Which of the Following Is an Example of How African Art Has Changed in Recent History?

Contemporary African art is usually understood to exist fine art made past artists in Africa and the African diaspora in the post-independence era. However, there are about every bit many understandings of contemporary African art as at that place are curators, scholars and artists working in that field. All three terms of this "broad-reaching non-category [sic]"^[1] are problematic in themselves: What exactly is "gimmicky", what makes art "African", and when are we talking well-nigh fine art and not whatever other kind of artistic expression?

Western scholars and curators have made numerous attempts at defining gimmicky African art since the 1990s and early 2000s and proposed a range of categories and genres. They triggered heated debates and controversies, especially on the foundations of postcolonial critique. Recent trends indicate a far more than relaxed engagement with definitions and identity ascriptions. The global presence and entanglement of Africa and its contemporary artists have go a widely acknowledged fact that still requires and provokes critical reflection, merely finds itself across the pressure of self-justification.

Telescopic [edit]

Although African art has always been gimmicky to its producers, the term "contemporary African art" implies a item kind of art that has conquered, or, as some would say, has been absorbed past the international art world and art market since the 1980s. It is in that decade when Europe and the U.s.a. became enlightened of art made in Africa by individual artists, thus breaking with the colonial tradition of bold commonage "ethnic" origins of so-called "tribal art" equally plant in most ethnographic collections.^[two] The exhibition Magiciens de la terre by Jean-Hubert Martin in 1989 is widely considered (but also challenged equally) a key exhibition in this very contempo history of international reception of African and other not-western art. However, this reception, as well, has its roots in an exotic and mystifying view on African culture from a dominant western position, as Rasheed Araeen argued in his response to Magiciens de la terre.^{[3] [four]}

Therefore, although this exhibition and many that followed had a strong influence in creating a kind of a common understanding of what constitutes contemporary African art, it is true that it has been and nonetheless is subject to discussions and controversies. Almost every exhibition post-obit Magiciens de la terre offered a taxonomy or organisation of categorization that helped to reflect the very notion of contemporary African art, but they failed to recognize the postcolonial need of giving up the Eurocentric epistemology.^{[five] [2] [six]}

Gimmicky African art is believed to characteristic particularities typical to African aesthetics, while at the same time it shares properties with other international contemporary arts. Therefore, it is both, shaped by and feeding into the globalizing fine art worlds and art markets, like whatsoever other contemporary fine art. At the same fourth dimension, there are a lot of contemporary fine art practices and forms in African regions and cities that are almost exclusively locally known. While coming together all three requirements of being contemporary, art, and African, they fail to fit into a sure type of art product that has been spreading on the international art market since at to the lowest degree the 1980s.

Exhibitions variously showed work by artists based in Africa; by artists using aesthetics typical to African traditions; past African artists living in the West but including aesthetics and topics related to their "roots";^[3] traditional artworks related to customary practices such as rituals; and urban African fine art that reflects the modern feel of cultural pluralism and hybridity. Modernity every bit a colonial and postcolonial experience appears equally an intrinsic and meaning attribute in nearly conceptions of contemporary African fine art. Scholars and curators therefore have proposed a wide range of taxonomies that tried firstly to define what is African virtually this art, and secondly, the range of genres information technology covers. Diverse attempts to ascertain particular genres of contemporary African fine art, however, mirrored the fascination of art scholars and curators for the cribbing of cultural elements from assumed "Western" into "African" modes of expression and traditions.

Attempts to define genres of contemporary African art [edit]

Ane case is Marshall W. Mount,^[7] who proposed four categories: first, "survivals of traditional styles", which testify continuities in traditional working fabric and methods such as bronze casting or wood carving; secondly, art inspired by Christian missions; thirdly, souvenir art in the sense of tourist or "airport art", as divers later past Jules-Rossette;^[eight] and finally, an emerging fine art requiring "techniques that were unknown or rare in traditional African fine art".^[ix] Valentin Y. Mudimbe, in plow, proposes to recollect of three currents, rather than categories, namely a "tradition-inspired" ane, a "modernist" trend, and "a pop art",^[10] whereby Mount's categories would be situated somewhere "betwixt the tradition-inspired and the modernist trend".^[ten] Similar to other categorizations, this proposal considers the didactics of the artists too as the envisaged clientele/patrons as important factors for the respective "currents". In the exhibition catalogue of Africa Explores (1991), curator Susan Vogel distinguished between "traditional art", "new functional fine art", "urban fine art", "international art", and "extinct fine art".^[11] Rejecting these categories, collector André Magnin proposed to grouping similar works into sections named "territory", "frontier" and "earth" in his survey book Gimmicky African Fine art, thus placing them into "imaginary maps".^[12] However, this approach was also criticized by Dele Jegede with convincing arguments against its ethnocentric perspective.^[13] Among other things, he pointed to the hubris of attempts to talk well-nigh art of a whole continent, but besides to the common reflex to exclude Northern Africa in such considerations and to follow a global, rather than "particularistic focus on the study of the art of the continent" that would provide more specific and deeper bodies of knowledge. In the 1990 exhibition Contemporary African Artists: Changing Tradition, the Studio Museum in Harlem tried to take the perspective of the presented artists and distinguished between African artists who refuse exterior influences; African artists who adopt modes of Western fine art; and African artists who fuse both strategies.^[fourteen]

A commonality to all these categorizations is their reliance on dichotomies between art and arts and crafts, Europe and Africa, urban and rural, and traditional and contemporary. These dichotomies tend to consider common influences in African and European art as an exception rather than the norm. Even more than, they fail to call back of African fine art independent from Europe as its analogue or "influence", resulting in a frequent reproach of African artists "copycatting" or "mimicking" European achievements of modernism.^{[fifteen] [vi] [sixteen] [17]} Such Eurocentric attitudes accept been revealingly criticized by theorists such as Olu Oguibe,^[15] Rasheed Araeen,^[three] Nkiru Nzegwu,^[6] Okwui Enwezor or Salah Grand. Hassan.^[xviii] This problem is not easy to solve, and in some cases, it is tackled by only subverting any attempt of categorization.

The exhibition Seven Stories about Modern Art in Africa, directed by Clémentine Deliss and curated by Chika Okeke-Agulu, Salah G. Hassan, David Koloane, Wanjiku Nyachae and El Hadji Sy (London, 1995) is a case in betoken.^[xix] Rather than grafting binary taxonomies, it narrated seven modernistic art histories in dissimilar parts of Africa by invited curators and artists, who were familiar with these recent histories and their respective art scenes. The exhibition proved to offer a highly complex, historically informed and well-researched presentation. Another example for subverting binary taxonomies is the volume Gimmicky African Art after 1980 by Okwui Enwezor and Chika Okeke-Agulu.^[20] Rather than putting contemporary African art in relation to Western traditions, they dissimilarity it with modern African art, in that it defies linear grand narratives of modernism and is radically postcolonial. "[F]irst, within categories of time, information technology is neither belated nor does it exist out of time; second, because it is post-historical, it did non sally out of a succession of historical styles; third, because information technology is critical of colonial valorization of an authentic past, information technology is postcolonial; and fourth, in relation to its postal service-colonialism, it seeks, co-ordinate to Hans Belting's thesis, to be post-ethnic […]. Neither beingness out of time nor belated, contemporary African art strategically inhabits a third epistemological space by being in time."^[16] As they add, this being "fundamentally of its fourth dimension" counts for all contemporary art, not only the African. In their volume, Enwezor and Okeke-Agulu discuss contemporary African art past its approaches and guiding topics, rather than trying to ascertain categories on the ground of styles, markets or traditions. Their capacity therefore are designated as "Between postcolonial utopia and postcolonial realism", "Networks of practice" in the globalized field of cultural production, "Politics, culture and critique", "Archive, document, memory", "Brainchild, figuration and subjectivity" and "The torso politic: difference, gender, sexuality". Doing so, they locate gimmicky African fine art within a historical perspective, something that had largely missed in previous discussions.

Exhibitions [edit]

1962

• Art from the Democracy, Democracy Institute, Kensington, London, 1962.

1966

• Tendances et Confrontations. Musée Dynamique, Dakar (1–24 April 1966), within the World Festival of Black Arts.

1967

• Gimmicky African Fine art. Transcription Centre, London, 1967.

1969

• Gimmicky African Art, Studio International, London & New York, 1969. Camden Arts Center, London, 1969.
• Gimmicky African Art. Otis Higher of Art and Blueprint, Los Angeles, 1969.

1974

• African Fine art Today: 4 Major Artists. African-American Found, New York, 1974.
• Contemporary African Art, Museum of African Art, Washington D.C., 1974.
• Contemporary African Arts, Field Museum of Natural History, Chicago, 1974. Curated by Maude Wahlman, National Museum of African Art, Chicago (twenty April–3 Nov 1974).

1977

• African Gimmicky Art, The Gallery, Washington D.C, 1977. Curated by Kojo Fosu, The Gallery of Art, Howard University, Washington D.C. (thirty April–31 July 1977).

1978

• Christliches Africa: Kunst und Kunsthandwerk in Schwarzafrika. Curated by Josef Thiel, Haus Völker und Kulturen, St. Augustine, 1978.

1979

• Moderne Kunst aus Afrika im Rahmen des W-Berliner Festivals Horizonte Festival der Weltkulturen (Nr. i, 1979). Eine Ausstellung der Berliner Festspiele mit Unterstützung der Staatliche Kunsthalle, Berlin, 1979 (title on the cover Kunst aus Africa). Curated past Sabine Hollburg and Gereon Sievernich, Staatliche Kunsthalle, Berlin (24 June–12 August 1979); same exhibition with the title Moderne Kunst in Afrika, Terra, Zutphen, 1980. Curated past Harrie Chiliad. Leyten and Paul Faber, Tropenmuseum, Amsterdam (1980); with the title Art from Africa at Democracy Institute, London (1981). The exhibition was also presented in Frankfurt/Main (Paulskirche) during the Frankfurt Bookfair and in Stockholm.

