.

Penny Siopis is one of South Africa’s best known artists, who invests her work with passion, self-criticism, and a strong feminist streak. She is by nature a collector, an accumulator of things, cast-offs and treasured objects alike, that find their way into her installations and mixed media works. She studied painting and still returns to that medium, but not quite in the classical way, as in her innovative Pinky Pinky series. She explores family history, her Greek ancestry, in “My Lovely Day” video. The text in this monograph on Penny Siopis is a series of essays by Colin Richards, Griselda Pollock, Brenda Atkinson, Jennifer Law, and Sarah Nuttal, and an interview with Siopis. Extensively illustrated.

Reviewed by Michael Herbst in Art South Africa (Cape Town) 3 (4) winter 2005, page 85.


Siopis, Penelope, 1955- Penny Siopis: time and again / edited by Gerrit Olivier. Johannesburg, South Africa: Wits University Press, 2014. 319 pp. illus. (chiefly color), portraits (chiefly color). N7396.S58 2014 AFA. OCLC 903199327.

Time and again is an art book by Penny Siopis, the release of which coincided with a retrospective exhibition of her paintings. This book contains Siopis’ artwork, as well as an unfolding conversation between Siopis and the book’s editor, Gerrit Olivier, who also wrote the book’s introduction. The first chapter by Achille Mbembe on Siopis’ latest work at the time considers how creation occurs in the wake of loss. Other themes, such as history, sexuality, race, memory, estrangement and violence, are explored in commentaries by T.J. Demos, Jennifer Law, Njabulo Ndebele, Sarah Nuttall, Griselda Pollock, and Colin Richards. Includes also a conversation between Siopis and William Kentridge that illuminates the trajectory of their own work and that of South African art.

Siopis’s primary artistic medium is painting. Her work often covers controversial topics, such as her cake paintings, which used oil paints and evocative images of cakes to evoke the female body, and her ‘history paintings,’ collage works which served as allegories for then-contemporary South Africa. She sometimes uses the paint itself—not just the picture the paint creates, but the physical item of the paint—to convey meaning, such as oil paintings changing over time representing women ageing. Much of her work attempts to cover controversial topics, but not in an inherently obvious way, instead using allegory and allusion to convey meanings beyond what might otherwise be expected.


Sirry, Gazbia, 1925-

Gazbia Sirry: lust for color / edited by Mursi Saad El-Din. Cairo, Egypt: American University in Cairo Press, 1998. xv, 51, [164]pp. of plates. illus. (pt. color), bibliog. (p. [6]). N7385.S57A4 1998 AFA. OCLC 39193223.

Egyptian women of Gazbia Sirry’s generation did not become artists, but she declared her independence and did just that. Her whole life has been Art. Born in 1925 in Cairo, Sirry had formal art training in Egypt and abroad. As an artist she matured early in her career and has been brilliantly successful and active ever since. Color has always been a constant and critical element in her painting. Her style, however, has evolved considerably, as is clear by the large selection of works presented chronologically in this catalog. Several essays, appreciations, and excerpts from previously published articles offer a wide range of views on this much-fêted artist.


Sithole, Lucas, 1931-1994

Haenggi, Fernand F. Lucas Sithole 1958-1979: a pictorial review of African’s major black sculptor. Johannesburg: Haeggni Foundation Museum, 1979. 236pp. illus. NB1096.S5A4 1979X AFA. OCLC 07736942.

Sculptor Lucas Sithole is one of the Polly Street artists who trained under Cecil Skotnes for one year, 1959-1960. Since then, he has had a successful career which includes numerous solo and group exhibitions and a few commissions. Sithole sculpts primarily in indigenous woods but also has executed stone and metal sculptures. It is a little known fact that he exhibited work at the 34th Venice Biennial in 1968, one of the first African artists to do so. His sculptures are typically tall, extremely attenuated human figures. Equally typical are human heads and animal sculptures. Surely his most dramatic piece is “Wounded Buffalo,” a large bronze outdoor sculpture.

This catalog, which is chiefly illustrated, was published in conjunction with retrospective exhibitions of Sithole’s work in Johannesburg and Pretoria in 1979. A chronological index of major works has been compiled, giving titles of works, medium, size and owners.


Skotnes, Cecil, 1926-

Skotnes, Cecil. Cecil Skotnes / editor, Frieda Harmsen; authors, Frieda Harmsen, Neville Dubow, Michael Godby, Stephen Gray, Elizabeth Rankin, and Pippa Skotnes. [Pretoria]: South African Breweries, Beer Division, c1996. 240pp. illus. (pt. color), color plates (pp. 177-240), bibl. refs. N7396.S59A4 1996X AFA. OCLC 37567479.

On the occasion of Cecil Skotnes' seventieth birthday in 1996, he was honored with a reprospective exhibition at the South African National Gallery, Cape Town, and with this book which surveys and celebrates the career of this remarkable and still active artist. The name of Cecil Skotnes is closely associated with the Polly Street Art Centre, Johannesburg, where he was a teacher and fellow artist. The son of missionaries, Skotnes is equally well known for his religious art and numerous mural commissions for churches. One of his most recent commissions (1995) is "The Last Supper" at the Institute for Catholic Education, Waterkloof, Pretoria. Secular themes and historical subjects are just as prevalent in his œuvre. The Shaka Zulu portfolio of prints (1973), executed in collaboration with Stephen Gray, was a landmark project. Cecil Skotnes is also the father of Pippa Shotnes, who inherited his artistic talent as a printmaker. In this book, she contributes an essay: "At the cutting edge: Cecil Skotnes as printmaker."

Other contributers to the volumes are Frieda Harmsen, who writes the lead essay -- an overview of Skotnes' life and career; Elizabeth Rankin, on Polly Street; Stephen Gray, on the Skotnes-Gray block books; Michael Godby on landscape in Skotnes' work; Neville Dubow, talking with Skotnes; and Harmsen, again, on the religious art. Curruculum vitae and many illustrations are included, plus more than sixty color plates.


Sousa, Albino Neves e, 1921-1995

Neves e Sousa: pintor de Angola, 1921-1995 /project coordinator, Miguel Anacoreta Correia. Lisboa: Sextante Editora, 2008. 176 pp. illus., bibl. refs, (p. 163). ND1099.A53 S6736 2008 AFA. OCLC 373478145.

Albino Neves e Sousa (1921-1995) was a Portuguese-Angolan painter best known for his colorful paintings of Africans as ethnographic types. Some were portraits; some illustrated rituals and ceremonies, including Carnival. These portraits were typically stereotyped depictions of women—bare-breasted and laden with jewelry and other body ornaments. He also painted landscapes and murals commissioned for public buildings in Luanda. A poet as well, Neves e Sousa published and illustrated his poetry books. His travels took him to other Portuguese African territories—Mozambique, Guinea-Bissau, Cape Verde, Sao Tome e Principe—as well as Brazil where he later settled. All of these settings offered people and landscapes for his painting.


Sow, Ousmane, 1935-2016

Céna, Olivier. Ousmane Sow: la splendeur sauvage des hommes / Olivier Céna; photographs by Jean-Marc Tingaud. Paris: Télérama, 1999. 80pp. illus. (color), portrait, bibliog. (Hors série) NB1099.S43C46 1999 AFA. OCLC 41291524.

Ousmane Sow lives on an oceanfront property in Dakar, where the beach sand becomes one of the ingredients in the large sculptural figures that he is now known for internationally. In this “day-in-the-life-of” visit to Ousmane Sow, Olivier Céna presents an up close and personal view of the artist and the environment in which he lives and works. At the time of this extended encounter, Sow is completing his massive series of sculptures on the Battle of Little Big Horn and the defeat of General Custer. Before its installation on the Ponts des Arts in Paris, the Indian sculptures are installed on the corniche in Dakar for the exclusive previewing of Senegalese. This pocket-book Hors série aims to affordably introduce one of the outstanding contemporary artists in the world.
Pivin, Jean Loup. Ousmane Sow: sculptures / a book directed and written by Jean Loup Pivin and Pascal Martin Saint Leon; photographs by Jean-Marc Tingaud, Béatrice Soule and Philippe Bordas. Paris: Editions Revue noire, c1995. 184pp. illus. (pt. color), ports. NB1099.S43S6936 1995X AFA. OCLC 33969184.

The human sculptures of Ousmane Sow are "rarely isolated; they form scenes, as in some immobile theatre." Large and dramatic, these figures appear frozen in action. Ousmane constructs them on a skeletal armature of concrete-reinforcing steel by molding and modeling for body with plastic laminate, covered with jute, cloth and clay. His best known "ethnographic" series of sculptures are fully illustrated in this book: the Nuba wrestlers, the Maasai herders, the Zulu king and retinue, and the Fulbe cattle-herders. He acquired his knowledge and sensitivity to human anatomy while knocking about Paris as a young man, when he took a diploma course in physiotherapy. That became his occupation, but his passion is art. As an artist Ousmane is self-taught, which he regards as a kind of freedom. He experimented for years in the confines of his studio, and eventually arrived at his formula. Abandoning physiotheraphy altogether, he now devotes full-time to art.

It was not until the mid-1980s that he made the Nuba series, his first successful sculptures. His work suddenly attracted attention at home and abroad, and exhibitions and sales followed. Ousmane continues to lead a somewhat solitary life in his seaside house-studio compound in Dakar. This brooding, thoughtful man is a little daunted by the sudden fame that has come in mid-life. His next series of sculptures will be of Native Americans.


Sow, Ousmane, 1935- Ousmane Sow / photographies, Béatrice Soulé. Arles: Actes sub, 2006. 251pp. illus. (pt. color). NB1099.S43S692 2006 AFA. OCLC 76785178.

Septuagenarian Ousmane Sow continues to create and innovate at his seaside home-atelier “The Sphinx,” itself a brilliant design and construction rising on the beach sands. The most interesting sculptural innovation is Sow’s move to bronze in which his familiar muscular figures, such as the Nuba wrestler, are cast in bronze and partially painted. Another new series constructed with armature, jute, clay and plastics is “The sage, the novice and the initiate” and “the petite Nuba sculptures.” This volume offers many glimpses of Sow at work in his studio and close-up photographs of his sculptures. The main essay is by Jacque A. Bernard with short appreciations by Germain Viatte (1998), Emmanuel Daydé and Laurence Rinder (2003).

Béatrice Soulé also did a video of Sow: Ousmane Sow, le soleil en face, Neuilly-sur-Seine: Le P’tit jardin; Paris: Actes sud (distributor), 2006. 1 videodisc (81 minutes), color. Video 001075 AFA. OCLC 554575400.


Sow, Ousmane. Ousmane Sow: le soleil en face. Paris: Le pétit jardin, 1999. 159pp. illus. (color). Note: Ouvrage réalisé à l’occasion de la rétrospective des œuvres d’Ousmane Sow sur le Pont des Arts, 20 mars-20 mai 1999. fNB1099.S43S692 1999X AFA. OCLC 41505928.

Ousmane Sow’s ambitious series of sculptured figures entitled “Nattle of Little Big Horn” tackles the heroic-tragic battle of the Dakota Indians versus General George Custer and the U.S. Cavalry in 1876. Exhibited in Dakar, the series expands Sow’s repetoire from his earlier “ethnographic” series on the Fulbe, Zulu, Maasai, and Nuba. All five series are illustrated in color in this volume together with an interview with the artist and short essays and critiques of his œuvre.
Sow, Victor Forestier

Victor Forestier Sow: a pioneer Malian painter / edited by Pascal James Imperato and Austin C. Imperato. New York: QCC Art Gallery, 2014. xii, 72pp. illus. (some color), bibliog. (pp. 69-70). ND1099.M33 S692 2014 AFA. OCLC 861744793.

Victor Forestier Sow is not a well-known Malian artist. But American doctor Pascal James Imperato knew him during the time in the 1960s he was in Mali working on the smallpox eradication program. Sow sold Imperato several paintings, seventeen of which are he still owns. They are featured in this exhibition catalog at the Queensborough Community College Art Gallery.

