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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.
List of contents
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
About the author
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.
Summary
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.