1984

• L'art en Afrique est la vie: Paul Ahyi & El loko aus Togo, Galerie Altana, Hamburg, 1984 (iii–18 November 1984).
• Sanaa: Contemporary Art from East Africa. Curated by Fatmah Abdellah, Mordecai Buluma, Elimo Njau, Republic Institute, London (1984).

1985

• Tributaries: A View of Gimmicky Southern African Fine art, BMW Communications Department, 1985. Curated by Richard Burdett, Africana Museum, Johannesburg, Deutschland.

1986

• From 2 Worlds. Co-curator Nicholas Serota, Whitechapel Art Gallery (1986).

1987

• L'fine art Naïf Africain, Musée d'Art Naïf - Max Fourny, Paris, 1987. In collaboration with Le Centre Culturel Français d'Abidjan, Musée d'Art Naïf - Max Fourny, Paris (11 September–xi Nov 1987).
• Ethnicolor, Paris, 1987. Curated by Bruno Tilliette & Simon Njami. Ethnicolor, Autrements, Paris, 1987. Catalogue with essays by Bruno Tilliette, Simon Njami, Jean-Loup Pivin, Pierre Gaudibert.

1988

• Venice Biennal (Aperto 88) International Exiption, Fathi Hassan.
• June 1988).
• Art pour l'Afrique: Exposition internationale d'art contemporain. Musée National des Arts Africains et Océaniens, Paris (08/06–25 July 1988).
• Kunst uit een andere wereld (Fine art from another globe), Snoeck-Ducaju & Zoon, Rotterdam, 1988. Curated by Paul Faber, Museo di Etnologia, Rotterdam (four Nov 1988 – xiii February 1989).
• Art contemporain arabe: drove du Musée du l'Institut du Monde Arabe, Institut du Monde Arabe, Paris, 1988. Curated by Brahim Alaoui, Institut du Monde Arabe, Paris (1988).

1989

• Bild/konst i södra Afrika (Art/Images in Southern Africa), edited past Christina Bjork, Kerstin Danielson and Bengt Serenander, Riksutställninger, Kulturhuset, Stoccolma, 1989. Curated by Kerstin Danielsson, Kulturhuset & Kulturhuset, Stoccolma (19 May–24 September 1989); afoot in Sweden and in Scandinavian countries until May 1990.
• Magiciens de la terre, Editions du Centre Pompidou, Paris, 1989. Curated by Jean-Hubert Martin, in collaboration with Jacques Soulillou, André Magnin, Aline Luque, Centre Pompidou, Paris (xviii May–fourteen August 1989).
• Croisement de Signes, Institut du Monde Arabe, Paris, 1989. Curated by Mohamed Métalsi (24 Apr–15 August 1989).
• The Other Story (exhibition)The Other Story: Afro-Asian Artists in Post-War Britain, Hayward Gallery, London, 1989. Curated by Rasheed Araeen, Hayward Gallery, South Banking concern Center, London (1989).
• Contemporary Art from the Islamic World, edited by Wijdan Ali in collaboration with Suhail Bisharat, Scorpion Publishing on behalf of the Royal Order of Fine Arts, Amman, London, 1989. Curated by Wijdan Ali, Barbican Concourse Gallery, London.

1990

• Lotte or the Transformation of the Art Object, Grazer Kunstverein [de] & Accademia d'Arte, Vienna, 1990. Curated by Clémentine Deliss.
• Fine art from the Frontline: Contemporary Art from Southward Africa, Angola, Botswana, Mozambique, Tanzanian, Zambia, Zimbabwe, Frontline States, London: Karia Press, 1990. Curated by Peter Sinclair and Emma Wallace, Glasgow Art Gallery and Museum (esposizione itinerante in Gran Bretagna).
• Contemporary African Artists: Irresolute Traditions, El Anatsui, Youssouf Bath, Ablade Glover, Tapfuma Gutsa, Rosemary Karuga, Souleymane Keita, Nicholas Mukomberanwa, Henry Munyaradzi, Bruce Onobrakpeya, the Studio Museum in Harlem, New York, 1990. Curated past Grace Stanislaus, the Studio Museum in Harlem, New York.
• Wegzeichen: Kunst aus Ostafrika 1974–89 [Signs: Art From E Africa 1974–1989], Museum für Völkerkunde, Frankfurt-am-Main, 1990. Curated by Johanna Agthe.

1991

• Africa Explores: 20th Century African Art, Heart for African Art, New York / Prestel-Verlag, Munich, 1991. Curated past Susan Vogel in collaboration with Ima Ebong, The Centre for African Arts, New York (1991); University Fine art Museum di Berkeley; Dallas Museum of Art; Saint Louis Art Museum; Mint Museum of Art di Charlotte; The Carnegie Museum of Art di Pittsburgh; The Corcoran Gallery of Art di Washington D.C.; The Middle for Fine Arts di Miami; Lüdwig; Forum für Internationale Kunst di Aachen, Federal republic of germany (1993); Fundació Antoni Tàpies di Barcellona (1993); Espace Lyonnais d'Art Contemporain di Lyon (1994); Tate Gallery, Liverpool (1994).
• Africa Hoy/Africa At present: Jean Pigozzi Collection. Curated past André Magnin, Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria (17 September–17 November 1991); Groninger Museum, Groningen, Olanda (seven December–9 February 1992), Centro Cultural de Arte Contemporaneo, Mexico City (20 February–7 June 1992); Out of Africa, Saatchi Gallery, London, 1993.
• Art and Ambiguity: Prospectives on the Brenthurst Collection of Southern African Fine art, Johannesburg Art Gallery, Johannesburg, 1991.
• Mit Pinsel und Meissel, Zeitgenössische afrikanische Kunst [Signs of the Time: New Fine art from Africa], Museum für Volkerkunde, Frankfurt am Chief, 1991. Curated by Joanna Agthe and Christina Mundt, Museum für Völkerkunde, Frankfurt am Primary (26 April 1991 – 19 April 1992).
• A Grain of Wheat. Curated by Leroi Coubagy, Democracy Plant, London (1991). In sostegno ai programmi dell'UNICEF.
• Il Sud del Mondo: L'altra arte contemporanea, Mazzotta, Milano, 1991. Curated by Pierre Gaudibert and Wijdan Ali (in collaboration with Umberto Melotti), Galleria civica d'arte contemporanea "Francesco Pizzo", Marsala (fourteen Feb–14 Apr 1991).
• Contemporary Bushmen art of Southern Africa, Kuru Cultural Projection, Botswana, 1991. Curated by Kuru Cultural Project of D'Kar, Botswana in collaboration with Namibian Arts Association.
• Desplazamientos, Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria, Spain.
• Transmission, Rooseum, Malmö, Svezia.

1992

• The Jean Pigozzi Contemporary African Art Collection at the Saatchi Collection, The Saatchi Gallery, London, 1992.
• Domicile and the World: Architectural Sculpture by Two Contemporary African Artists, The Museum for African Art, Collana Focus on African Art, New York, 1992.
• La naissance de la peinture contemporaine en Afrique centrale, 1930–70, Musée Royal de fifty'Afrique Centrele, Tervuren, 1992. Musée Royal de l'Afrique Centrele, Tervuren, Bruxelles (1992).
• Paris Connections: African and Caribbean Artists in Paris, Asake Bomani and Belvie Rooks (eds), San Francisco: Q.E.D. Press, 1992, 56 pp.

1993

• Fusion: West African Artists at the Venice Biennale, Museum for African Art, New York, 1993. Curated past Thomas McEvilly and Susan Vogel, all'interno della Biennale di Venezia, 1993.
• La grande vérité, les astres africains, Musée des Beaux-Arts de Nantes, Nantes, 1993. Curated by Henry-Claude Cousseau, André Magnin, Jonas Storsve (25 June–25 September 1993).
• Creative Impulses/Modern Expressions-Four African Artists: Skunder Boghossin, Rashid Diab, Mohammed Omer Khalil, Amir Nour, African Studies and Research Centre, Institute for African Development, Council for the Creative and Performing Arts, Cornell University, Ithaca, 1993. Curated past Salah Hassan.

1994

• Seen/Unseen. Curated by Olu Oguibe, Bluecoat Gallery, Liverpool (18 June–23 July 1994)
• F.R.A.C. Réunion, Lieux De Mémoire, Curated by Antonio Picariello, artisti: Jack Beng-Thi, Michael Elma, Alain Padeau, Eric Pongérard, Edouard Rajaona, Alì M'roivili dit Napalo, Malla Chummun Raymyead.
• Otro Païs: Escalas Africanas (Another Century: African Stepovers), Centro Atlantico de Arte Moderno, Les Palmas de Gran Canaria, 1994. Curated past Simon Njami east Joëlle Busca (coordinamento generale di Orlando Britto Jinorio), Las Palmas de Gran Canaria (15 November 1994 – 15 January 1995); Palma de Mallorca Fundacion "La Caixa" (15 February–16 Apr 1995).
• Rencontres Africaines: Exposition d'Art Actuel, Establish du Monde Arabe, Paris, 1994. Curated past Brahim Alaoui and Jean-Hubert Martin, Paris, Institut du Monde Arabe (six April–15 August 1994).
• Around and Around.^[21] Curated past Peter Herrmann and Achim Kubinski, Galerie Peter Herrmann, Stuttgart (1994); Douala (1995); Berlin (1999); Stuttgart (1999).