Sow, of Malian father and French mother, painted scenes, historic architecture, and ethnic portraits—many based on photographs and illustrations. He also painted portraits commissioned by expatriates like Imperato, based on their family photos.

Contents: At home in the faraway : a personal reflection on the work of Victor Forestier Sow / by Austin C. Imperato -- A personal remembrance of Victor Forestier Sow / by Pascal James Imperato -- A short history of painting in Bamako / by Paul Ramey Davis -- Catalogue of paintings.


Spilhaus, Nita, 1878-1967

Elliott, Peter, 1950- Nita Spilhaus (1878-1967) and her artist friends in the Cape during the early twentieth century. Cape Town: Peter Elliott [2015]. 194pp. illus. (chiefly color), portraits, bibl. refs. N7396.S65 E45 AFA. OCLC 921863390.

Born in Portugal in 1878, Nita Spilhaus was raised in Germany where she studied art. She moved to the Cape, South Africa, in 1907. There, she met with the richness of the local artistic works and enjoyed the friendship of many artists, including Pieter Wenning, Hugo Naudé, and Ruth Prowse. Her German background put some limitation on her artistic activity during World War I. Part I of this book focuses on her upbringing, circle of friends, and married life.

The main focus, however, is on her painting, showing its beauty and originality. Nita depicted her favored landscapes in different media and gave each work an interesting effect. As in Cape view with stone pines, Kloof Corner, and Table Mountain, her paintings often illuminate the magnificence of trees and the grandeur of mountains. Her casual composition and realist colors are underscored by variation in texture, tone, solidity of brush stroke, and boldness of the palette knife.


Stern, Irma, 1894-1966

Arnold, Marion I. Irma Stern: a feast for the eye. Vlaeberg, South Africa: published for the Rembrandt Van Rijn Art Foundation by Fernwood Press, 1995. 156pp. illus. (pt. color), bibliog. (page 154). ND1096.S8A76 1995 AFA. OCLC 35298732.

Irma Stern's paintings are remarkable for their saturated colors and sensory nature. Her most arresting works are portraits of Africans, but she also paints landscapes and still lifes. Some of the still lifes incorporate works of African sculpture from her personal collection, e.g., "Buli stool with fruit" (1952), which depicts a Luba caryatid by the Buli master (page 146).

In this full-blown art historical study of Irma Stern, Arnold explores the life and work of this expressionist painter whose "vision of Africa" has today "become a target for post-colonial analysis and is often discussed as too eclectic, politically incorrect, and as a mere appropriator of other cultures" (page 150). Arnold takes a more sympathetic view, while recognizing the limitations of the artist and the woman. There is, however, no denying the richness of Stern's œuvre -- a feast for the eye. More than one hundred paintings are reproduced in color.

Reviewed by Karin M. Skawran in De arte (Pretoria) 54, September 1996, page 58.


Berman, Mona. Remembering Irma: Irma Stern: a memoir with letters. Cape Town: Double Storey, 2003. vii, 184pp. illus. (pt. color). ND1096.S8B47 2003 AFA. OCLC 53216960.

Mona Berman’s memories of Irma Stern are childhood recollections of the imperious and eccentric artist, who was a friend of Freda and Richard Feldman, Berman’s parents. As a child Berman resented and avoided Stern during her extended visits to her parents. Now she takes an extremely sympathetic view of both the artist and her parents’ relationship with her. Stern visited the Feldmans often and corresponded frequently over three decades. Her letters to the Feldmans, which are the centerpiece of this memoir, reveal the more personal and intimate side of Stern as well as the complexities of her personality. The Feldman’s admired and purchased Stern paintings and were sitters for multiple portraits. This book is fascinating reading.


Dubow, Neville. Irma Stern. Cape Town: Struik, 1974. 64pp. illus. (chiefly color), bibliog. (pp. 62-63). Series: South African art library. ND1096.S8D82X 1974 AFA. OCLC 01339099.

The discovery of Irma Stern's personal journal after her death in 1966 opened the way for a better understanding of this artist, especially the early years covered in the journal. Neville Dubow's essay on her life and work introduces the reproductions of her paintings and drawings, which are the focus of this volume.

Stern's journeys in the 1930s and 1940s to the Congo and to Zanzibar profoundly influenced her painting; some of her most memorable paintings depict people she encountered on these travels. She was also a collector of African art (including a Luba caryatid by the Bulu master). Her home in Rosebank, Cape Town, is today a museum where many of her works, her art collection and her studio can be seen.


Irma Stern und der Expressionismus: Afrika und Europe : Bilder und Zeichungen bis 1945 / Jutta Hülsewig-Johnen, Irene Below. Bielefeld: Kunsthalle Bielefeld: Kerber, 1996. 238pp. illus. (pt. color), portraits, bibliog. ND1096.S8H8 1996 AFA. OCLC 37673831.

South African painter Irma Stern was active until her death in 1966, but this German exhibition catalog focuses on her life and career up to 1945. Born in South Africa into a German-Jewish family, she studied art in Germany and later spent some years in Germany. But most of her productive career was spent in Cape Town, South Africa. She took extended trips to the Congo and Zanzibar, which resulted in some of her best known paintings. She also painted South African still lifes, and landscapes. More than one hundred of her works are reproduced in color in this catalog, accompanied by six essays by scholars, and selections of her writings.


Sachs, Joseph. Irma Stern and the spirit of Africa. Pretoria, J. L. van Schaik, 1942. 63pp. illus., plates. ND1096.S8S12 1942 AFA. OCLC 11894821.

This small study looks at the African moods and themes in the painting of Irma Stern. It was written shortly after she had taken her major African journeys, but before she had published her own versions of those travels in Congo (1943) and Zanzibar (1948). Sachs likens Stern to Gauguin: "Irma Stern did for South Africa what Gauguin has done for the South Seas..." (page 27).


Schoeman, Karel. Irma Stern: the early years, 1894-1933. Cape Town: South African Library, 1994. 127pp. illus., bibliog. (pp. 115-118). Series: General series (South African Library); no. 22. "Tentative chronology," (pp. 113-114). ND1096.S8S37 1994X AFA. OCLC 34974806.

The story of South African artist Irma Stern's early years is based upon her papers deposited in the South African Library. It makes available in English translation materials about this well-defined period in her life. Schoeman is careful to point out that this book is intended as a biography and a work of reference, not an art historical analysis or interpretation of her painting.

Stern grew up in a German-speaking community in the Transvaal and spent extended periods of her youth and early adulthood in Germany, but eventually settled in Cape Town. Her career as an artist was very much influenced by art trends and developments in Germany and to German Expressionism in particular. She often chose to paint Africans whom she sketched on travels in South Africa and elsewhere on the continent. She began exhibiting in South Africa in the early 1920s and also appeared in art exhibitions in Europe. 1933 marked a sharp divide in her life: divorce, severing of ties with Germany with the rise of Nazism, and cessation of use of the German language.


Stern, Irma. Irma Stern: expressions of a journey. Johannesburg: Standard Bank Gallery, 2003. 191pp. illus. (pt. color), portraits. ND1096.S6A4 2003 AFA. OCLC 54406959.

In this major retrospective exhibition of Irma Stern, South Africa rightfully reclaims one of its best known artists. Stern’s paintings are familiar and widely reproduced, but this catalog pulls them together in a coherent and satisfying way. Her paintings are presented thematically: portraits, figure studies and groups, landscapes, and still-lifes. Photographs and caricatures capture the imposing Stern at various periods of her life. The catalog includes essays by Wilhelm van Rensburg, Karel Schoeman, Alan Crump, Irene Below, Marion Arnold, Neville Dubow, and Mona Berman. Dubow’s essay describes her house in Cape Town, The Firs, which is today the Irma Stern Museum, where one can see her fine African art collection and her studio exactly as it was when she died in 1966.

Reviewed by Pieter Swanepoel in De Arte (Pretoria) 70, September 2004, pages 58-61.


Stern, Irma. Journeys to the interior: unseen works by Irma Stern, 1929-1939 / text by Andreas Lewis; editor, Shea Albert. Cape Town: Kaplan-Kushlick Foundation, 2006. 103pp. illus. (pt. color), bibl. refs. (P. 101). N7396.S74A4 2006 AFA. OCLC 71209182.

Irma Stern wan not only influenced by German Expressionism, she was part of the movement. She was mentored by Max Pechstein. From her art tuition in Germany in the 1910s, she carried back to South Africa the sensibilities and idealizing precepts of “the primitive” that characterizes German Expressionism. After she severed all ties with Germany in 1933, she turned her painterly attention to the light and color of Africa. Her free-form paintings of “exotic” people were not initially appreciated in provincial South Africa. This exhibition focuses on her work in that critical decade 1929 to 1939 and includes lots of her sketches as well as paintings.


Stern, Irma. Paradise: the journal and letters (1917-1933) of Irma Stern / edited, with a commentary by Neville Dubow. 1st edition. Diep River: Chameleon Press, 1991. 112pp. illus. (some col.). bibl. refs. (p. 110). ND1096.S8A2 1991 AFA. OCLC 26933020.

Born in the Transvaal, South Africa in 1894, Irma Stern's background was German and her education was in Germany, "but it was Africa that provided her inspiration, her impetus, and her artistic raison d'etre." Her journal was found after her death in 1966. The entries are complemented by richly colored gouache sketches. The book provides full-page reproductions of the fifty-two pages of art work and English translations of her German entries. Her letters to a German friend, Trude Bosse, are considered crucial to understanding the artist's emotional life. The earlier letters were enlivened with sketches.

Reviewed by Madelein (Madelyn) van Biljon in South African arts calendar (Pretoria) 16 (3) 1991, page 29; by Karin M. Skawran in De arte (Pretoria) 47, April 1993, pages 45-46.


Stopforth, Paul

Stopforth, Paul. Paul Stopforth. Parkwood, South Africa: David Krut Pub., 2010. 96pp. (TAXI art books, 15). Illus. (pt. color), bibl. refs. (p. 94). N8217.A62S76 2010 AFA. OCLC 657311282.

South African Paul Stopforth has persistently born witness to man’s inhumanity to man. Initially, his highly political art attests to the dehumanizing effects of apartheid. Best known are his Biko series and the Deaths in detention series. Since the transition to democracy in South Africa, Stopforth engages with more philosophical streams of collective memory. Stopforth emigrated to the United States in 1988, where he still lives, but he returns to South Africa. In 2004 he had a residency on Robben Island, which marked his re-engagement with his homeland.

Contents: Introduction / Judith Mason -- Collecting evidence : art and the apartheid state / Anne Sassoon -- The logic of the relic : traces of history in stone and milk / Leora Maltz-Leca -- Exile on Main Street : the American works of Paul Stopforth, 1989-2009 / Kate McCrickard -- Selected exhibitions -- Selected bibliography -- Honours and awards -- Collections -- Biographies.

Reviewed by Shannen Hill in De arte (Pretoria) 84, 2011, pages 105-108.


Sy, El Hadji, 1954-

Sy, El Hadji. El Hadji Sy: painting, performance, politics / edited by Clémentine Deliss, Yvette Mutumba. Zurich: diaphanes, 2015. 407 pages. illus. (chiefly color), bibl. refs. Parallel texts in English and German. N7399.S43 S942 2015 AFA. OCLC 907669120.

For more than thirty years the Weltkulturen Museum in Frankfurt, Germany, has had a relationship to Senegalese artist El Hadji Sy. This first book-length art historical work on Sy is based on the retrospective exhibition at the museum. It contains essays and interviews as well as over four hundred illustrations.

