Allison Moore examines the tensions between the local and the global in the art photography movement that blossomed in Bamako, Mali, in the 1990s, showing contemporary Malian photography to be a rich example of Western notions of art meeting traditional cultural precepts to forge new artistic forms, practices, and communities.
Allison Moore examines the tensions between the local and the global in the art photography movement that blossomed in Bamako, Mali, in the 1990s, showing contemporary Malian photography to be a rich example of Western notions of art meeting traditional cultural precepts to forge new artistic forms, practices, and communities.
Allison Moore has a PhD in Art History from the Graduate Center, City University of New York, and has published in numerous journals and exhibition catalogs.
Inhaltsangabe
Acknowledgments vii Introduction: A Poetics of Relation 1 1. Unknown Photographer (Bamako, Mali) 27 2. Malian Portraiture Glamorized and Globalized 62 3. Biennale Effects: The African Photography Encounters 98 4. Bamako Becoming Photographic: An Archipelagic Art World 145 5. Creolizing the Archive: Photographers at the National Museum 171 6. Promoting Women Photographers 210 7. Errantry, the Social Body, and Photography as the Écho-monde 249 Conclusion 276 Notes 281 Bibliography 325 Index
Acknowledgments vii Introduction: A Poetics of Relation 1 1. Unknown Photographer (Bamako, Mali) 27 2. Malian Portraiture Glamorized and Globalized 62 3. Biennale Effects: The African Photography Encounters 98 4. Bamako Becoming Photographic: An Archipelagic Art World 145 5. Creolizing the Archive: Photographers at the National Museum 171 6. Promoting Women Photographers 210 7. Errantry, the Social Body, and Photography as the Écho-monde 249 Conclusion 276 Notes 281 Bibliography 325 Index
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