1995

• Blackness Looks, White Masks, Ministerio de Asuntos Exterioires, Tabapress, Madrid, 1995. Curated by Octavio Zaya and Tumelo Mosaka.
• Seven Stories About Modern Art in Africa, Flammarion, New York, 1995. Curated past Clémentine Deliss and Salah Hassan, David Koloane, Catherine Lampert, Chika Okeke-Agulu, El Hadji Sy, Wanjiku Nyachae, Whitechapel Fine art Gallery, London (27 September–26 November 1995), in the frame of Africa95; Malmö, Svezia (27 January-17 March 1996).
• Vital: Three Contemporary African Artists (Cyprien Tokoudegba, Touhami Ennadre & Farid Belkahia). Tate Gallery Liverpool, Liverpool, 1995 (xiii September–10 Dec 1995), all'interno di Africa95.
• Big Metropolis: Artists from Africa, Serpentine Gallery, London, 1995. Curated by Jean Pigozzi and Julia Peyton-Jones (20 September–five December 1995), all'intero di Africa95.
• An Within Story: African Art of Our Time, edited by Yukiya Kawaguchi, The Yomiuri Shimbun, Japan Association of Art Museums, Tokyo, 1995. Curated by Yukiya Kawaguchi, Setagaya Fine art Museum, Tokyo (23 September–xix November 1995); Tokushima Modern Art Museum (20 January–17 March 1996); Himeji Urban center Museum of Art (6 April-6 May 1996); Koriyama City Museum of Art (xviii May–23 June 1996); Genichiro Museum of Contemporary Art, Marugame Inokuma (vii July–ane September 1996); Museum of Fine Arts, Gifu (13 September–27 October 1996).
• Sign Traces Calligraphy: Five contemporary artists from North Africa. Curated by Rose Issa, London-Barbican Eye/Amsterdam-Treoenmuseum Kit, 1995.
• Persons and Pictures: the Modernist Eye in Africa, Newtown Galleries, Newtown, Johannesburg, 1995. Newtown Galleries, Newtown, Johannesburg (27 September–ten November 1995).
• New Visions: Recent Works by 6 African Artists, edited by Salah Hassan and Okwui Enwezor, Zora Neale Hurston National Museum of Fine Arts, Eatonville, 1995. Curated by Salah Hassan and Okwui Enwezor.

1996

• Archetyp'Art Italia-Africa, Premio Termoli 1996, curated by Antonio Picariello (presentazione di Omar Calabrese), Electa Na, 1996. Artisti: Mimmo Paladino, Massimo Pulini, Gilberto Zorio, Santolo De Luca, Roberto Nottoli, Roberto Lucca Taroni, Ngwenya Valente Malangatana, Mickael Elma, Alain Padeau, Thierry Fontaine, Alim'Roivili dit Napalo, Sandile Zulu.
• Colours: Kunst aus Südafrika, Haus der Kulturen der Welt, Berlin, 1996.
• In/Sight: African Photographers: 1940 to the Present, Solomon Guggenheim, 1996. Curated by Okwui Enwezor, Octavio Zaya, Clare Bong and Danielle Tilkin, Guggenheim Museum (24 May–29 September 1996).
• Neue Kunst aus Afrika, Edition Braus, Heidelberg, 1996. Curated by Alfons Hug, Haus der Kulturen der Welt, Berlin, 1996.
• Die Andere Reise: Afrika und die Diaspora (The Other Journey: Africa and Diaspora), Holzhausen, Vienne, 1996.
• Gendered Visions: The Fine art of Contemporary Africana Women Artists, edited by Salah Hassan, Africa Globe Printing, 1997. Curated by Salah Hassan (1996).
• Africana, Sala 1, Roma and Adriano Parise Editore, Verona, 1996. A cura Francesca Capriccioli, Sala 1, Roma (1 February 1996). Artisti partecipanti: El Anatsui, Theo Eshetu, Fathi Hassan, Ali Kichou, Bertina Lopes, Kivuthi Mbuno, Kwesi O. Owusu-Ankomah, Hadjira Preure, Twins Seven Seven, Panga Wa Panga, George Zogo. Testi in catalogo: Mary Angela Schroth, Gianni Baiocchi, Olu Oguibe.

1997

• Veilleurs de Monde: Gbedji Kpontolè – Une aventure béninoise, Editions CQFD, Paris, 1998. Exhibition and residency project, Eye Culturel Français du Benin (12 Baronial–9 September 1997).
• Die Anderen Modernen: Zeitgenössische Kunst aus Afrika, Asien und Lateinamerika, Editions Braus & Hauses der Kulturen des Welt, Berlin, 1997. Curated by Alfons Hug, Hauses der Kulturen des Welt, Berlin (viii May–27 July 1997).
• Cross/ing: Fourth dimension | Space | Motion. Curated past Olu Oguibe, University of S Florida, Tampa (four September–18 October 1997); Track sixteen Gallery, Santa Monica (28 February–24 April 1998); Indianapolis (vii August 1999).
• Modernities & Memories. Curated by Brahim Alaoui, Pia Alisjahbana, Suhail Bisharat, Clifford Chanin, Salima Hashmi, Salah Hassan, Hasan-Uddin Khan, Beral Madra, Toeti Heraty Noerhadi, A. D. Pirous, Zenobio Establish, in contemporanea con la XLVII Biennale di Venezia, 1997.
• Suites Africaines. Curated past Revue Noire, Couvent des Cordeliers, Paris (5 March–16 April 1997).
• Lumière noire: Art contemporain, Château de Tanlay-Yonne, Yonne, Francia, 1997. Curated by Michel Nuridsany, Middle d'Art de Tanlay, Yonne (7 June–five October 1997).
• Image and Form: Prints, Drawings and Sculpture from Southern Africa and Nigeria, (edited by) John Picton, School of Oriental and African Studies, Academy of London, London, 1997. Curated past Robert Loder, Lisa Muncke, John Picton.
• Transforming the Crown: African, Asian and Caribbean artistis in United kingdom of great britain and northern ireland, 1966–1996, edited by Franklin Sirmans and Mora J. Beauchamp-Byrd, the Caribbean Cultural Center/African Diaspora, New York, 1997.
• Inklusion: Exklusion. Kunst im Zeitalter von Postkolonialismus und globale Migration, Köln, Germany, 1997.

1998

• Africa Africa: Vibrant New Art from a Dynamic Continent. Curated by Rajae Benchemsi, Rob Burnet, Yacouba Konaté, Toshio Shimizu, Jean-Hubert Martin, Tobu Museum of Fine art, Tokyo (11 September–24 November 1998).
• Body & Soul. Curated by Anke van der Laan, Stadsgalerij Heerlen, Olanda (4 April–xiv June 1998).
• Transatlantico. Curated by Octavio Zaya, Centro Atlantico de Arte Moderno, Les Palmas de Gran Canaria (15 April–14 June 1998).
• Transforming the Crown: African, Asian & Caribbean area Artists in Britain 1966–1996. Curated past M. Franklin Sirmans and Mora J. Beauchamp-Byrd, New York, 1998.
• Snap me one! Studiofotografen in Afrika, Münchner Stadtmuseum, 1998. Curated by Tobias Wendl and Heike Behrend, Münchner Stadtmuseum (1998); Städtisches Museum Abteiberg, Mönchengladbach; Iwalewa Haus, Bayreuth, Federal republic of germany; National Museum for African Art, Smithsonian Institution, Washington D.C., US (1999).

1999

• Africa by Africa: A Photographic View. Curated by the Barbican Art Gallery in collaboration with Revue Noire and Shorthand, Barbican Center, London (29 January–28 March 1999).
• Trafique. Curated by Piet Vanrobaeys, S.M.A.K. actress muros, Gent (4 Apr–16 May 1999).
• Contemporary African Art from the Jean Pigozzi Collection, Sotheby's, London, 1999. Asta presso Sotheby's (24 June 1999).
• South meets West, Berna, 2000. Curated past Bernhard Fibicher, Yacouba Konaté and Yuonre Vera, Accra (x November–v December 1999); Berna (6 April–25 June 2000).
• Transatlantic Dialogue: Contemporary Art In and Out of Africa. Curated past Michael D. Harris, Ackland Art Museum (12 Dec 1999 – 26 March 2000); Washington D.C., Smithsonian Institution (21 May–3 September 2000); Chicago, DuSable Museum of African American History (7 Oct–31 Dec 2000).
• Tagewerke: Bilder zur Arbeit in Afrika (All in a day's work: images of work in Africa), Museum für Völkerkunde, Frankfurt am Master, 1999. Curated by Joanna Agathe, Museum für Völkerkunde, Galerie 37, Frankfurt am Main.
• Amabhuku|Amabhuku: Illustrations d'Afrique/Illustrations from Africa, La Joie par les Livres AJPL, Clamart, Francia, 1999. Curated by Marie Laurentin, Viviana Quiñones and Cécile Lebon, Fiera Internazionale del Libro per fifty'Infanzia, Bologna (8–11 April 1999).

2000

• TransAfricana: Artisti contemporanei, Edizione Lai Momo, Bologna, 2000. Curated by Mary Angela Schroth, Bologna (xv January-24 February 2000).
• Il ritorno dei Maghi: Il Sacro nell'arte africana contemporanea, Edizioni Skira, Milano, 2000. Curated by Sarenco ed Enrico Mascelloni (Orvieto, 8 April–30 June 2000).
• Partage d'Exotisme: Biennale d'Art Contemporain de Lyon, Lione, 2000. Curated by Jean-Hubert Martin.
• Insertion: Self and Other. Curated by Salah Hassan. Apexart, New York (18 April–twenty May 2000).
• Continental Shift: A Voyage Betwixt Cultures. An Exhibition of Contemporary Art, Modo Verlag Freiburg, 2000. Contemporaneamente in quattro spazi espositivi: Ludwig Forum for International Fine art, Aachen; the Bonnefanten Museum, Maastricht (exhibition on Africa curated by Marjorie A. Jongbloed); the National Gallery, Heerlen; the Museum of Modern and Contemporary Art, Liége (21 May–21 September 2000).^[22]
• La Cour Africaine: Mobiliers et objets contemporains. Curated by Ibrahim Loutou, L'Afrique en créations, Salle des Malades, Lille (23 Oct–30 Nov 2000).
• Dreierkonferenz: Aboudramane, Owusu-Ankomah, Lawson Oyekan. Curated past Peter Herrmann, Galerie Peter Herrmann, Stuttgart (four November–24 Dec 2000).
• Mostra Africana de Arte Contemporânea. Curated by Solange Oliveira Farkas, Fundação Cultural Palmares and Associação Cultural Videobrasil, São Paulo, Brasile (sixteen August–17 September 2000).
• El Tiempo de Africa. Curated by Simon Njami, Centro Atlantico de Arte Moderno (12 December 2000 – 4 February 2001); Madrid, 19 April–31 May 2001.
• EXITCONGOMUSEUM, Purple Museum for Central Africa, Tervuren, 2000. Curated by Toma Muteba Luntumbue, Purple Museum for Key Africa, Tervuren, Belgio.
• Blick-Wechsel: Afrikanische Videokunst, Ifa Gallery, Bonn. Curated by Marcel Odenbach, Ifa Galleries Bonn, Stuttgart, Berlin (2000–01).