El Hadji Sy believes the artist as an individual is a Western concept, Sy clearly identifies himself an artist of the people and his art as part of a “collective.” He believes in transforming space and experimenting with materials, such as rice bags, baskets, mats, fabrics, wood, and aluminum. In his arrangement of local material, Sy includes objects from museum collections from countries as far apart as Papua New Guinea and Mali. Moreover, he uses his feet to paint, because he does not want to limit the relationship of painting between eye and hand. For example, one of his installation is a combination of an image of the former Senegalese president, Abdoulaye Wade (“Le Puits,” The Well, 2014), hanging on a wall staring at the painted opening of a well on the floor, surrounded by four wooden stools. It is a combination of the ethnographic, the political and museal narrative to question authority and contemporary values.

The artwork of El Hadji Sy consists of visual narratives that combine painting, installation, and performance. Commentaries on various aspects of El Hadji Sy’s art are provided, including his views on Léopold Senghor, by Hans Belting, his quest for post-negritude by Mamadou Diouf, and the social engagement of his art by Julia Gross. The catalog also provides a glimpse in the life of El Hadji Sy as an artist, curator, and activist.

Reviewed by in African studies review (Piscataway, NJ) 60 (2) September 2017, pages 266-268.


Takawira, Bernard, 1948-1997

Guthrie, Roy. Bernard Takawira. Harare: Gallery Shona Sculpture, [1988]. iv, 84pp. illus. (pt. color), maps, bibliog. (Prominent sculptors of Zimbabwe). NB1096.6.R5G98 1988 AFA. OCLC 20548959.

Few artists in Africa have had monographs devoted exclusively to their life and works. Takawira, one of the most prominent of the Zimbabwe stone sculptors, is a logical choice for the first in a series of "Prominent Sculptors of Zimbabwe." Guthrie, who runs the Gallery Shona Sculpture-Chapunga Village, writes of Takawira's background and artistic development. Frank McEwen, formerly director of the National Gallery of Zimbabwe in Harare, contributes his reflections on some of Takawira's recent works, which he has seen only from photographs. Takawira himself speaks about individual works. This book illustrates around sixty works, ten in color. Also includes photographs of Takawira and information on the types of stone and tools he uses.


Tayou, Pascale Marthine, 1967-

Pascale Marthine Tayou: I love you! / edited by Yilmaz Dziewior. Bregenz: Kunsthaus Bregenz, 2014. 239pp. illus. (color). Text in English and German. N7399.C33 T302 2014. OCLC 888469117.

Published to accompany an exhibition of the same name at Kunsthaus Bregenz, 25 January – 27 April 2014. This is a detailed catalogue, which goes through the works floor by floor, as they were presented at the gallery. Okwui Enwezor writes on Tayou’s ‘nomadic imagination’ and his methodology of working on exhibitions, to some extent, as they happen, where they happen. Enwezor looks at this in relation to migration, which he suggests involves the same sense of contingency, the same necessity of working with whatever comes your way. Enwezor also explores the greater acceptance of African artists by the international community, in contrast with the tightening of controls on migration (particularly in the EU). Yilmaz Dziewior provides a detailed discussion of the exhibition, with information on individual works that helps to fill in the contexts in which the works were made. Also included is a transcript of the lecture given by the artist at the exhibition opening.
Tayou, Pascale Marthine, 1967- . Pascale Marthine Tayou: always all ways. Pistoia: Gli ori; Lyon: Musée d’art contemporain’ Malmo: Malmö Konsthall, 2011. 346pp. illus. (color), bibl. refs. Text in English, French and Swedish. N7399.C33 T392 2011 AFA. OCLC 759152340.

Pascale Marthine Tayou is a self-proclaimed nomad, “a rolling stone who does gather moss,” i.e. accumulates stuff. The scale and improvisational natural of his practice require technicians and helpers to become part of the creative process of fabrication and installation. He works on site – “a visual and spatial challenge” – so that even the artist doesn’t know how it will turn out.

In 2011 Tayou had a huge exhibition "Always all ways" at Malmö Konsthall, Malmö, May 22-August 22, 2010 and at the Musée d'art contemporain, Lyon, February 24-May 15, 2011. Held in two countries, Sweden and France, across multiple unexpected venues both indoors and out, Tayou’s exhibition is monumental. In Lyon, his exhibition spilled out into the streets and shops (butchery, stationery, antique store) and public buildings (cathedral, police stations, bank, warehouse).

Tayou is well known for the endless variety of things he collects, amasses, sorts: scaffolding, cars, furniture, umbrellas, flags, Plexiglas figures, enamel containers, bird houses, spices, black cassocks, giant log-pencils, “open” signs, lots of textiles and plastic. In short, all manner of detritus. This catalog is chiefly a photo documentation of the exhibition “Always all ways.” Content of the catalog: Always all ways / by Jacob Fabricius, Thierry Raspail -- Pierre qui roule amasse mousse: interview de Pascale Marthine Tayou / by Pernille Albrethsen -- Pascale Marthine Tayou / by Bernard Blistène -- Lyon : Malmö.


Tayou, Pascale Marthine. Le katalogue. Bern, Switzerland: Kunsthalle Bern, 2001. [128]pp. illus. (color). N7399.C33T392 2001 AFA. OCLC 50503140.

Cameroonian artist Pascale Marthine Tayou chose a magazine format for the catalog of two exhibitions in 2002 – “Le menu familial” at the Kunsthalle in Bern (January 19-March 3, 2002) et “Qui perd gagne” at the Palais de Tokyo, Paris (April 13-June 9, 2002). The result is a rather confusing presentation visually and textually, but it is perhaps true to the spirit of récuperation of his art installations. The squibs and bits of his invited contributors echo the detritus and flotsam that constitute his art. Even the graphic design and layout of the catalog reiterates the dislocation and fractured nature of the man and his art. Interesting as the artist’s presentation of self, it serves less well as a serious art historical understanding of the artist.
Tayou, Pascale Marthine. Pascal Marthine Tayou. Milano: Electa; Rome: MACRO, 2004. 91pp. illus. (color). Text in Italian and English. N7399.C33T392 2004 AFA, OCLC 54787582.

Pascale Marthine Tayou is an artist of récuperation, assembling the consumer products and detritus of modern life in installations and site-specific works that speak to globalization, the immigrant experiences, home and exile, us and them. His is inspired by “madcaps” and scroungers, whose appearance of living free justifies what he is trying to do. Born in 1967 in Cameroon, Tayou abandoned the study of law to follow a passion less restrictive and regimented. Although he lives in Brussels, his Cameroon family ties are often present in his work. In one project he invited his Father to come overseas to be part of an artistic experiment. His latest project is to invite his Mother to Italy to see the Pope. Home and exile, roots and branches, cross-cultural experience. In an interview published in this catalog, Tayou elucidates his life’s journey so far.
Theys, Conrad

Theys, Conrad. The art of Conrad Theys: soul of the land / Alexander Duffey. Stellenbosch: Stellenbosch Art Gallery, 2010. 204 pp. illus. (chiefly color), portraits. ND1096.T449 A4 2010 AFA. OCLC 682866103.

The art of Conrad Theys, published on the occasion of the artist’s 70th birthday, highlights the artist’s contributions to the Cape Impressionist movement. The first two chapters summarize his early life and his later successes—as a black artist Theys faced challenges to be recognized in apartheid South Africa. The other chapters address the different types of paintings he produced. Theys prefers oil painting, but is also proficient with pastels, watercolors, and graphic arts. His work has several recurring themes—panoramic views of the Northern Cape, his homeland; quiver trees, a symbol to him of honest survival and which he uses as a form of self-portraiture; and clouds, which as bringers of rain, represent hope to Theys.


Tibebe Terffa, 1948-

Biasio, Elisabeth and Peter R. Gerber. Tibebe Terffa : der Künstler: von Äthiopien in die Welt = the artist : from Ethiopia into the world. Petersberg, Germany: Michael Imhof Verlag, 2017. 127 pp. illus. (chiefly color), portraits, bibl. refs. Text in German and English. N7386.3.T47 B53 2017 AFA. OCLC 1012941360.

Tibebe Terffa (born 1948) hails from Harar, the ancient city in eastern Ethiopia. He taught art at a high school in Harar after finishing art school in Addis Ababa in 1973. He can look back now at the tragic time of the Derg regime. Tibebe was imprisoned for eight months. His paintings were censored. By 1984, he settled in his home studio in Addis Ababa, where he remains today. After the Derg era, Tibebe, like many Ethiopians, could travel abroad for exhibitions and residencies. His visits to Germany, Switzerland, Canada and the United States opened new opportunities to exhibit his work, but also to be enlightened and inspired by the art and artists he encountered. Although best known as a painter, Tibebe has also done charcoal and ink drawings and has engaged underprivileged children in Addis Ababa in art projects.

Elisabeth Biasio and Peter Gerber give us a thoroughly researched story of Tibebe. Their well illustrated book shows us the spectrum of art over the artist’s long career. The themes and subject matter of his paintings include commentary by the artist—although Tibebe prefers letting the works speak for themselves. In the lengthy introductory essays, Biasio and Gerber ‘paint’ the art scene in Ethiopia from early religious paintings to the lively art scene in Addis Ababa today.


Tillim, Guy, 1962-

Tillim, Guy. Guy Tillim: DaimlerChrysler Award for South African photography, 2004. Pretoria: DaimlerChrysler South Africa, 2004. 1 volume. chiefly illus. TR647.T4665 2004 AFA. OCLC 56433056.

South African photographer Guy Tillim captures scarred people and scarred landscapes in African conflicts across the continent. His photojournalism and war photography are not out of place in an art gallery, although this became an issue when Tillim won the DaimlerChrysler award in 2004. Ivor Powell in his essay defends the fine art quality of Tillim’s photography. The photographic series published in this catalog were taken mainly in Angola and Democratic Republic of the Congo, but also in Burundi, Sierra Leone, Eritrea, and Mozambique. Rory Bester and Renate Wiehager also offer insight into Tillim’s work and the nature of his kind of documentary photography.

Reviewed by Michael Godby in Art South Africa (Cape Town) 3 (3) autumn 2005, page 84.


Tillim, Guy. Second nature / Guy Tillim; afterword by Els Barents. Munich: Prestel, 2012. 112pp. illus. Text in English and French. TR660.5.T55 2012 AFA. OCLC 756180929.

Second nature is not a monograph on Guy Tillim, but rather a catalog of his latest photography project which takes him to French Polynesia and São Paulo, Brazil—by sea! Sailing from Miami he follows the route taken by Captain James Cook and later by Paul Gauguin. The verdant landscapes of Polynesia’s low hanging clouds and sea views are in sharp contrast to the gritty urban cityscapes and monotonous high rises of São Paulo.


Tingatinga, Edward Saidi, 1936-1972

Goscinny, Yves. Tingatinga: the popular paintings from Tanzania. Dar es Salaam: La Petite Galerie, 2004. 164pp. illus. (color), bibliog. (page 63). Text in English and Swahili. ND1097.6.T3G67 2004 AFA. OCLC 219751755.

Of all the Tingatinga books published to date, this is the most comprehensive and thorough. It delves deeply into the artist’s background, family genealogy, business relationship with the Tanzanian government’s cultural establishment, his painting techniques, and his original style. Interestingly, there is a discussion of his all capitols signature, comparing the authentic and the fakes (see page 47). Details of his untimely 1972 death and the aftermath are given. Clearly, we have a much fuller account of Tingatinga’s life and work.

The second half of the book addresses his enduring legacy starting with the five students he had begun to train in 1970 - - Mpata, Tedo, Ajaba, Linda, and Adeusi. This first generation trained a second generation of painters and soon the tight hold of Tingatinga’s closed circle opened up. The stylistic and thematic evolution of Tingatinga paintings following the death of Edward Saidi has not been well appreciated, but Goscinny makes clear that Tingatinga’s personal painting style was uncluttered, typically focusing on a single animal. Later Tingatinga followers greatly elaborated on this style by filling in the empty space with flora and fauna. More recently, urban scenes and narrative paintings have come to play an important part. Many more saw painting as a viable livelihood and joined in. Others saw possibilities by going independent. The Tingatinga school of art has become quite diverse, but remains a largely male enterprise. The Tingatinga Arts Co-operative Society in Morogoro handles sales and marketing. A Tingatinga who’s who concludes the book.