2001

• Authentic/Ex-Centric, Forum For African Arts, Ithaca (NY), 2001. Curated by Salah Hassan and Olu Oguibe, exhibition "a latere" 49ª Biennale di Venezia (9 June–thirty September 2001).
• Africas: The Artist and the City – A Journey and an Exhibition, Center de Cultura Contemporania de Barcelona, Barcelona, 2001. Curated past Pep Subiros (29 May–11 September 2001).
• African Styles: Kleidung und Textilien aus Afrika, Iwalewa-Haus, Bayreuth, Germany. Curated past Kerstin Bauer (21 October 2001 – 31 March 2002).
• Unpacking Europe: Towards a Critical Reading, edited by Salah Hassan and Iftikhar Dadi, Museum Boijmans Van Beuningen & NAI Publishers, Rotterdam, 2001. Curated by Salah Hassan and Iftikhar Dadi in collaboration with Chris Dercon and Patricia Pulles, Museum Boijmans Van Beuningen, Rotterdam (13 December 2001 – 24 February 2002).
• Fine art populaire. Curated by Hervé Chandès in collaboration with Hélène Kelmachter and André Magnin, Fondation Cartier pour l'art, Paris, (21 June–iv November 2001).
• The Short Century: Independence and Liberation Movements in Africa 1945–1994, edited by Okwui Enwezor, Prestel, Munich-New York, 2001. Curated past Okwui Enwezor, Villa Stuck, Munich (15 Feb–22 Apr 2001); Haus der Kulturen der Welt, Berlin (18 May–22 July 2001); Museum of Contemporary Fine art, Chicago (8 September–xxx December 2001); P.Southward.1 Gimmicky Fine art Center and The Museum of Mod Fine art, New York (x February–five May 2002).

2002

• Afrikanische Reklamekunst, Iwalewa-Haus, Bayreuth, Frg. Curated by Otto Frick (24 October 2002 – 16 February 2003).
• Dice Welt ist ein Maskentanz: Afrikanische Künstler in der Sammlung Greiffenberger, Iwalewa-Haus, Bayreuth, Frg. Curated by Sigrid Horsch-Albert (9 May–31 August 2002).
• africa autonomously _ Afrikanische Künstlerinnen und Künstlern konfrontieren Aids. Curated by Arbeitsgruppe Unterbrochen Karrieren, Thomas Michalak, Torsten, Neuendorff, Beate Yard. Sauer-Dolezal, Sabine Schlenker, Ingo Taubhorn, Neue Gesellschaft für bildende Kunst, Berlin, Deutschland (fourteen December 2002 – 9 February 2003).
• Flash Afrique: Photography from Westward Africa, Steidl, 2002. Curated by Thomas Miessgang, Gerald Matt, Barbara Schröder, Kunsthalle Wien, Vienna, 2002.

2003

• A Fiction of Authenticity: Contemporary Africa Abroad, Contemporary Art Museum, St. Louis – Usa, 2003. Curated by Shannon Fitzgerald, Carnegie Mellon University, Pittsburgh USA (twenty September 2003 – 3 January 2004).
• Looking Both Means: Art of the Contemporary African Diaspora, Museum for African Fine art, New York. Curated by Laurie Ann Farrell, Museum for African Art, New York (14 November 2003 – 1 March 2004); Peabody Essex Museum, Salem, MA (27 March–18 July 2004); Cranbrook Fine art Museum, Bloomfield Hills, MI (12 September–28 November 2004); Museu Calouste Gulbenkian, Lisboa (ane March 2005); Museum of African Diaspora, San Francisco (March 2006).
• Transferts. Curated past Toma Muteba Luntumbue, Palais des Beaux-Arts, Bruxelles (21 June–14 September 2003), all'interno di Africalia 03.
• Error Lines: Contemporary African Art Shifting Landscapes, inIVA, London, 2003. Curated by Gilane Tawadros and Sarah Campbell, all'interno della 50ª Biennale di Venezia (fifteen June–2 November 2003).
• Iwalewa Reload, Iwalewa-Haus, Bayreuth, Germany (15 October 2003 – 22 February 2004).
• Roots & Routes: Afrikaner in Oberfranken, Iwalewa-Haus, Bayreuth, Frg (fourteen November 2003 – 22 February 2004).
• Correspondances Afriques, Iwalewa-Haus, Bayreuth, Frg. Curated by Artur Elmer (24 Apr 2003 – 24 Baronial 2003).
• Fuoriluogo viii / Afritalia. Curated past Mary Angela Schroth, Chiesa San Bartolomeo and Galleria Limiti inchiusi, Campobasso (29 August–twenty September 2003)
• NEXT FLAG.Reexistencia cultural generalizada: Exposition d'art contemporain africain – Collection Hans Bogatzke (il titolo della pubblicazione è Next Flag: The African Sniper Reader, edited by Fernando Alvim, Heike Munder and Ulf Wuggenig, Migros Museum für Gegenwartskunst, Zürich, 2005). Curated past Fernando Alvim and Simon Njami, Site de fifty'Université du Travail Paul Pastur, Charleroi, Belgio (14 March–18 May 2003).

2004

• Africa Remix. Curated by Simon Njami in collaboration with Els van der Plas, David Elliott, Jean-Hubert Martin, Marie-Laure Bernadac, Roger Malbert, Museum Kunst Palast, Düsseldorf (24 July-seven November 2004); Hayward Gallery, London (x Feb–17 Apr 2005); Centre Georges Pompidou, Paris (25 May-15 August 2005); Mori Art Museum, Tokyo (2 May 2006).
• Africa Screams: The Evil in Movie house, Fine art and popular Civilization. Curated past Thomas Miegang and Tobias Wendl, Kunsthalle Wien, Republic of austria (4 Nov 2004 – 30 Jan 2005); Iwalewa-Haus, Bayreuth, Germany (29 April–12 September 2004); Kunstverein Aalen (3 April–12 July 2005); Museum der Weltkulturen in Frankfurt (8 July 2005 – xv January 2006).
• Black Box: Les Afriques. Curated by Laurent Jacob, Espace 251 Nord asbl, 2004; Tri Postal, Lille, Francia (31 March–8 August 2004) durante Lille 2004.
• Les Afriques: 36 artistes contemporains, Editions Autrement, Paris, 2004. Curated by Olivier Sultan, Musée des Arts derniers/Jean-Marc Patras Galerie/Espace CPP, Paris. In occasione della Foire internationale des Arts derniers.
• 50'Afrique à venir. Curated by Peter Herrmann, Galerie Peter Herrmann, Stuttgart (24 April–20 June 2004).
• Africani in Africa. Palazzo Pazzi-Ammanti, Firenze (29 Dec 2004 – half dozen March 2005).
• Escape and Retentivity, Curated by Enrico Mascelloni and Virginia Ryan, Camera dei deputati, Roma, June 2004.
• New Identities. Zeitgenössische Kunst aus Südafrika. Kunstmuseum Bochum, Germany (31 July–7 Nov 2004).
• Insights: Selections from the contemporary drove.^[23] Curated by Kinsey Katchka and Allyson Purpurra, National Museum of African Fine art, Smithsonian Institution, Washington DC (febbraio-novembre 2004).
• Der Black Atlantic. Haus der Kulturen der Welt, Berlin, Federal republic of germany (17 September–xv Nov 2004).
• L'arte africana dall'Algeria al Sudafrica. Curated by "Oltre l'Africa"-Centro Studi due east Documentazione Africana, in collaboration with la SUI-Sviluppi Umani Immaginati, Toscana (15 September 2004–)

2005

• Zeitgenössische Kunst aus Afrika und Europa im Dialog. Curated past Dany Keller, Iwalewa-Haus, Bayreuth, Germany (28 April–4 September 2005).
• Plakate in Afrika. Iwalewa-Haus, Bayreuth, Frg (20 October 2005 – 26 Feb 2006).
• Gleichzeitig in Afrika... [Meanwhile in Africa...]. Curated by Christian Hanussek, Akademie der Bildenden Künste, Nürnberg (iii–17 June 2005); Universität der Künste, Berlin (18–28 Jan 2006).
• Mostra Pan-Africana de Arte Contemporânea. Museu de Arte Moderna da Bahia, Brasile (18 March–17 Apr 2005).
• Africa Urbis: Perspectives urbaines, edited by Olivier Sultan, Musée des arts derniers, Paris, 2005. Curated by Olivier Sultan, Musée des arts derniers, Paris.
• TEXTures: give-and-take and symbol in gimmicky African art. Curated by Elizabeth Harney, Smithsonian Museum of African Art, Washington D.C. (two September 2005).
• African American vernacular photography. Curated past Brian Wallis, International Center of Photography, New York (9 Dec 2005 – 26 February 2006).
• Arts of Africa: Jean Pigozzi's Gimmicky Collection, Skira, Milano, 2005. Curated past André Magnin, Grimaldi Forum, Monaco.
• Mostra Pan-Africana de Arte Contemporanea, Associação Cultural Videobrasil, 2006. Curated by FundaCAo Cultural Palmares, Museu de Arte Moderna Da Bahia, Mam East Sala Walter Da Silveira, Salvador-Ba (18 March–17 April 2005).