Tingatinga 2010: kitch or quality: bicycle enamel on board and canvas / Tine Thorup; Cuong Sam. Copenhagen: Thorup Art, 2010. 114pp. illus. (chiefly color), portraits. ND1097.6.T3T56 2010 AFA. OCLC 670471874.

Foreigners have been buying Tingatinga paintings for the past forty years, and the Danish are no exception. The Tingatinga 2010 book and exhibition project is a collaboration between Denmark collectors and Tanzanian painters. As the title suggests, the question of “kitsch or quality” has bedeviled the Tingatinga art movement from the beginning. Curator Tine Thorup poses the question head-on: Can originality and authenticity co-exist with copying and duplicating? The reputation of Tingatinga painting as kitsch “overshadows the creativity, talent and originality of many Tingatinga artists” (page 8), yet they still find appreciative buyers.

A 1984 essay by Merete Teisen (originally published in Danish) offers an intimate visit to Tingatinga’s courtyard studio and her conversations with Eduardo Saidi Tingatinga. A postscript by Hanne Thorup and Chitra Sundaram summarizes what followed Tingatinga’s death in 1972. Thorup and Sundaram, moving in a new interpretative direction, speculate whether Makua and Makonde murals were a source of inspiration to Tingatinga. Before he ever painted on board, Tingatinga painted murals on two houses in Dar es Salaam in payment for rent. What led him to monetize his talent, however, were the Congolese street painters he saw in Dar es Salaam, selling to tourists.

Thirty-four Tingatinga painters representing several generations are profiled in this catalog.


Tingatinga: Afurikan poppu-ato no sekai / Kenji Shiraishi and Fumiko Yamamoto. Tokyo: Kodansha, 1990. 115pp. chiefly illus. Text in Japanese and English. qND196.P6T58 1990 AFA. OCLC 28834211.

Eduardo (Edward) Saidi Tingatinga had a very brief artistic career, cut short by his death in 1972. However, he started an informal art movement that now bears his name, and it continues to be active in Dar es Salaam. The Tingatinga paintings are highly colorful and decorative images of birds (the most common subject), wild animals, daily life, and spirit figures (shetini, mganga, and mizimu). They are always painted in flat, bright colors and lack a depth perspective. In this volume, there are 146 paintings, all by Tingatinga's followers, reproduced in color.


Tladi, Moses, 1903-1959

Lloyd, Angela Read. The artist in the garden: the quest for Moses Tladi. Noordhoek, South Africa: Print Matters, 2009. 294pp. illus. (chiefly color). ND2088.6.S63L56 2009 AFA. OCLC 466647659.

Moses Tladi is one of the unsung pioneers among black South African artists. His story is told here by the granddaughter of Herbert Read, who employed Tladi. Lloyd’s is a project of recuperation of the unknown Tladi, whom she never met but had heard of from childhood. It is also a story of Lloyd’s personal journey of discovery.

Tladi was a gardener at Lokahoek, the Read home in Johannesburg, and his paintings of the gardens and house are central to the story, as are other landscape paintings the Reads acquired. The dates and facts of Tladi’s life were obscure at the start of this project, but Lloyd takes the reader carefully - - a little too slowly at times – in peeling back layers to piece together this lost life. She tracks down the Tladi family; she excavates archives and libraries; she interviews at people and descendants of mentors and patrons of Tladi. Not a conventional art history as the reader has to persevere to really learn something about Tladi amid all Lloyd’s personal narrative, but fascinating in its own way. Includes reproductions of all known paintings by Tladi.


Toguo, Barthélémy, 1967-

Toguo, Barthélémy, 1967- . Barthélémy Toguo: talking to the moon / curated by Lorand Hegyl. Milan: Silvana; Saint-Etienne, France: Musée d’art moderne Saint-Etienne métropole, 2013. 141pp. illus. (chiefly color). Text in French and English. N7399.C33 T642 2013 AFA. OCLC 846550804.

Barthélémy Toguo is the epitome of the global artist whose artwork transcends that of the exotic African artist in Europe. Without eschewing his Cameroonian roots, he reaches for universal themes – violence, prejudices, religious fanaticism, power structures, and resistance. His work has been described as radical, subversive, ironic and even ethical. He is clearly an artist who works in many media and with a broad aesthetic vision. In this exhibition catalog of works from the late 2000s, we encounter watercolors, collage, installations, performance art, even mail art. The exhibition was held at the Musée d'art moderne de Saint-Etienne métropole, Saint-Etienne, France, February 23 to May 26, 2013.


Tokoudagba, Cyprien, 1939-

Tokoudagba, Cyprien. Dahomey, rois et dieux = Dahomey, kings and gods. Cotonou: Fondation Zinsou, 2006. 143pp. illus. (color), bibl. refs. Text in French and English. N7399.D33T652 2006 AFA). OCLC 72758236.

Cyprien Tokoudagba has turned his art in service to the gods and kings of his native Abomey into a broader mission of preserving cultural heritage for younger generations. Given his international exposure and success - - thanks to European promoters, notably André Magnin and Jean-Hubert Martin - -Tokoudagba can now run a family workshop enterprise in pursuit of his mission of cultural preservation. A self-taught artist, Cyprien Tokoudagba originally painted Vodun shrines. Now he paints on canvas and makes painted cement free-standing sculpture, all invoking the Fon gods and kings.


Tretchikoff, Vladimir

Gorelik, Boris. Incredible Tretchikoff: Life of an Artist and Adventurer. London: Art/Books, 2013. 304pp. illus. (some color). ND1096.T7 G67 2013 AFA. OCLC 851827630.

This biography traces the life of Vladimir Tretchikoff, from his youth in Russia and China to his achievement of commercial success as an artist based in South Africa. Gorelik describes how Tretchikoff moved to Singapore to start a career and a family, began working on propaganda for the British Ministry of Information during the Second World War and became a Japanese prisoner of war. He was released on parole in Djakarta and was assigned to the Japanese information department to create Japanese propaganda for the local community.

When the war ended he received news that his family were living in Cape Town. After joining them in Cape Town, he became well-known as an artist and was invited to the United States, where he started selling reproductions of his paintings in department stores. These sold well and he continued to tour the United States, Canada and the United Kingdom with great success. Gorelik describes both Tretchikoff’s massive appeal and the negative reaction many critics and others have had to Tretchikoff’s work. Gorelik writes of the later ebb in the popularity of Tretchikoff’s work, his decision to write his memoirs and retire, and his work’s more recent revival as attractively retro and kitsch.

Reviewed by Karin Preller in De arte (Pretoria) 89, 2014, pages 91-95.


Tretchikoff, Vladimir. Tretchikoff: the people’s painter edited by Andrew Lamprecht. Johannesburg: Jonathan Ball, 2011. 203pp. illus. (color), bibliog. (pp. 202–203). ND1096.T7 T54 2011 AFA. OCLC 727126098.

Published to accompany a retrospective exhibition of Vladimir Tretchikoff’s work at Iziko South African National Gallery in Cape Town, this book explores Tretchikoff’s work in a series of essays. Andrew Lamprecht of SANG looks at the history of Tretchikoff’s reception in South Africa. Ashraf Jamal offers a complex reading of how the Orient and particularly the Oriental woman is portrayed in Tretchikoff’s work. Yvonne du Toit looks at the role of Tretchikoff’s model and lover, Lenka, in his life and work, while Boris Gorelik describes how Tretchikoff became an international phenomenon. Melvyn Minnaar reflects on the ‘second-hand’ image and how Tretchikoff’s work responded to the demand for this type of image. Fashion designer Marianne Fassler looks at Tretchikoff as someone whose work inspired her own.

Reviewed by Karin Preller in De arte (Pretoria) 85, 2012, pages 80-84.


Tshibumba Kanda Matulu

Faber, Paul. The dramatic history of the Congo as painted by Tshibumba Kanda Matulu. Amsterdam: KIT Publishers, 2005. 46pp., 102 color illus. ND1099.C63T755 2004 AFA. OCLC 58480261.

This exhibition showcases Tshibumba Kanda Matulu’s series of genre paintings depicting Congolese 20th-century history. (See Johannes Fabian, below). Painted in 1973-1974 and collected by Fabian, the 102 paintings are now in the permanent collection of the Tropenmuseum, Amsterdam. Although there were many self-taught Lubumbashi painters doing similar work, Tshibumba is different in the sheer scale and magnitude of this project. Curator Paul Faber offers an excellent overview and context for Congolese genre painting and a cogent analysis of Tshibumba’s œuvre.
Fabian, Johannes. Remembering the present: painting and popular history in Zaire. Berkeley: University of California Press, 1996. xv, 348pp. illus. (pt. color), bibliog. (pp. 329-335). ND1099.C63T7534 AFA. OCLC 34412571.

Tshibumba Kanda Matulu had a grand design for telling the history of the Congo: a series of one hundred original paintings. Fortuitously, in 1973 this Shaba-based self-taught genre painter met Johannes Fabian, an anthropologist, who was researching Congolese popular painting. Unbeknownst to either, a long-term collaboration had begun. Twenty years later, this project has finally been realized as an amalgam of art exhibition, ethnographic analysis, and revisionist historiography. Born in 1947, Tshibumba has disappeared in the intervening years -- despite attempts by Fabian and other to locate him -- and is believed dead.

Genre painting in Shaba strongly proclaims "collective memory" of an idyllic past and a troubled, violent present. It finds an audience among local people. Tshibumba's series is unique in that it elevates this historical painting to an unprecedented level and scale. Tshibumba and Fabian conducted hours of discussion, which forms the verbal narratives for these paintings. In the first part of the book, Fabian presents the paintings and accompanying text. In the second part, he offers rich and layered interpretations of these cultural products.

Critiqued by Yaël Simpson Fletcher in Radical history review (New York) no.4, fall 2002, pages 195-207.


Tshyela Ntendu

Langenohl, Kathrin. “Repeat when necessary”: zum Verhälynis von Tradition und Moderne ium malerischen Werk Tshelantendes (Djilatendo), Belgisch-Kongo. Münster: LIT, 2003. 242pp. illus., bibliog. (pp. 227-237). ND2087.6.C63T735 2003 AFA. OCLC 54526721.

The watercolors of Tshyela Ntendu painted in the 1930s in the Congo document a tradition of painting which originated from the local mural painting. A Belgian colonial civil servant initiated the transfer of the mural images to paper. The paintings which illustrate colonial everyday life combined with his own ornamental traditions, confirm the artist’s decision, that he will be not excluded from the discussion regarding changes brought about by colonialism. The paintings captured everyday scenes in the Belgian Congo, but at the same time opened these cultural images to the European gaze.
Twins Seven Seven, 1944-2011

Glassie, Henry H. Prince Twins Seven-Seven: his art, his life in Nigeria, his exile in America Bloomington, IN: Indiana University Press, 2010. 474pp. illus. (chiefly color), bibliog. (pp. 451-466). ND1099.N53T972 2010 AFA. OCLC 432994684.

Twins Seven-Seven is lucky to have folklorist Henry Glassie as biographer and George Jevoremovic as savior when Twins was at low ebb. In this book Twins takes Glassie on a roller-coaster journey through his life, tracing his roots in Ijara, Ogidi, and Ibadan. Glassie, the faithful recorder, takes it all in, capturing Twins words, letting Twins tell much of the story in his flamboyant, colorful Nigerian English, based on many hours of interviews. This personal history unfolds not only around Twins, the artist, but Twins, the musician, the aspiring politician, the polygamist, the exile, the chief, and the wheeler & dealer.

Glassie adds new chapters to the well-known early years of Twins’ ascent - - the hard-scrabble exile in Philadelphia, the rescuing patronage of George Jevoremovic and others, and the self-styled triumphal return in 2006 to Oshogbo. The second part of the biography presents Twins’ art-making within the contexts of Yoruba art and modern art. Glassie documents the changing tastes in art that marks the decline of interest in Twins’ work. He includes a broad sampling of Twins’ more recent painting from the 2000s, as well as earlier ones. A complete list of exhibitions concludes the volume.

Contents: Part one. Prince's life: Kissing birds ; Born at the edge ; The line of Osuntoki ; An abiku child ; Pattern in time ; A throwaway boy from the bush ; The road to Osogbo ; Prince's first picture ; Big shows and changing markets ; Political involvements ; Troubles at home ; Chieftaincy titles ; Reasons to leave ; An immigrant's tale ; The hero's return ; Farewell -- Part two. Prince's art: Yoruba art: Representation ; Presentation ; Composition ; Modern art ; Postmodern times : Dreams of the Abiku child -- Prince's exhibitions: a list by Harriet Schiffer.


Twins Seven Seven. A dreaming life: an autobiography of Chief Twins Seven-Seven, the Ekerin-Bashorun Atunluto of Ibadanland / edited by Ulli Beier; from conversations with Twins Seven-Seven. Bayreuth: Bayreuth University, 1999. (Bayreuth African studies, 52). 207pp. 16pp. of plates. illus. (pt. color), portrait. NX589.6.N54T87 1999X AFA. OCLC 43541634.

Twins Seven Seven is a creation of Ulli Beier. This can be said without diminishing Twins’ innate talent, enterprise and panache, but it was Beier who spotted this ostentatious character in 1964 in Oshogbo. Twins, the artist, dancer, performer, businessman, politician and chief, has invented and re-invented his persona over the years: it is part of his bombast.

Autobiography is ripe for invention and re-invention, and Twins’ is no exception. His complex life is woven together from a series of interviews with Ulli Beier and others over a period of several in the late 1970s and early 1980s. The latest is 1985, so nothing beyond that year in the life of Twins Seven Seven is covered in this book. The roiling, tumbling narrative covers his early life, the Oshogbo workshops, his musical career (which partially eclipses his painting career), his forays into Nigerian politics, his religion (he calls himself a pagan), his inveterate trading, his multiple wives and tempestuous domestic life. Twins also comments on the paintings reproduced in the book beginning with “Devil’s Dog,” his second work.

Reviewed by John Pemberton in African studies review (New Brunswick, NJ) 45 (1) April 2002, pages 115-124.


Udechukwu, Obiora, 1946-

Aas, Norbert. Den Lauf der Dinge beeinflussen: der nigerianische Künstler Obiora Udechukwu. Bayreuth: Bumerang-Verlag, 1999. 92pp. illus. (color), bibliog. (pp. 81-83). Text in German. N7399.N53U19 1999 AFA. OCLC 46692498.

Obiora Udechukwu’s retrospective exhibition in Munich, Germany, in 1999-2000 offers a glimpse of the direction his painting has taken in the 1990s, most notably the return to color. Always informed by what went before--Nsukka, the Biafran war, uli, Mami Wata--Udechukwu is a mature, experimental artist, yet on who remains grounded in his Igbo and Nigerian culture, even now that he is transplanted to upstate New York. Fifteen color plates, mainly of works from the 1990s, are illustrated.
Okeke, Chika. Critical interventions: Obiora Udechukwu and modern Uli art. M.A thesis, University of South Florida, 1999. viii, 182 leaves, plates, bibliog. (leaves 85-90). N7399.N5O346 1999 AFA. OCLC 42832678.

Obiora Udechukwu is the exemplar of modern uli art, which is based on a mural and body painting tradition of the Igbo peoples of eastern Nigeria. Although Uche Okeke was the first Igbo artist to study and incorporate uli lines and imagery into his work, it was Udechukwu, a student of Okeke, who became the real exponent and practioner of modern uli art. Udechukwu also explored nsibidi, an indigenous ideographic system of the Ibibio people, as well as concepts of Chinese aesthetics and painting (Tao, Ch’i and li). In all of this, it is the expressive, lyrical line that is central to the artist’s work. Despite the lyricism, Udechukwu’s work exhibits a strong socio-political dimension, particularly in works that relate to the Biafran war – which he experienced first-hand -- and the extreme poverty and political repression of the 1970s and 1980s in Nigeria.

Udechukwu, the innovator, inspired a number of artists at the University of Nigeria, Nsukka, where he taught from the 1970s to 1997. His artistic influence on Nsukka artists was greater than that of his seniors, Uche Okeke, Chike Aniakor or Chuka Amaefuneh, who also taught and practiced at Nsukka. Among them are El Anatsui (faculty), Tayo Adenaike, Tony Nwachukwu, Olu Oguibe, and Marcia Kure, each of whom is discussed in relation to Udechukwu’s work.


Okeke-Agulu, Chika. Obiora Udechukwu: line, image text. Milano: Skira Editiore, 2016. 400 pp. illus. (chiefly color), bibliog. (p. 393-396). ND1099.N53 U342 2016 AFA. OCLC 973401169.

Obiora Udechukwu is a master of line drawing. The evidence lies in his sketchbooks from 1965 to 2015. Largely illustrated, this catalog covers fifty years of drawings—self-portraits, landscapes, human figures, uli symbols, and Biafran war images. The sketches are of pen & ink, pencil, graphite, watercolor, and gouache. Some of the sketches are preliminary expressions of what became paintings, but many of the drawings stand alone.

In a thoughtful interview Udechukwu reveals his early artistic training in Zaria and Nsukka; the artists and teachers who influenced his work; how his archive of sketchbooks survived the Biafran war; and his fascination with uli and nsibidi ideograms. We may think of Udechukwu as a painter, but his creativity has more depth and breadth in the magic of the line.


Udechukwu, Obiora. So far: drawings, paintings, prints 1963-1993; [exhibition, Italian Cultural Institute, Lagos, May 8-22, 1993] / introductions by El Anatsui, Gani Odutokun, and Ola Oloidi. Bayreuth: Boomerang Press -- Norbert Aas, 1993. 92pp. illus. (pt. color), bibl. refs. N7399.N53U19s 1993 AFA. OCLC 28288472.

"So Far" suggests that there is more to come. And so there is. Artist Obiora Udechukwu can still look forward to many productive years. This thirty-year retrospective exhibition looks at the first three decades, reaching back to school boy drawings and sketches. Chiefly illustrated, this catalog features selections from his entire œuvre so far. (Unfortunately, the plate numbers do not match the numbers in the "List of works," through some editorial glitch).

Udechukwu has not had a static vision. One of his strengths as painter and printmaker is an evolving, experimenting vision, one acutely attuned to the world around him. The Biafran war (1967-1970) had profound effect on the man and his work; his most haunting images emerge from that experience. The contrast between them and earlier rather conventional studies is stark. Some of his best known works are the uli-inspired pen & ink drawings of the 1980s, delicate in form and composition, yet powerful and poignant in their social message. At the end of these first thirty years, Udechukwu is taking a new direction, moving to more colorful, intense, saturated canvasses -- typified by "Spirit in Ascent" (1992) and the cover painting, "What the Weaver Wove" (1992).

Exhibition reviewed by Chika Okeke, "Moving on, looking back: Udechukwu's retrospective," Eye; journal of contemporary art (Zaria) 2 (2) December 1993, pages 4-6.


Unite, Jeannette

Unite, Jeannette. Terra / edited by Andrew Lamprecht & Ivor Powell. Cape Town: SoSo Press, 2012. 186 pp. illus. (chiefly color). ND1096.U55 A4 2012 AFA. OCLC 809160194.

Terra is an art book by South African artist Jeannette Unite, whose art frequently depicts South African mining equipment and operations. The book contains reproductions of much of Unite’s art, frequently depicting abandoned mining sites and equipment, and the scars on the land that said equipment creates. The art accompanies various peer reviewed essays and reflections that aim to conceptualize her art. The book has contributions by Andrew Lamprecht, Ivor Powell, Kathryn Smith, Kim Gurney, Ashraf Jamal, Marian Tredoux, Melvyn Minnaar, Chris Roper, and Bongani Ndodana-Breen.

Unite lives in and works in Cape Town where she explores the materiality of the art making process, whether using her own hand-made chalk pastels with mineral oxides or using similar metal oxides in glass artworks, paintings or prints. She travels to mining and industrial sites for samples and to research and photograph evidence of their residual remains on the African landscape. Unite received a BA in Fine Art from the Michaelis School of Art, University of Cape Town, which she attend from 1981-1986, and further studied at UNISA while teaching at Frank Joubert Art Centre until 1997, when she began working on her artwork full time.

Contents: Visual prospects -- Paradox of plenty -- Headgear -- Earthscars -- Industrial landscapes -- Extract -- Eco-alchemy -- Overburden -- Sentences and thresholds -- Resources -- About the artist -- Chronology -- Artworks.


Van der Merwe, Strijdom, 1961-

Van der Merwe, Strijdom, 1961- Sculpting the land / text by Melvyn Minnaar. Pretoria: Protea Book House, 2005. 123pp. illus. (color). N7396.V35 A4 2005 AFA. OCLC 62901566.

Strijdom Van der Merwe’s artistic interventions into nature are ephemeral. It is the essence of land art; it can only be preserved in the time-based media of photography and video. More than 100 of his land art works are illustrated in this catalog. Van der Merwe also makes sculptures of a more permanent nature and does site-specific commissions.

Van der Merwe studied art at the University of Stellenbosch and later in Prague. Early in his career he worked as a graphic designer and also learned printmaking. Since the mid-1990s he has devoted his time to being a land artist.


Van der Merwe, Strijdom, 1961- . Sculpting the earth: artistic interventions with the landscape. Pretoria: Protea Boekhuis, 2011. 184pp. illus. (chiefly color). N6494.E27 V35 2011 AFA. OCLC 755712145.

Strijdom van der Merwe is a land artist who prefers to work along contemplatively in the landscapes he transforms. Arranging objects in natural settings; creating man-made objects from natural materials – sticks and stones; fabricating natural things from man-made materials, e.g., metal trees; sculpting sand; adding materials, such as sawdust, bones, kudu horns, water, even fire. These are his strategies of creativity. His tools may be a pocketknife, a broom or his own feet. More recently, he wraps cloth into landscapes and around trees. Van der Merwe also does outdoor installations in cultivated settings, such as parks or roundabouts. Given the ephemeral nature of land art, the best way to document it is through photography and video. This illustrated anthology does just that, focusing on work made from 2005 to 2010.


Van Zyl, Ina, 1971-

Ina van Zyl: schilderijen, aquarellen = paintings, water colours / texts by Dominic van den Boogerd, Rudi Fuchs, Moniek Peters. Bussum: Thoth; Dordrecht: Dordrechts Museum; Amsterdam: Galerie Onrust, 2006. 102pp. illus. (chiefly color). Text in Dutch and English. ND653.V36A4 2006 AFA. OCLC 69670811.

Early in her career Ina van Zyl drew comic strips for South Africa's Bitterkomix magazine. Although she no longer creates comics, her new work, according to Moniek Peters, "has retained a desire from the comic period to capture human sentiments and physical stances and details as imported moments of a story." Blow-ups, exaggeration, visual simplification, and confrontational imagery characterize her current series of works. Thematically, her paintings are sensual, lascivious, erotic, voluptuous, even when painting subjects as banal as fruit or toes or ice cream cones. Her technique of thick, wet on wet painting accentuates the overall sensuality. In an interview Van Zyl describes her conception and technique in creating these paintings.

Reviewed by Robyn Sassen in Art South Africa (Cape Town) 5 (1) spring 2006, page 87.


Vári, Minnette, 1968-

Vári, Minnette. Minnette Vári: Kunstmuseum Luzern (7.Februar-9.Mai 2004). Luzern: Kunstmuseum Luzern, 2004. 119pp. illus. (pt. color). Text in German and English. N7396.V37A4 2004 AFA. OCLC 54778046.