2006

• Olvida quién soy/Erase me from who I am, Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spagna, 2006. Curated by Elvira Dyangani Ose in collaboration with Tracy Murinik, Gabi Ngcobo and Khwezi Gule, CAAM, Isole Canarie (23 Feb-30 April 2006).
• Africa Nera: Protagonisti dell'arte africana. Curated by Enrico Mascelloni, Franco Riccardo and Sarenco, Castel dell'Ovo, Napoli (xviii May–13 June 2006).
• Snap Judgments: New Positions in Contemporary African Photography, International Center of Photography, New York, 2006. Curated by Okwui Enwezor, International Eye of Photography, New York (ten March–28 May 2006), Miami Art Primal, Miami, Florida (30 June–27 Baronial 2006).
• 100% Africa. Curated by André Magnin, The Guggenheim Museum Bilbao, Spagna (October 2006– Feb 2007).
• Des Hommes sans Histoire: Histoire et spoliation des biens culturels à travers les œuvres d'artistes contemporains. Curated by Olivier Sultan, Musée des Arts Derniers, Paris (29 June–31 July 2006).
• Distant Relatives/Relative Distance. Curated by Michael Stevenson, Greatcoat Town, Sudafrica (8 June–12 August 2006).
• At that place & Back: Africa, La Casa Encendida, Obra Social Caja Madrid, 2006. Curated by Danielle Tilkin.

2007

• Africa Today – The night side of the art. Curated by Luca Faccenda and Marco Parri, La Vetrina di Roma, Rome, Italian republic, 2007.
• Check List Luanda Pop. Curated by Fernando Alvim and Simon Njami. 52nd Venice Biennale, Venice, Italy (June–July 2007).
• Why Africa? La Collezione Pigozzi, Fondazione Pinacoteca del Lingotto Giovanni and Marella Agnelli, Mondadori Electa, Milano, 2007. Curated by André Magnin, Pinacoteca del Lingotto, Torino, 6 October 2007 – 3 February 2008.
• AfriqueEurope: Reves croises in Ateliers des Tanneurs, Brussels, Kingdom of belgium. Group exhibition curated past Yacouba Konaté. Artists included: El Anatsui, Nu Barreto, El Berry Bickle and Luis Basto, Frédéric Bruly Bouabré, Dilomprizulike, Mustapha Dime, El Loko, Tapfuma Gutsa, Annie Haloba, Jak Katarikawe, Jems Robert Koko Bi, Abdoulaye Konaté, Bill Kouelany, Siriki Ky, Ndary Lo, Toyin Loye, Churchill Madikida, Joel Mpah Dooh, Francis Mampuya, Ingrid Mwangi, Robert Hutter, Serigne Niang, Babacar Niang, Samuel Olou, Freddy Tsimba, and Guy Bertrand Wouété.

2009

• Tanzania VS Congo, George Lilanga, Maurus Mikael Malikita, One thousand. Charinda, Grand.Sagula, (Tanzania) Cheri Cherin, Cheick Ledy, Jean Paul Mika (Congo), Kyo Art Gallery, Viterbo, 2 September 2009 – 26 September 2009. Curated past Massimiliano Del Ninno.

2010

• L'Africa nei loro occhi: Cheri Cherin, Pierre Bodo, Amani Bodo,Jean Paul Mika Nsimba (Repubblica democratica del Congo); George Lilanga (Tanzania); Almighty God (Republic of ghana); Bruce Onobrakpeya, Prince Twins Seven Seven, (Nigeria); Kivuthi Mbuno (Kenia); Ester Mahlangu, Churchill Songezile Madikida (Sud Africa). Curated by Antonella Pisilli, Ex Convento dei Carmelitani Scalzi per la settima edizione di Vitarte, Viterbo, (12–15 March 2010)
• Africa, Assume Fine art Position! Primo Marella Gallery, Milano, 2010. By Primo Giovanni Marella, curated by Yacouba Konaté with Mounir Fatmi, Cameron Platter, Soly Cissé, Barthélémy Toguo, Abdoulaye Konaté, Joel Andrianomearisoa, Peter Eastman, Nandipha Mntambo, Moridja Kitenge Banza, Stuart Bird, Athi Patra Ruga, Vitshios Mwilambwe Bondo, Primo Marella Gallery, Milano (12 Nov 2010 – thirty Jan 2011).
• Who Knows Tomorrow: El Anatsui, Zarina Bhimji, Antonio Ole, Yinka Shonibare, Pascale Marthine Tayou. Nationalgalerie, Berlin. Curated by Chika Okeke-Agulu, Britta Schmitz, Udo Kittelmann (2 June–23 September).
• Events of the Self: Portraiture and Social Identity: Contemporary African Art from the Walther Collection, Neu-Ulm, Frg. Curated past Okwui Enwezor (June 2010–May 2011).
• Colui che non-dimentica, Frédéric Bruly Bouabré, Kyo Fine art Gallery, Viterbo, 9 Oct 2010 – 15 November 2010. Curated by Antonella Pisilli.

2011

• Africa, Assume Art Position! Primo Marella Gallery, Milano, 2010. United nations progetto di Primo Giovanni Marella, a cura di Yacouba Konaté con Mounir Fatmi, Cameron Platter, Soly Cissé, Barthélémy Toguo, Abdoulaye Konaté, Joel Andrianomearisoa, Perter Eastman, Nandipha Mntambo, Moridja Kitenge Banza, Stuart Bird, Athi Patra Ruga, Vitshios Mwilambwe Bondo, Primo Marella Gallery, Milano (12 November 2010 – thirty January 2011).
• Il Divin saggio, Almighty God, Kyo Fine art Gallery, Viterbo, 29 Apr 2011 – vii May 2011. Curated by Antonella Pisilli.
• Transafricana, Esther Mahlangu (South Africa), George Lilanga (Tanzania), Seni Camara (Senegal), Mikidadi Bush-league (Tanzania), Kivuthi Mbuno (Kenya), Peter Wanjau (Kenya), Fondazione 107, Torino, 17 June–sixteen October 2011. Curated by Achille Bonito Oliva.

2012

• Bestiario, Soly Cissé, Kyo Art Gallery, Viterbo, 14 April–14 May 2012. Curated by Antonella Pisilli.
• Making Way: Contemporary Art from South Africa and China. Curated past Ruth Simbao. Albany Museum, Fort Selwyn and the Provost, National Arts Festival, Grahamstown, South Africa (2012)

2013

• Lena, Gavin Pelting, Kyo Art Gallery, Viterbo, 28 June–7 July 2013. Curated by Antonella Pisilli.
• Making Fashion: Contemporary Fine art from South Africa and Communist china. Curated by Ruth Simbao. Standard Bank Gallery, Johannesburg, South Africa (2013)

2014

• Withal FIGHTING IGNORANCE & INTELLECTUAL PERFIDY, Ben Uri Museum, London, i–30 March 2014. Curated by Kisito Assangni

Including: Said Afifi (Morocco) | Nirveda Alleck ( Mauritius) | Jude Anogwih (Nigeria) | Younes Baba-Ali (Morocco) | Rehema Chachage (Tanzania) | Saidou Dicko (Burkina Faso) | Ndoye Douts (Senegal) | Kokou Ekouagou (Togo) | Mohamed El Baz (Morocco) | Samba Autumn (Senegal) | Dimitri Fagbohoun (Benin) | Wanja Kimani (Kenya) | Nicene Kossentini (Tunisia) | Kai Lossgott (S Africa) | Michele Magema (D.R.Congo) | Nathalie Mba Bikoro (Gabon) | Victor Mutelekesha (Zambia) | Johan Thom (S Africa) | Saliou Traoré (Burkina Faso) | Guy Woueté (Cameroon) | Ezra Wube (Ethiopia).

• Slip: Igshaan Adams and Mbali Khoza. Curated by Ruth Simbao. Albany Museum, Grahamstown, South Africa (September 2014)
• Ici l'Afrique / Here Africa – L'Afrique contemporaine à travers le regard de ses artistes Georges Adéagbo (Bénin), Omar Ba (Sénégal), Faouzi Bensaïdi* (Maroc), Filipe Branquinho (Mozambique), Frédéric Bruly Bouabré (Côte d'Ivoire), Edson Chagas (Angola), Romuald Hazoumé (Bénin), Pieter Hugo (South Africa), Adelita Husni-Bey (Libye), Nadia Kaabi-Linke (Tunisia), Gonçalo Mabunda (Mozambique), Mustafa Maluka (South Africa), Abu Bakarr Mansaray (Sierra Leone), J. D. 'Okhai Ojeikere (Nigeria), Joshua Okoromodeke (Nigeria), Richard Onyango (Kenya), Idrissa Ouédraogo* (Burkina Faso), Chéri Samba (Congo), Sarkis & Guem & Perdrix* (France/Bénin), Zineb Sedira (Algérie), Malick Sidibé (Mali), Abderrahmane Sissako* (Mauritanie), Yinka Shonibare MBE (UK/Nigéria), Pascale Marthine Tayou (Cameroon), Barthélémy Toguo (Cameroon), eight May–6 July 2014, Château de Penthes Ch. de fifty'Impératrice, Genève-Pregny, Commissaire générale Adelina von Fürstenberg.
• Happiness, Lovemore Kambudzi, Kyo Art Gallery, Viterbo, 28 June–1 July 2014. Curated by Antonella Pisilli
• Nouchi City, Aboudia, Galerie Cécile Fakhoury, Abidjan, 26 September 2014 – 15 November 2014
• The Divine One-act: Heaven, Purgatory and Hell Revisited by Contemporary African Artists