Minnette Vári is a white South African artist of the younger generation that came of age when apartheid was crumbling and the tumultuous decade of the 1990s was dawning. Her edgy video work “begins and ends with her body as the site for contesting history and identity,” says Kendell Geers. Contortion, distortion, nakedness and metamorphosis characterize her imagery. This 2004 exhibition in Luzern, Switzerland, features recent video work: Alien, Mirage, Oracle, Chimera, REM, Aurora Australis, Sentinel series, The Calling, and Riverrun. Essay contributors include Kendell Geers, Susanna Neubauer, John Peffer, Harald Szcemann and Liese van der Watt.


Vári, Minnette. Of darkness and of light. Johannesburg: Standard Bank of South Africa, 2016. vii, 160 pp. illus. (chiefly color). N7396.V57 A4 2016 AFA. OCLC 962737327.

Minnette Vári’s works begin and end with her body as the site for constructing and reconstructing history and identity. In installations of short digital videos, Vári contorts and manipulates her body and her surroundings to explore the writing of history, which she describes as a kind of ‘ghost-hunt.’ Characterized by confluence, emphasis and omission, her works recreate and reconstruct a narrative of history and identity. Born and raised in South Africa, Vári’s works reflect the complex histories of violence, identity and consumerism present in South African society. Though digital videos are the means by which she presents these reconstructions, her body is ultimately the tool she uses to explore the deep and complex histories of South Africa from the perspective and experiences of a white South African woman.

The essays explore Vári’s art and its connection to South Africa’s past, and well as screen captures from her featured videos. Includes foreword by Simon Njami; essays by Pamela Allara, Fabiana Lopes, John Peffer, and James Sey; and an interview by Tracy Murinik. This catalog accompanies the exhibition “Of Darkness and of Light” held at Standard Bank Gallery, Johannesburg, 29 January to 26 March 2016, curated by Neil Dundas and Lara Koseff.

The exhibition was reviewed by James Alexander Sey in (Cape Town) no. 4, June 2016, pages 172-175.


Victor, Diane, 1964-

Rankin, Elizabeth. Diane Victor / Elizabeth Rankin and Karen von Veh. Parkwood, South Africa: David Krut Pub., 2008. 99pp. illus. (pt. color), bibl. refs. (Taxi art book series, 13). N7396.V53R36 2008 AFA. OCLC 212737719.

Diane Victor is a master printmaker and draftsman who works primarily with etching but experiments with many other print techniques. She employs other techniques, such as embossing and smoke on paper, as well as prints with unconventional materials, such as vinyl, cloth or inkjet. After completing her art education in 1986, she taught and traveled abroad, absorbing ideas and inspiration, which found their way into her work. Her prints have been described as “visual overstatement,” full of imagery that is visceral, Gothic, grotesque, anatomical, iconoclastic and sometimes disturbing. She frequently uses herself as model. Essays by Elizabeth Rankin and Karen Von Veh illuminate her imagery and techniques.

Reviewed by Michael Smith in Art South Africa (Cape Town) 7 (1) spring 2008, page 105; by Amanda du Preez in De arte (Pretoria) 78, 2008, pages 74-76.


Victor, Diane, 1964- Burning the candle at both ends. Johannesburg, South Africa: David Krut Publishing in collaboration with University of Johannesburg, 2012. 103pp. illus. (some color). N7392.V54 2012 AFA. OCLC 806992124.

Diane Victor’s recent work employs smoke from candles and wood ash mixed with charcoal dust. These smoke and ash drawings have a fragile, transient look and feel. The subject matter – old vulnerable people, or animals for slaughter – reinforces this evanescent aesthetic. “Ashes to ashes, dust to dust.” In her etchings and other prints, Victor repeats these themes of loss, hopelessness, and our inhumanity to other beings.

This catalog was published on the occasion of the exhibition of prints and drawings Ashes to Ashes and Smoke to Dust, held at the University of Johannesburg, 2011-2012.


Villa, Edoardo, 1920-

Villa at 90: his life, work, and influence / edited and compiled by Karel Nel, Elizabeth Burroughs, Amalie von Maltitz. Johannesbrug: Jonathan Ball, 2005. x, 226pp. illus. (pt. color), portraits, bibliog. (p. 226). NB1096.V55V55 2005 AFA. OCLC 60912351.

Edoardo Villa is South Africa’s pre-eminent Modernist sculptor. Trained in the classical tradition in his native Italy, Villa landed in South Africa as a World War II prisoner of war. And he stayed on and made it home. Still active in his 90s, Villa’s long and productive career is elegantly and intelligently showcased in this retrospective catalog.

Once Villa discovered steel construction, he had found his preferred medium for the large, monumental sculptures that characterize his work. Villa, a member of the Amadlozi Group, was never overtly political, yet “Confrontation” (1978), his most political work, is also one of his most powerful.

This catalog documents the evolution of Villa’s œuvre from the 1940s to the present with high quality photographs and essays by Esmé Berman, Alan Crump, Vittorino Meneghelli, Karel Nel, Monty Sach, Karin Skawran, and Amalie von Maltitz.


Wafer, Jeremy, 1953-

Frost, Lola. Jeremy Wafer: artist’s book. Johannesburg: David Krut Publishing, 2001. 92pp. illus. (Taxi art books series). N7396.W26F76 2001 AFA. OCLC 51476751.

Born in Durban in 1953, Jeremy Wafer received his B.A. degree from the University of Natal and his Masters in Fine Art degree from the University of the Witwatersrand in 1987. Since then, his sculptural and print work has remained informed by an artistic language which is modular, minimal and contemplative, and which varies in aesthetic effect and social purpose. By way of a conceptual sensibility that is at once rigorously structured and radically open, Wafer explores with extreme subtlety the complex territories of culture and identity. His talent for engaging these themes through work that is as visually seductive as it is socially potent has brought him numerous awards and international residencies, and he has exhibited extensively both locally and abroad. He has taught at Natal Technikon since 1983. – from the book cover.


Walford, Andrew, 1942-

Wright, Neil. A potter’s tale in Africa: the life and works of Andrew Walford. Kloof, South Africa: Wright publishing, 2009. 166 pp. illus. (color), color portraits, bibl. refs. (p. 163). NK4210.W254 W74 2009 AFA. OCLC 634958461.

Potter Andrew Walford is not a household name in South Africa, outside of ceramic circles, though he has lived and worked there most of his life. Born in England in 1942, he moved with his family to South Africa in 1947 and studied pottery-making. Apart from an interlude in Europe in his early twenties, Walford has been potting ever since at his home studio in Shongweni, KwaZulu-Natal. Bernard Leach and Japanese pottery are his two major influences.

This book is part biography, part treatise on pottery with lots of technical information on clays, throwing, kilns, glazes and decorations—Walford is known for his brush strokes. The chapter on the history of ceramics could have been omitted; the one on African pottery is a non-essential bonus.


Wangechi Mutu

Wangechi Mutu, artist of the year 2010: my dirty little heaven. Ostildern: Hatje Canta, 2010. 141pp. illus. (chiefly color), color portrait, bibliog. (p. 131). N6537.W26A4 2010 AFA. OCLC 641458755.

Wangechi Mutu was named the 2010 artist of the year by Deutsche Bank and was given a retrospective exhibition at Deutsche Guggenheim. A selection of her work was acquired by the Deutsche Bank Collection, which focuses “on young artists who have already amassed an unmistakable and extraordinary oeuvre, in which works on paper or photography play an important role” (page 10). The catalog includes essays on Wangechi’s collages, mixed media and video art by Okwui Enwezor, Lauri Firstenberg, Courtney J. Martin, and Klaus Ottmann plus a conversation with the artist.


Wangechi Mutu. A shady promise. Bologna, Italy: Damiani Editore, 2008. 151pp. illus. (color), portraits, bibliog. (pp. 149-151). Text in English and Italian. N6537.M888A4 2008 AFA. OCLC 183262429.

Wangechi Mutu’s art is subversive, disturbing, assertive, psychedelic and trippy, always focused on the female body (or body parts). Four series of Wangechi Mutu’s art are featured with her comments on each: early line drawings from her sketchbook; Pin-up; Hybrids; and Body as Space. Kenyan by birth, she is a big player on the international scene, where she has been exhibiting since 1997.


Wangechi Mutu: a fantastic journey / edited by Trevor Schoonmaker. Durham, NC: Nasher Museum of Art, Duke University, 2013. 167pp. illus. (chiefly color), bibl. refs. N7397.6.K43 W362 2013 AFA. OCLC 823552470.

This richly illustrated full-color catalog accompanies the first major solo museum exhibition and most comprehensive survey of the artist Wangechi Mutu's work, on view at the Nasher Museum of Art at Duke University from March 21, 2013, through July 21, 2013, before traveling to the Brooklyn Museum. Born in Nairobi, Kenya, in 1972, and now based in Brooklyn, Wangechi renders the complex global sensibility of the early twenty-first century through a distinctly hybrid aesthetic. She combines found materials and magazine cutouts with sculpture and painted imagery, sampling from sources and phenomena as diverse as African traditions, international politics, the fashion industry, and science fiction. In her work, Wangechi marries poetic symbolism with sociopolitical critique to explore issues of gender, race, war, colonialism, and, particularly, the exoticization of the black female body. The many images included in Wangechi Mutu: a Fantastic journey highlight the most important and iconic works that Wangechi has created since the mid-1990s, as well as portray new collages, drawings, videos, and site-specific installations. The catalog also offers an intimate look into her sketchbooks and includes an interview with the artist conducted by the exhibition's curator, Trevor Schoonmaker. Essays by Schoonmaker, the art historian Kristine Stiles, and the critic, musician, and producer Greg Tate are paired with an illustrated chronology of Mutu's work. – from the publisher's website.

Content: A fantastic journey / Trevor Schoonmaker -- Wangechi Mutu's family tree / Kristine Stiles -- The Gikuyu mythos vs. the Cullud girl from out of space, a Wangechi Mutu feature / Greg Tate -- A conversation / Wangechi Mutu and Trevor Schoonmaker -- A fantastic journey at the Nasher Museum of Art -- Wangechi Mutu : selected biography -- Contributors -- Exhibition checklist.

Reviewed by Brenda Schmahmann in African arts (Los ngeles) 48 (1) spring 2015, pages 90-91.


Wangechi Mutu: this you call civilization? / edited by David Moos. Toronto: Art Gallery of Ontario, 2010. 125pp. illus. (chiefly color), color portrait, bibl. refs. N6537.W36A4 2010 AFA. OCLC 641458755.

Wangechi Mutu has mastered the art of collage and continues to explore and critique the African/black body, the voyeuristic gaze, and colonial exploitation. This 2010 retrospective exhibition held at the Art Gallery of Ontario, Toronto, February to May 2010 covers her work from 2002 to 2008, including two video pieces. The catalog includes essays by David Moos, Odili Donald Odita, RInaldo Walcott, Carol Thompson, Raphael Rubinstein, Jennifer González, and Michelle Jacques plus an interview with the artist.


Welz, Jean, 1900-1975

Miles, Elza. The world of Jean Welz. Vlaeberg, South Africa: Published for the Rembrandt van Rijn Art Foundation by Fernwood Press, 1997. 143pp. illus. (pt. color), portraits, bibliog. (pp. 141-142). ND1096.W44M56 1997X AFA. OCLC 39292360.

Jean Welz (1900-1975) was born in Salzburg, Austria, and at the age of 37 emigrated to South Africa. During his remarkable life he worked as architect, artist and art teacher, coping with ill health and resourcefully meeting the challenges of life in a new country to become a highly esteemed artist.

In this first ever monograph on Jean Welz, Elza Miles explores his world. She discusses his life in Europe and thereafter in South Africa, traces his career change from architect to artist, and deals with his contributions as artist and art teacher. Through Welz’s story she gives readers access to his varied artworks and locates his œuvre in the context of South African art. Using his paintings and drawings, many of which were sold directly from his studio, and working with the full co-operation of Welz’s family, she brings the person and the artist to life.

Welz studied architecture in Vienna, Austria. In 1925 he settled in Paris where he began his professional career. Apart from assisting Adolf Loos, he had contact with Le Corbusier and his associates and was influenced by the Purist aesthetics advocated by Le Corbusier. Although Paris provided intellectual stimulation, Welz was ever conscious of the threat Fascism posed to free expression. In 1937 Welz, his wife, Danish journalist Inger Christensen, and young son moved to South Africa. He worked as an architectural draughtsman in Johannesburg, and interrelated regularly with collegues at the Department of Architecture at the University of the Witwatersrand. After he was diagnosed as suffering from tuberculosis, he recuperated at the Springkell Sanatorium, Modderfontein, where he began drawing the landscape around him in pen and ink. These artworks were first exhibited in Johannesburg in 1940.

The first Welz family moved to the Little Karoo in 1940. It was here that Welz met Hugo Naudé and founded the Art Centre in Worchester. His third career was launched here - - while developing his particular techniques of working in pastel, charcoal and oil paint, he also dedicated himself to teaching art.

In his still lifes, landscapes, portraits and nude studies Welz transformed seemingly usual subject matter to expose us, the viewers, to his poetic vision. In The World of Jean Welz, Elza Miles gives us insight into this artist’s continual exploration of nature, and the ‘musical’ works which he created. These are testimony to his reputation in the world of art.


Wenger, Susanne, 1915-2009

Beier, Ulli. The return of the gods: the sacred art of Susanne Wenger. Cambridge: Cambridge University Press, 1975. 120pp. illus. NB511.5.W44B44X AFA. OCLC 01952993.

New Sacred Art is what Susanne Wenger's particular style of orisha-based shrines of Oshun has come to be called. Ulli Beier, Wenger's former husband, is well positioned to write this book on Susanne Wenger, the artist and spiritualist. He provides a rich background on Yoruba culture and religion and on the town of Oshogbo, Nigeria, where Wenger has lived since the 1950s. She was an accomplished artist before she arrived in Nigeria at age 35 in 1950. She switched from oil painting to batik and focused thematically on the Yoruba orisha (deities). As she imbibed Yoruba religion and philosophy, she turned her attention to reconstructing the shrines in Oshogbo in what is now regarded as her magnum opus. Beier goes into some detail on each part of the shrine complex with its fantastic, phantasmagorical sculptural forms. He also discusses the creative process and the artisans who assisted Wenger, such as Adebisi Akanji and Buraimoh Gbadamosi. Glossary included.


Brockmann, Rolf. Adunni: a portrait of Susanne Wenger / photographs by Gerd Hötter. Munich: Trickster Verlag, 1994. 80pp. illus. (pt. color). N7399.N53W473 1994 AFA. OCLC 46981400.

Adunni is Susanne Wenger’s Yoruba praise name. Everyone in Oshogbo, Nigeria, her adoptive spiritual home, knows and respects this artist who works for the orisha (Yoruba deities). In this fascinating and extended interview Susanne Wenger talks about her early life and influences, her precipitous marriage to Ulli Beier, and her unique life of art and religion in Oshogbo.

There has been a lot written about Susanne Wenger, some critical, so it is refreshing to hear her own thoughts and words. The Oshun shrines and groves are what define Susanne Wenger and her spiritual journey, but she is quite cognizant of worldly matters and holds opinions on many topics including Fela, Buddhist philosophy, Hopi Indians, feminism, African Americans and tourism. Included also is an interview with Twins Seven Seven and Susanne. The color plates illustrate the Oshun shrines.


Caboara Luzzatto, Paola. Susanne Wenger: artista e sacerdotessa. Firenze: Firenze Atheneum, 2009. 181pp. illus., bibliog. (pp. 179-180) Text in Italian and English. NB511.5.W44C33 2009 AFA. OCLC 495935859.

Susanne Wenger was an active collaborator with Paola Caboara Luzzatto in this book published the same year the artist died, 2009. But the collaboration began in the 1970s when Caboara Luzzatto was at the University of Ibadan. After Susanne Wenger died in January 2009, Caboara Luzzatto brought out her old notebooks. The voice is Susanne Wenger first person singular, and it is a fascinating look into her life, art, and spiritual journey -- her childhood in Graz, her marriages to Ulli Beier and Ayonsola, her years in Oshogbo, Nigeria. The photographs reproduced here are from Wenger’s own collection, many not seen before.

Reviewed by Terry Barringer in African research and documentation (London) no. 114, 2010, pages 81-82.


Nichola, Saunders and Augustine Merzeder-Taylor. Susanne Wenger: her house and her art collection: her decades of dedication to traditional Yoruba religious belief and its interpretation through art. Lagos, Nigeria: Adunni Olorosha Trust, 2006. viii, 192pp. illus. (some color), maps, plans, bibl. refs. N5252.W46S28 2006 AFA. OCLC 708374099.

Saunders and Merzeder-Taylor take us inside Susanne Wenger’s rambling, three-storey house on Ibokun Road, Oshogbo, that is usually seen only from the street. The interior is dark, cluttered and mysterious, a warren of rooms that are themselves household shrines. Unfortunately, the photography in this book is poor, partly because of the darkness and clutter of the interior spaces. But the documentation is thorough. The sculptures and murals are identified by maker and dated when known. The vast majority of works are by sculptors of her New Sacred Art Movement – Buraimoh Gbadamosi, Ajibike Ogunyemi, Kasali Akangbe-Ogun, Rabiu Abesu, Jinadu Oladepo and others. Not much of her own work is on display in the house. Her Oshun Grove work is carefully mapped and identified, but not photographed here.


Susanne Wenger: Künstlerin, Olorisha und Aktivistin in Afrika / edited by Landesmuseum Joanneum ; text by Wolfgang Denk. Graz, Austria: Landesmuseum Joanneum, 2004. 79pp. illus. (pt. color), bibl. refs. Text in German. N7399.N53W47 2004 AFA. OCLC 175291810.

Because Susanne Wenger is so intimately associated with Yoruba art and Oshogbo, her earlier career as an artist and activist is overlooked. Wolfgang Denk offers valuable insights into those pre-Nigerian years, which presage her deeply spiritual immersion in the world of Yoruba orisha and her activism in preserving the shrines in Oshogbo. He also documents some of her later work from the 1990s, which actually hark back to her paintings from the 1930s and 1940s. And interestingly, he reproduces a few of her pages of notes and sketches, a glimpse into her mind. Also reproduced is her first work of art done in Africa (in 1950-1951), a charcoal drawing "Acrobat with elephant and leopard."

The Oshogbo shrines remain her most distinctive and continually evolving body of work. In 1984, Wenger added to this ever changing phantasmagoria with an Odu Pietà complex.


Wenger, Susanne, 1915-2009. A life with the gods in their Yoruba homeland / by Susanne Wenger and Gert Chesi. Wörgl, Austria: Perlinger, 1983. 235pp. illus. (pt. color). BL2480.Y6W47 1983 AFA. OCLC 12345505

Susanne Wenger’s life has been a cross-cultural experience in reverse by going from the West to Africa where she immersed herself in the culture of the Yoruba. For her, art and religion are one. In this book, Wenger is given a platform to explicate the Yoruba pantheon, cults, and rituals with the voice of an outsider-turned-insider. Interspersed with her text are photographs by Gert Chesi of Wenger’s recreated Oshun shrines in Oshogbo and of Wenger herself, her house, her collaborators, and scenes in Oshogbo.


Wenger, Susanne, 1915-2009. Susanne Wenger. Vienna: Niederösterreich-Gesellschaft für Kunst und Kultur, [1985]. 108pp. illus. (pt. color). N7399.N53W47 1985 AFA. OCLC 28678091.

Susanne Wenger was already an experienced artist when she first went to Nigeria in 1950, but it was there in the heart of Yorubaland that she found her spiritual home. And she never looked back. The Yoruba deities pervade all her creative work and her religious life - - she is a priestess of Oshun. Best known for recreating the Oshun shrines in Oshogbo, she also paints and does batiks. In this exhibition in Vienna (she was born in Austria), a selection of her oil paintings and batiks are featured. The catalog also includes many photographs of the artist at work on the Oshun shrines.


Wenger, Susanne, 1915-2009. Susanne Wenger: 60 Jahre Afrika: Künstlerin, Priesterin, Abenteurein = 60 years in Africa: artist, priestess, adventuress / Herausgeber, Wolfgang Denk; Autorinnen, Brigitte Borchardt-Birbaumer, Wolfgang Denk, Alexandra Schantl; Übersetzung, Georg Raslagg, Claudia Sattler. St. Pölten: Residenz Verlag, 2015. 125pp. illus. (chiefly color), portraits. N7399.N53 W47 2015 AFA. OCLC 923731659.

Susanne Wenger continues to fascinate us with her spiritual and haunting art. She herself is spiritual and haunting. Even the interiors of her house in Oshogbo reflects the religiosity of this talented, mysterious woman. The essays in this catalog cover the European roots of her early career and the transition to her life in Yorubaland, for which she is best known. The artworks illustrated in this catalog are paintings, batiks, drawings, and of course, sculptures in the sacred groves of Osun.

Wolfgang Denk, who edited and contributed to this book, wrote an earlier book on Susanne Wenger in 1995: Susanne Wenger: Tief in Dir bist Du oh Mensch der Gott als Baum, als Stein, als Tier: eine biographische Collage / von Wolfgang Denk; unter Einbeziehung von Texten und Aussagen von Susanne Wenger und Ulli Beier, und mit einem Beitrag von Joëlle Drumel. Krems: Kunsthalle, 1995. 107 pp.


Wenger, Susanne, 1915-2009. The sacred groves of Oshogbo. Vienna: Kontrapunkt, Verlag für Wissenswertes; Neuhofen an der Krems, Austria: A. Merzeder, 1990. 85pp. illus. (color), maps. BL583.W47 1990 AFA. OCLC 28574658.

Susanne Wenger is best known for her re-creation of the Osun Groves in Oshogbo. This book is interesting because it is writtem by her as a guide to the sacred grove and its shrines and monuments. She explains the significance of Osun Groves, and the Yoruba religion and mythology that underlie them. The Yoruba artists who worked with Wenger -- known as the New Sacred Art Movement -- are given full credit for their contributions. Eleven are profiled.


Williamson, Sue, 1941-

Williamson, Sue. Sue Williamson: life and work. Milano: Skira, 2015. 255 pp. (2 folded) illus. (chiefly color), bibl. refs. (p. 248-249). N7396.W55A4 2015 AFA. OCLC 935115994.

Sue Williamson: life and work is a collection of the work of Sue Williamson over her more than 30-year long career. This book contains an introduction from journalist Mark Gevisser and contributions from historians Chika Okeke-Agulu and Ciraj Rassool and former Truth and Reconciliation Commission committee member and scholar Pumla Gobodo-Madikizela. It also includes interviews with Sue Williamson, where she talks about her art, her activism, and her experiences.

Williamson’s art often takes a documentary approach, bearing witness and serving as a moral conscience. Much of it deals with apartheid and how it affected people, and the way race affects the lives of South Africans, particularly black South Africans. Her political activism, much like her art, often deals with the effects of race and the aftermath of apartheid in South Africa.


Williamson, Sue. Sue Williamson: selected work. Cape Town: Double Storey; Johannesburg: Goodman Gallery, 2003. 103pp. illus. (pt. color), bibl. refs. N7396.W55A4 2003 AFA. OCLC 52707557.

Sue Williamson has been a politically engaged artist and writer throughout her career. Recent series of works, featured in this exhibition catalog, have confronted the hated apartheid-era passbooks, the forced removals of District Six in Cape Town, the traumatic revelations of the Truth and Reconciliation Commission, and the devastation of HIV-AIDS in South Africa – in short, the major political and social issues of the day.