2018

• "AfroPunk- Kendell Geers" Didier Claes Gallery, Brussels

2019

• IncarNations - African Art as Philosophy, Curated past Kendell Geers and Sindika Dokolo, BOZAR, Brussels^[24]

2020

• "OrnAmenTum'EtKriMen" Kendell Geers curated by Danillo Eccher, M77 Gallery Milano

Collections of essays [edit]

• Colloquium: Function and Significance of African Negro Art in the Life of the People and for the People, Paris: Presence Africaine, 1968. Conferenza a cura della Society of African Culture (SAC) in collaboration with UNESCO, 30 March–8 Apr 1966.
• Ethnic and Tourists Arts: Cultural Expressions from the Fourth World, edited past Nelson H. H. Graburn, University of California Press, Berkeley, 1976.
• Modern Konst I Afrika (Modern Art in Africa), edited by Sune Nordgren, Kalejdoskop, Lund (Svezia), 1978.
• Patrimoine Culturel et Création Contemporaine: en Afrique et dans le Monde Arabe, edited past Mohamed Aziza, Dakar: Les Nouvelles Editions Africaines, 1977.
• Airport Fine art: das exotische Souvenir, Institut für Auslandsbeziehungen, Stuttgart, 1987.
• Kunstreise nach Afrika: Tradition und Moderne, edited past Ronald Ruprecht, Iwalewa-Haus, Universität, Bayreuth, 1988.
• African Art in Southern Africa: From Tradition to Township, edited past A. Nettleton and D. Hammond-Tooke, Johannesburg: A.D. Donker, 1989.
• The Myth of Primitivism: Perspectives on Art, edited past Susan Hiller, London/New York: Routledge, 1991.
• Fine art, Anthropology and the Modes of Re-Presentation: Museums and Contemporary non-Western Fine art, edited past Harrie Leyten and B. Damen, KIT Press-Koninklijk Instituut voor de Tropen, Amsterdam, 1993.
• Banque centrale des etats de l'Afrique de l'ouest. BCEAO: Collection d'art contemporain, edited past Ousmane Sow Huchard, BCEAO, Dakar, 1993.
• Creer en Afrique: 2e colloque européen sur les arts d'Afrique noire, Musée National des Arts d'Afrique and d'Océanie, Paris, 23–24 Oct 1993.
• Global Visions Towards a New Internationalism in the Visual Arts, edited past Jean Fisher, London: Kala Press, 1994.
• Cultural Diversity in the Arts: art, art policies and the facelift of Europe, edited by Ria Lavrijsen, Regal Tropical Found, Amsterdam, 1993.
• Art Criticism and Africa, edited by Katy Deepwell, Saffron Books, African Art and Social club Series, London, 1997.
• Images of Enchantment: Visual and performing Arts of the Middle East, edited by Sherifa Zuhur, The American University in Cairo Printing, Cairo, 1998.
• Issues in Gimmicky African Art, edited by Nkiru Nzegwu, International Society for the Report of Africa, ISSA Binghamton University, Binghamton, NY, 1998.
• Dialogue of the Present: xviii Contemporary Arab Women Artists, edited by Siumee H. Keelan, Fran Lloyd, London, 1999.
• Reading the Contemporary. African Fine art from Theory to the Marketplace, edited by Olu Oguibe and Okwui Enwenzor, Institute of International Visual Arts (inIVA) and MIT Press, London, 1999.
• autopsia & desarquivios, edited by Fernando Alvim and Catherine Goffeau Alvim, Espace Sussuta Boé, Bruxelles, 1999.
• Colors of Enchantment: Theater, Dance, and the Visual Arts of Middle East, edited by Sherifa Zuhur, The American University in Cairo Printing, Cairo-New York, 2001.
• Anthologie de l'art africain du XX siècle, edited past Due north'Goné Fall and Jean Loup Pivin, Paris: Éditions Revue Noire, 2001. Raccolta di saggi e schede di artisti.
• Afriche, Diaspore, Ibridi – Il concettualismo come strategia dell'arte africana contemporanea, edited by Eriberto Eulisse, AIEP Edizioni, Bologna, 2003.
• African cultural dynamics: Africalia Encounters in Bamako (01–03/eleven/2002), curated past Joëlle Busca, Africalia, 2003.
• Repenser la coopération culturelle en Afrique: Rencontre Africalia d'Ostende (27–29/05/2003), Rencontre Africalia de Liège (26–27/06/2003), Rencontre Africalia de Bruxelles (nineteen–20/09/2003), edited past Joëlle Busca, Africalia, 2004.
• Over Here: International Perspectives on Fine art and Culture, edited by Gerardo Mosquera and Jean Fisher (con il progetto artistico di Francis Alÿs), New Museum of Contemporary Art-New York/The MIT Press-Cambridge Massachusetts & London, 2004.
• Next Flag: The African Sniper Reader, edited by Fernando Alvim, Heike Munder and Ulf Wuggenig, Migros Museum für Gegenwartskunst, Zürich, 2005.
• "Hand Grenades From My Heart" Kendell Geers writings, edited by Jérôme Sans, Blue Kingfisher Limited, Beijing, 2013, ISBN 9881506476

Monographs [edit]