Born in England, raised in South Africa, trained in New York and Cape Town, Sue Williamson has a long and distinguished life in art and activism. She has written two major books on South African art (stance art in South Africa,1989, and Art in South Africa: the future present, 1996), and founded the widely acclaimed online South African art journal Artthrob (www.artthrob.co.za). In this exhibition catalog, she comments on her art projects, which are a combination of installations, photographs, and prints. A CD accompanies the catalog. Nicholas Dawes provides an introductory essay “Sue Williamson and the trauma of history.”


Wilson, William, 1952-

Wilson, William, 1952- L’océan noir. Paris: Gallimard Jeunesse-Giboulées, 2009. 92pp. illus. (color). HT1321.W55 2009 AFA. OCLC 462933151.

Black Ocean is the metaphor of William Wilson’s artistic exploration of his own mixed ancestry and the complex history of coastal West Africa from which the African diaspora in Europe and the Americans originated. The eighteen appliqué tapestries, inspired by Fon appliqués, narrate pictorially the Middle Passage and subsequent encounters between Africa and the West - - colonization, commerce, independence, Pan-Africanism, and emergence of Africa’s cultural heroes. Each tapestry incorporates a sankofa symbol distilling the essence of the narratives.


Xulu, Ruben, 1942-1985

Cormick, Dina. Bernard Gcwensa and Ruben Xulu: Christian artists of Natal. Pretoria: Academica, c1993. xii, 138pp. illus. (pt. color), portraits, bibliog. (page 138). N7989.8.S6C811 1993 AFA. OCLC 31200287.

Ruben Xulu was murdered in 1985, bringing to an abrupt end a tortured and talented life. Young Ruben was "struck" by evil spirits as a boy and developed speech and hearing disabilities. Never considered quite normal, he was shunned and consequently had an isolated childhood. But a latent talent for woodcarving emerged while enrolled in a special school, when he was brought to the attention of Father Edwin Kinch at the Catholic mission of Hlabisa. There he worked as apprentice to Bernard Gcwensa and developed into a skilled artist.

The story of Xulu's life, intertwined with that of Gcwensa, is told by Cormick, herself an artist. Included is a complete, if not exhaustive, catalog of sculptural works commissioned for churches in Natal and elsewhere in South Africa. They include free-standing sculpture, biblical scenes, stations of the cross, crucifixes and panel reliefs.

Reviewed by J. P. van der Watt in De arte (Pretoria) 49, Julie 1994, page 48.


Yiadom-Boakye, Lynette, 1977-

Yiadom-Boakye, Lynette, 1977- Lynette Yiadom-Boakye: under-song for a cipher /edited by Natalie Bell and Massimiliano Gioni. New York, NY: New Museum, 2017. 123 pp. illus. (chiefly color), portraits. ND497.Y53 A4 2017 AFA. OCLC 1023618993

Lynette Yiadom-Boakye has climbed the ladder of success with great speed. Her profile in the New Yorker by Zadie Smith (June 19, 2017, pages 48-53) confirms the attention she is getting. Her solo exhibition at the New Museum in New York City (in collaboration with the Kunsthall Basel, in Switzerland) presents paintings from 2016 and 2017. Some were commissioned for each of these showings. Yiadom-Boakye’s portrait paintings of people of color are inspired by her imagination and memory—they are not portraits of sitters. Her palette is dark, but still draws in the viewer. This catalog includes an interview with the artist as well as critiques by Robert Storr and Elena Filipovic.


Yiadom-Boakye, Lynette, 1977-

Yiadom-Boakye, Lynette, 1977- Lynette Yiadom-Boakye: verses after dusk. London: Koenig Books, 2015. 134 pp. illus. (chiefly color), portraits. ND497.Y53. A4 2015 AFA. OCLC 913788425.

Lynette Yiadom-Boakye’s exhibition at London’s Serpentine Gallery in London features her key paintings and etchings, as well as several fictional pieces, exploring her wide range of interests and artistic repertoire.

Contents: Paintings -- Director's foreword / Julie Peyton-Jones and Hans Ulrich Obrist -- Reading paintings : the work of Lynette Yiadom-Boakye / Amira Gad -- Etchings & stories -- Face to face / Hilton Als -- On the hour, on the times / Glenn Ligon -- Paintings.

This exhibition was reviewed by the Guardian here: https://www.theguardian.com/artanddesign/2015/may/31/lynette-yiadom-boakye-painter-out-of-time-and-space


Yiadom-Boakye, Lynette, 1977-

Yiadom-Boakye, Lynette, 1977- Lynette Yiadom-Boakye / with contributions by Naomi Beckwith, Donatien Grau, and Jennifer Higgie. Munich: Prestel, 2014. 135pp. illus. (color)., bibl. refs. ND497.Y53 A4 2014 AFA. OCLC 864503235.

Lynette Yiadom-Boakye is a London-based painter/writer. The paintings in this collection, all imaginary portraits which make up the bulk of her work, are accompanied by critical essays by Donatien Grau and Jennifer Higgie, an interview with the artist in conversation with Naomi Beckwith, and original short stories/poetry by the artist herself. The essays and the interview show the depth of Yiadom-Boakye’s work, the relationship of her work to that of other artists, and many details about the special ways she approaches her art and painting.

Yiadom-Boakye paints mostly black faces and figures (her parents immigrated to the U.K. from Ghana). Works illustrated in this volume bear that out, though she has said in interviews that her portrait work is influenced by Manet, Degas, and Sickert. She completes her paintings in one day and does not use portrait models. Yiadom-Boakye has said in interviews that her completed paintings are composites from her imagination and memory and not a depiction of a single person.

Yiadom-Boakye studied art in London, completing her MA at the Royal College of Art. She has had exhibited world-wide and has emerged as a major talent on the international arts scene. Her paintings are in permanent collections of prominent museums and galleries in the U.K. and across the U.S. and Europe.


Yombwe, Agness Buya, 1966-

Yombwe, Agness Buya. Kudumbisiana: ‘she is not an artist.’ Livingstone, Zambia: Wayi Wayi Art Studio and Gallery, 2015. ii, 56, ix pp. illus. (chiefly color). N7396.6.Z33 Y662 2015 AFA. OCLC 961851184.

Agness Yombwe (known as Buya) is an unsung hero. She took up drawing early on and was the only woman in her class at Evelyn Hone College of Applied Arts and Commerce in Lusaka, in 1987—and has never looked back. Today she and her artist husband, Lawrence Yombwe, run the Wayi Wayi Art Studio and Gallery in Livingstone, Zambia. In this catalog, Buya presents mostly her recent art series—social issues, seedpod sculpture, ‘tonse balilya’ (disregard of tradition), taboos, and Pentecostal Sunday. She is not a feminism, but she is definitely an activist. Fellow artist William Miko provides an informative essay on Buya’s career in “Who is Buya anyway?”


Yudelman, Dale

Yudelman, Dale. Life under democracy / text by Simone Tredoux. Auckland Park, South Africa: Jacana, 2012. 221pp. illus. (color). FT1723.Y834 2012 AFA. OCLC 815725028.

Dale Yudelman’s photograph of post-apartheid South Africa are homage to Ernest Cole, who documented life under apartheid. This visual essay in Yudelman’s “inimitably edgy style” is provocative, poignant, and humorous. All dimensions of the rainbow nation are covered. Much changed, much the same.


Zerihun Yetmgeta

Zerihun Yetmgeta: the magical universe of art. Los Angeles: Tsehai Publishers; Pretoria: Unisa Press, 2008. 72pp. illus. (chiefly color). Zoma contemporary art series. ND1086.3.Z47 A4 2008 AFA. OCLC 244161265.

Zerihun Yetmgeta, born 1940 in Addis Ababa, remains rooted in his homeland and its artistic heritage. Unlike his contemporaries, such as Skunder Boghossian, Gebre Kristos Desta or Wosene Kosrof, he chose to remain in Ethiopia throughout the years of the Derg and in fact his entire life. Zerihun studied graphics and painting at the art school in Addis Ababa under both Skunder and Gebre Kristos, and later taught there.

“The Magical University of Art” exhibition looks at his 40-year career from 1966 to 2007. His most distinctive works are inspired by the magic scrolls and illuminated manuscripts, framed with bamboo strips in lieu of conventional frames. During the Derg period (1974-1991), when art was used for propaganda, Zerihun retreated to a more subtle, coded formula, even though he dealt with “approved” topics, such as the water problem and street demonstrations. Zerihun discusses individual works in the exhibition.

Contents: Zerihun Yetmgeta : the magical universe of art / Abede Zegeye -- Interview with Zerihun Yetmgeta / Meskerem Assegued -- Zerihun Yetmgeta : biography -- Zerihun Yetmgeta's artwork -- Some information on Zerihun's art pieces -- Message from the director of Alliance Ethio-Française.


Zinkpe, Dominique, 1969-

Zinkpè, Dominique, 1969- . Zinkpè: metamorphoses. Brussels: Fine Art Studio, 2011. 1 vol. (unpaged). Illus. (color). Text in French, English and Dutch. N7399.D33 Z56 2011 AFA. OCLC758350658.

Dominique Zinkpè has matured as an artist; his experimental work evolved in the decade of the 2000s. Primarily a painter and drawer, he also does sculptures and installations. His recent series “Ibedji” is inspired by the Fon twin figures. Other spiritual forces pervade his art, deeply rooted in his cultural background. The metamorphoses theme emerges in his series “The Sacred” and “The Mirror of the Soul”—paintings of human-animal forms undergoing transformation. Short commentaries are provided by Delphine Cabu, Roger Pierre Turine, Elise Daubelcour and Zinkpè himself.


Zulu, Sandile, 1960-

Richards, Colin. Sandile Zulu. Johannesburg: David Krut, 2005. 94pp. illus. (color). (Taxi art books series). N7396.Z85A4 2005 AFA. OCLC 61224035.

For Sandile Zulu, fire is his defining medium. He creates with pyro-techniques that scorch and burn paper, wood, grasses, cloth, and earth, but in a controlled aesthetic manner. He also incorporates barbed wire and urban refuse and debris. His work is political and at the same time aesthetically refined, reflecting both his sense of South African history and his own creative impulse. Born in 1960 in rural KwaZulu-Natal, Zulu studied art at Rorke’s Drift, the Technikon Natal, and the University of the Witwatersrand.

Reviewed by Robyn Sassen in Art South Africa (Cape Town) 4 (2) summer 2005, page 87; by Michael Herbst in De arte (Pretoria) 73, 2006, pages 66-69; by Paul Denham in Contempo (Melville, South Africa) no. 1, April-May 2006, page 105.


Zulu, William N.

Zulu, William N. Spring will come. Scottsville, South Africa: University of Kwa-Zulu Natal Press, 2005. 334pp. illus. HV3013.Z87A3 2005 AFA. OCLC 60906092

William Ndabayakhe Zulu was born with the spinal deformity scoliosis, which has been a physical as well as psychological challenge. That he has achieved success as an artist and advocate for persons with disabilities is a testament to his fortitude and perseverence. In this autobiography Zulu recounts his difficult childhood, unprivileged school years, hospitalizations and operations. A spinal operation gone awry left him almost totally paralyzed and wheelchair bound.

It was in hospital that Zulu began drawing and painting and later in 1977, he was admitted to Rorke's Drift Fine Art School. The two years of art training offered no immediate employment or income prospects and for several years, Zulu's life in dusty, impoverished Emondlo township hit rocky shoals. But he eventually found religion and met foreigners who helped get his life and art career on track. He was invited to Germany for a one-man exhibition in what became a turning point. He married and later began showing his art work in Durban at the African Art Centre. All of this personal narrative unfolds against the backdrop of the turmoil in South Africa and in KwaZulu-Natal in particular.

The book is illustrated with Zulu's linocuts.

Reviewed by Laura Wright in African studies review (New Brunswick, NJ) 49 (3) December 2006, pages 49-57; by Craig Morris in African book publishing record (Oxford) 33 (1) 2007, page 13.