• Margaret Trowell. African Craft: Their Development in the School, London: Longman, 1937.
• Robert Goldwater. Primitivism in Modern Painting, New York: Random House, 1938 (1966, Harvard Belknap Press, Cambridge, MA, 1986).
• Rolf Italiaander. Neue Kunst in Afrika: eine Einführung, Bibliograf. Institut, Mannheim, 1957.
• Evelyn S. Brown. Africa's contemporary fine art and artists: a review of artistic activities in painting, sculpture, ceramics and crafts of over 300 artists working in the modern industrialized societies of some of the countries of sub Saharan Africa, Partition of Social Research and Experimentation, Harmon Foundation, New York, 1966.
• Ulli Beier. Contemporary Art in Africa, London: Pall Mall Printing, 1968.
• Frank Willet. African Fine art, London: Thames and Hudson, 1971.
• Marshall Ward Mount. African Art: The Years since 1920, Bloomington: Indiana Academy Press, 1973 (New York: Da Capo Press, 1989).
• Judith D. Miller. Art in East Africa: A Guide to Contemporary Art, F. Muller, London-Africa Book Service (EA).-Nairobi, 1975.
• Kiure Francis Msangi. The Place of Fine Fine art in the E African Universities, 18th Annual Meeting
• Bruce Onobrakpeya: Nigeria'south Master Printmaker - Wendy Lawrence. All-time of Africa - Toronto 1979. of the African Studies Association, San Francisco, 1975.
• Eugene Burt. An Annotated Bibliography of the Visual Arts of East Africa, Bloomington: Indiana University Printing, 1980.
• Ulli Beier. Neue Kunst in Afrika: das Buch zur Austellung, Berlin: Reimer, 1980.
• Paulin Hountondji. African Philosophy: Myth or Reality, New York, 1982.
• Jan Vansina. Fine art History in Africa: An Introduction to Method, London & New York: Longman, 1984.
• Bruce Onobrakpeya: Symbols of Bequeathed Groves (Monograph of Prints and Paintings 1978–1985), with introduction by Prof. Babatunde Lawal. 256 pp. 182 b/w, 3 drawings, threescore color illustrations, essays, interviews, notes and comments, biographical and bibliographical notes. 1985.
• Bennetta Jules-Rosette. The Messages of Tourist Art: An African Semiotic System in Comparative Perspective, Plenum Printing, New York, 1984.
• Kojo Fosu. 20th century fine art of Africa, Zaria: Gaskiya Corporation, 1986 (Accra: Artists Alliance, 1993).
• Sally Price. Primitive Art in Civilized Places, The Academy of Chicago, 1989. I primitivi traditi: L'arte dei "selvaggi" east la presunzione occidentale, Einaudi, Torino, 1992.
• Johanna Agthe. Wegzeichen: Kunst aus Ostafrika (Signs: Art from East Africa), 1974–98, Museum für Völkerkunde, Frankfurt-an-Main, 1990.
• Bruce Onobrakpeya: The Spirit in Ascent. Introduction by Dele Jegede, 279 pp. Ovuomaroro Gallery product 1992.
• Osa D. Egonwa. African Fine art: A Contemporary Source Book, Benin Urban center: Osasu Publishers, 1991.
• Jutta Stroeter-Bender. Zeitgenoessische Kunst des "Dritten Welt", Koeln: DuMont Buchverlag GmbH & Co, 1991. L'art contemporain dans les pays du "Tiers-monde", Paris: L'Harmattan, 1995.
• Pierre Gaudibert. L'art africain contemporain, Paris: Editions Cercle d'Art, 1991.
• Betty LaDuke. Africa through the Eyes of Women Artists, Trenton, NJ: Africa Earth Press, 1991.
• Bruce Onobrakpeya: Sabbatical Experiments 1978–1983 (exhibition of prints and drawings), with an introduction by Prof. Babatunde Lawal. Ovuomaroro Gallery, Lagos, 1983.
• Nicole Guez. Fine art africain contemporain: Guide, Paris: Editions Dialogue Entre Cultures, 1992 (Association Afrique en Création, 1996).
• Jean Kennedy. New Currents, Ancient Rivers: Contemporary African Artists in a Generation of Change, Smithsonian Establishment Press, London-Washington DC, 1992.
• Thomas McEvilley. Art and Otherness: Crisis in Cultural Identity, Documenttext, New York: McPherson and Co., 1992. 50'identité culturelle en crise: Art et différence à l'époque postmoderne et postcoloniale, Nîmes, France: Editions Jacqueline Chambon, 1992.
• Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness, London: Verso, 1993
• Robert Atkins. Artspoke, New York: Abbeville Press, 1993.
• Christopher B. Steiner. Africa in Transit, Cambridge (UK): Cambridge University Press, 1994.
• Edward Lucie-Smith. Race, Sexual activity and Gender in Contemporary Art: The Rise of Minority Culture, London: Art Books International; New York: Harry North. Abrams, 1994.
• A Study Exploring Opportunities to Strengthen U.S.-Based Collaborations with Performing Artists of Africa, Asia and Latin America. Prepared with the Support of the Ford Foundation, New England Foundation for the Arts, 3 June 1994. Project manager Ceclila Fitzgibbon; Project consultants Elizabeth Peterson and Robert Wisdom (Archivio Ford Foundation).
• Catalogue de la collection d'oeuvres d'artistes contemporains d'Afrique et d'Océanie acquises ou conservées par l'ADEIAO, introduction by Lucette Albaret and Paul Balta, ADEIAO, Paris, 1995.
• Colin Rhodes. Primitivism and Modernism, London: Thames and Hudson, 1995.
• André Magnin and Jacques Soulillou. Contemporary Art of Africa, New York-London: Thames and Hudson, 1996.
• Ulrike Bässler-Pietsch. Das Bild unserer Welt; Afrika: von Kairo bis Kapstadt, aktualisierte Ausg., 1996.
• Betty LaDuke. Africa: Women's Art, Women'south Lives, Trenton, NJ: Africa World Press, 1997.
• E. Okechukwu Odita. Diverseness in Gimmicky African Art: Causes And Effects,^[25] Columbus Ohio: The Ohio Land University, 1997.
• Wijdan Ali. Modern Islamic Art: Development and Continuity, Gainesville: University Press of Florida, 1997.
• Richard J. Powell. Black Art and Civilisation in the 20th Century, London: Thames and Hudson, 1997.
• Karl-Ferdinand Schaedler. Afrikanische Kunst: von der Frühzeit bis heute, München: Heyne, 1997.
• Christopher D. Roy. Kilengi. Afrikanische Kunst aus der Sammlung Bareiss, Hanover: Kestner-Ges., 1997.
• Gert. Chesi. Afrika – Asien. Kunst und Ritualobjekte – die Sammlungen im Haus der Völker, Innsbruck: Haymon-Verlag, 1997.
• Sidney Littlefield Kasfir. Gimmicky African Art, London: Thames & Hudson, 1999.
• Nicolas Bissek. Les peintres de fifty'estuaire, Paris: Editions Karthala, 1999.
• Enrico Mascelloni east Sarenco. Dialogo notturno sull'arte contemporanea alla luce del piccolo carro, Verona: Adriano Parise Editore, 1999.
• Joëlle Busca. L'art contemporain africain: du colonialisme au postcolonialisme,Paris: L'Harmattan, 2000.
• Gen Doy. Blackness Visual Culture: modernity and postmodernity, London: I. B. Tauris, 2000.
• Joëlle Busca. Perspectives sur fifty'art contemporain africain, Paris: 50'Harmattan, 2000. Fifty'arte contemporanea africana, L'Harmattan Italia, 2002.
• Teresa Macrì. Postculture, Maltemi, Roma, 2002.
• Iba Ndiaye Diadji. L'impossible Fine art Africain, Dakar: Editions Dekkando, 2002.
• Thomas Fillitz. Zeitgenössische Kunst aus Afrika: fourteen Künstler aus Côte d´Ivoire und Bénin, Wien: Böhlau Verlag, 2002.
• Onobrakpeya by Richard A. Singletary. 78 pp. 143 colour reproductions. The Ford Foundation, The Institute of International Education, 2002.
• Ivan Bargna. Arte Africana, Jaca Book, Milano, 2003.
• Olu Oguibe. The Culture Game, University of Minnesota Printing, Minneapolis/London, 2003.
• Bärbel Küster. Matisse und Picasso als Kulturreisende: Primitivismus und Anthropologie um 1900, Akademie Verlag, Berlin, 2003.
• Michela Manservisi. African Style: Stilisti, mode e design nel continente nero, Cooper & Castelvecchi, Roma, 2003.
• Jean-Loup Amselle. L'art de la friche: Essai sur l'fine art africain contemporain, Paris: Editions Flammarion, 2005. In Italian: L'arte africana contemporanea, Bollati Boringhieri, Torino, 2007.
• Christophe Domino and André Magnin. L'art africain contemporain, Editions Scala, 2005.
• Hortense Volle. La promotion de l'art africain contemporain et les North.T.I.C, Paris: 50'Harmattan, 2005.
• Sophie Perryer (ed.). Distant Relatives / Relative Distance, Cape Town: Michael Stevenson, 2006.
• Sidney Littlefield Kasfir and Gus Gordon. Contemporary African Art, Paw Prints, 2008.
• Regula Tschumi The Cached Treasures of the Ga: Coffin Art in Republic of ghana. Bern: Benteli, 2008.
• Okwui Enwezor and Chika Okeke-Agulu. Contemporary African art since 1980, Bologna: Damiani Editore, 2009.
• André Magnin, Africa? Una nuova storia, Rome: Gangemi, 2009.
• André Magnin and Luca Beatrice, Africa arte contemporanea, Milan: Prearo, 2009.
• Okwui Enwezor, ed., and Chika Okeke-Agulu, Gabrielle Conrath-Scholl, Willis E. Hartshorn, Virginia Heckert, Kobena Mercer, Artur Walther, Deborah Willis. Events of the Self: Portraiture and Social Identity: Gimmicky African Art from the Walther Collection, Göttingen: Steidl, 2010.
• Uche Okeke: Art In Development - A Nigerian Perspective. Editor Leclair Grier Lambert. 101 pp. 81 b/westward illustrations. Asele Found Nimo/African American Cultural Middle, Minneapolis, 1982.
• Offerings from the Gods. Text by Dele Jegede 68 pp. 48 b/due west illustration. Society of Nigerian Artists, Lagos Country Chapter, 1985.
• Africa On Her Schedule Is Written a Alter. Barbara Haeger 105 pp. 13 b/westward illustrations. African Universities Printing, 1981.
• Bruce Onobrakpeya: Sahelian Masquerades. Monograph of prints and paintings Edited by Safy Quel 132 pp. 17 colour and 155 b/westward and line pictures, Ovuomaroro Gallery production, 1982.
• Bruce Onobrakpeya: 25 Years of Creative Search. Introduction by C. O. Adepegba, 57 pp. 51 b/w pictures, Ovuomaroro Gallery production, 1984.
• The Zaria Art Society: A New Consciousness. Edited by Paul Chike Dike and Pat Oyelola, with essays by Cornelius O. Adepegba, Oloidi, Don Akatakpo and Jacob Jari. 298 pp. 302 b/w reproductions and 133 colour reproductions. A publication of the National Gallery of Art, 1998.
• Agbarha-Otor 98 and 99: A Catalogue of Beginning and 2nd Harmattan Workshop Exhibition. 84 pp. 127 b/due west and 33 colour reproductions. Curated by Mike Omoighe, Ovuomaroro Gallery Production, 1999.
• Amos Tutuola Evidence: A Folklore Inspired Art In Honor of the Novelist. Edited by Mudiare Onobrakpeya and curated by Mike Omoighe and Toyin Akinosho; 40 pp. 25 b/due west and 32 colour reproductions. Ovuomaroro Gallery product, 1999.
• Bruce Onobrakpeya: Poems and Lithographs, print notes and comments No.ix. Introduced by Bruce Onobrakpeya 49 pp. 48 b/west line reproductions; Ovuomaroro Gallery Publications, 1989.
• Glimpses of Our Stars - An Intimate Run into with Nigerian Leading Artistes by Oji Onoko, 468 pp. 99 B/Westward reproductions. All Media International Ltd, 1999.
• Twoscore Years of Bruce Onobrakpeya in Gimmicky Visual Art: The Portrait of a Visual Creative person. Edited past Mudiare Onobrakpeya and Uche Abalogu with an introduction by Simon Ikpakronyi. A collection of 26 essays on Bruce Onobrakpeya. 70 pp. Ovuomaroro Gallery Production.
• Bruce Onobrakpeya: Portfolio of Art and Literature, Catalogue. Edited by Pat Oyelola. Poems and extracts from various literary works. 56 pp. xxx illustrations in colour and b/due west Ovuomaroro Gallery Production, 2003
• Bruce Onobrakpeya: Jewels of Nomadic Images, 196 pp., with essays by Ekpo Udoma, Olu Amoda and Peju Layiwola, 439 b/w and color illustrations, Ovuomaroro Studio Press, 2009.
• The Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists (Mara Ambrožič, Zdenka Badovinac, Roberto Casati, Johannes Hoff, Achille Mbembe, Simon Njami, Pep Subirós).
• "AniMystikAKtivist - Between Traditional and the Gimmicky in African Art" Jens Hoffmann and Z.Southward. Strother. Yale Academy Press and MercatorFonds, 2018,ISBN 9780300233230^[26]
• "Foundations of Gimmicky African Art" by Matthew Stanford, 2009

Magazines [edit]

• ADA: Architecture Design Art. Johannesburg, from 1989 to 1996. Founded by Jennifer Sorrell.
• Art AFRICA: A comprehensive editorial content of art from Africa and the diaspora. Quarterly digital and annual print publication founded past Suzette and Brendon Bell-Roberts, Cape Town, Due south Africa, from 2002 to electric current.
• Africa e Mediterraneo: Cultura e società. Manager Sandra Federici, Cooperativa Lai-Momo, Sasso Marconi (Bologna), from 1992. Please refer in particular to Dossier: Arte africana contemporanea, edited by Giovanni Parodi di Passano, no. two-3/99, December 1999; "Dossier: Sulla storia dell'arte africana contemporanea", edited by Iolanda Pensa, no. 55, August 2006.
• Africana bulletin. Varsavia, Polonia.
• African Arts. Heart of African Studies, UCLA, Los Angeles, USA, 1967.
• Afriche eastward Orienti. Director Mario Zamponi, AIEP Editore, Bologna, dal 1999.
• Africultures
• Afrik'Fine art.^[27] Dakar, from 2005 and associated with the Dakar Biennale.
• Fine art nègre. Namur, Kingdom of belgium. Special issue Vivante afrique, no. 246, i–53, 9 October 1966.
• Arts d'Afrique Noire, and so "Arts Premiers". Arnouville, France.
• Art South Africa: A comprehensive overview of fine art from South Africa. Quarterly impress publication founded by Suzette and Brendon Bell-Roberts, Cape Town, South Africa, from 2002 to current.
• Artthrob. Rivista online founded by Sue Williamson.
• Atlantica Revista de Arte y Pensamiento. Publication of the Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria, from 1990.
• Black Fine art. Claremont, USA, from 1976.
• Black Orpheus: Journal of African and Afro-American Literature, founded by Ulli Beier, Ibadan, Nigeria (1957–75).
• Chimurenga: Who no know become know. Founded by Ntone Edjabe, Kalakuta Trust, Greatcoat Town, South Africa, from 2002.
• Coartnews.
• Convergences: Revue trimestrielle d'art et de culture. Director Souleymane Bachir Diagne, Dakar, Senegal, from 1996.
• Contemporary Art from the Islamic Globe then Nafas Art Magazine.
• Critical Interventions: Journal of African art history and visual culture. Founded by Sylvester Okwunodu Ogbechie.
• DiARTgonale: Bimestriel panafricain d'opinions, de formation et de réflexion sur 50'art contemporain africain. Founded past Achillekà Komguem, Yaoundé, Camerun, from 2007.
• Drum Magazine
• Gallery. Delta Gallery Publications, Harare, Zimbabwe, from 1994.
• Glendora, Lagos, Nigeria.
• Journal de la Société des Africanistes, Paris.
• Kunstforum International. Director Dieter Bechtloff. In particular Weltkunst-Globalkultur (no. 118, 1992), Afrika – Iwalewa (n. 122, 1993), Out of Africa (no. 174, 2005).
• Metronome. Founded by Clémentine Deliss, from 1996. From 2005 the magazine has been produced past Metronome Press.
• NKA: Periodical of Gimmicky African Art. Founded by Okwui Enwezor, USA, from 1994.
• New Civilization: A Review of Contemporary African Arts. Founded by Demas Nwoko, New Culture Studios Ibadan, Nigeria, from 1978.
• Objets et Mondes. Musée de l'Homme, Paris.
• Position: Journal on Contemporary African Arts, Manager Dapo Adeniyi, from 2001.
• Présence Africaine: Revue Culturelle du Monde Noir. Founded by Alioune Diop, Paris, from 1947.
• Revue Noire. Founded past Jean Loup Pivin, Simon Njami, Pascal Martin Saint Léon, Paris, from 1991 to 1999.^[28]
• Staffrider.
• 3rd Text: Third World Perspectives on Contemporary Fine art & Culture. Founded past Rasheed Araeen, Kala Press, London, from 1987. In particular Africa Special Issue, no. 23, Summertime 1993.
• Transition Mag: A Periodical of the Arts, Culture & Society.

Databases [edit]

• AAVAA – The African and Asian Visual Artists' Archive, renamed Diversity Art Forum, London, from 1989.
• Africa Volume Centre – Books from and nigh Africa, London.
• Africaserver, Amsterdam.
• Africinfo, Dakar, Senegal.
• African Colours.
• African Loxo.
• Africa South Art Initiative – ASAI, Cape Town.
• Archive of African Artists, Washington, DC, USA. Warren M. Robbins Library, National Museum of African Art, Smithsonian Institution.
• Artafrica Projection.
• Contemporary African Art Collection. The Jean Pigozzi collection.
• Contemporary African Music and Arts Archive
• Devearts: an international platform for gimmicky fine art from developing countries
• Foundation of Contemporary Art-Ghana
• Global Africa Art Marketplace Study : annual analysis on the modern & gimmicky African & its diaspora'due south fine art market.
• Modern African Art: A Basic Reading Listing, Washington DC, USA. Curated by Janet Fifty. Stanley, Warren M. Robbins Library, National Museum of African Fine art, Smithsonian Institution Libraries. Begun in 1995, this annotated reading list is continually updated.
• OCPA Observatory of Cultural Policies in Africa, Maputo, Mozambico.
• Power of Civilisation, Amsterdam.
• Universes in Universe, Berlin.
• Virtual Museum of Modern Nigerian Art, hosted at the Pan-Atlantic University's spider web site. Created by Jess Castellote.
• Virtual Museum of Contemporary African Fine art, Amsterdam. Founded past Fons Geerlings and Maarten Rens, from 2001.

Run into also [edit]

• El Anatsui
• Fathi Hassan
• Ben Enwonwu
• African art
• Philosopher's Legacy (Heirloom) Monumental African art heirloom
• Contemporary art

References [edit]

1. ^ Firstenberg, Lauri (2003). "Negotiating the Taxonomy of Contemporary African Art – Product, Exhibition, Commodification", in Farrell, 50. A., 5. Byvanck (eds), Looking Both Ways: Art of the Contemporary African Diaspora. New York: Museum for African Art, p. 40.
2. ^ ^{a b} Firstenberg (2003). "Negotiating the Taxonomy of Gimmicky African Art", in Farrell and Byvanck (eds), Looking Both Ways, pp. 37-41.
3. ^ ^{a b c} Araeen, Rasheed (1989). "Our Bauhaus Others' Mudhouse", Tertiary Text no. 6, pp. 3–xvi.
4. ^ Run across also Firstenberg, Lauri (2003). "Negotiating the Taxonomy of Contemporary African Fine art – Product, Exhibition, Commodification", in Farrell, L. A., Byvanck, V. (eds), Looking both Means: Art of the Contemporary African Diaspora. New York: Museum for African Fine art, pp. 37-41.
5. ^ Mosquera, Gerardo (1995). "Das Marco-Polo-Syndrom", in Hermanns, U. (ed.), Havanna. Sao Paulo. Junge Kunst aus Lateinamerika. Berlin: Haus der Kulturen der Welt, p. 34-39.
6. ^ ^{a b c} Nzegwu, Nkiru (1998). "Introduction: Contemporary African Fine art and Exclusionary Politics", Issues in Contemporary African Art. Binghamton, NY: International Lodge for the Written report of Africa ISSA, pp. i–18.
7. ^ Mount, Marshall W. (1973). African Fine art: The Years since 1920. Bloomington: Indiana University Press.
8. ^ Jules-Rosette, Bennetta (1984). The Messages of Tourist Art: An African Semiotic System in Comparative Perspective. Boston: Springer.
9. ^ Marshall W. Mount (1973) quoted in: Mudimbe, Valentin Y. (1991). "'Reprendre': Enunciations and Strategies in Contemporary African Arts", in Vogel, S. (ed.), Africa Explores: 20th Century African Art. Munich: Prestel, p. 279.
10. ^ ^{a b} Mudimbe, Valentin Y. (1991). "'Reprendre': Enunciations and Strategies in Contemporary African Arts", in Vogel, S. (ed.), Africa Explores: 20th Century African Art. Munich: Prestel, p. 280.
11. ^ Vogel, Susan, ed. (1991). Africa Explores: 20th Century African Fine art. Munich: Prestel.
12. ^ Magnin, André, and Jacques Soulillou, eds (1996). Gimmicky Fine art of Africa. London: Thames & Hudson.
13. ^ Jegede, Dele (1998). "On Scholars and Magicians: A Review of 'Gimmicky Art of Africa'", in Nzegwu, N. (ed.), Problems in Contemporary African Fine art. Binghamton: International Lodge for the Study of Africa ISSA, pp. 187-195.
14. ^ Studio Museum, ed. (1990): Contemporary African Artists. Changing Tradition. New York: Studio Museum in Harlem.
15. ^ ^{a b} Oguibe, Olu (1999). "Fine art, Identity, Boundaries: Postmodernism and Contemporary African Fine art", in Oguibe, O., and O. Enwezor (eds), Reading the Contemporary: African Art from Theory to the Market place. Cambridge: MIT Press, pp. 16–29.
16. ^ ^{a b} Enwezor, Okwui, and Chika Okeke-Agulu (2009). Contemporary African Art since 1980. Bologna: Damiani, p. 21.
17. ^ Kasfir, Sidney 50. (1999). Gimmicky African Art. London/New York: Thames & Hudson.
18. ^ Hassan, Salah (1999). "The Modernist Feel in African Art: Visual Expressions of the Self and Cross-cultural Aesthetics", in Oguibe, O., and O. Enwezor (eds), Reading the Contemporary: African Art from Theory to the Market place. Cambridge: MIT Printing, pp. 214–235.
19. ^ Deliss, Clémentine, ed. (1995). Vii Stories about Modern Fine art in Africa. Paris/New York: Flammarion.
20. ^ Enwezor, Okwui, and Chika Okeke-Agulu (2009). Contemporary African Fine art since 1980. Bologna: Damiani.
21. ^ "Around and Around". galerie-herrmann.com.
22. ^ "Continental Shift". continentalshift.org.
23. ^ "Welcome to insights -- National Museum of African Art". si.edu.
24. ^ Geers, Kendell; Dokolo, Sindika (28 June 2019). "IncarNations - African Art as Philosophy". BOZAR.
25. ^ http://www.accad.osu.edu/~eodita/aeafart/archive/archive.htm ^{[ permanent expressionless link ]}
26. ^ "Divine One-act – Sky, Purgatory and Hell Revisited past Contemporary African Artists" Archived 22 March 2014 at the Wayback Machine, Kerber.
27. ^ "Archived copy". Archived from the original on ii February 2004. Retrieved sixteen May 2019. {{cite web}}: CS1 maint: archived re-create as title (link)
28. ^ "REVUE NOIRE - REVUE NOIRE / Arts contemporains d'Afrique et du Monde". revuenoire.com.

External links [edit]

franksexted.blogspot.com

Source: https://en.wikipedia.org/wiki/Contemporary_African_art