Writing

Jennifer Bajorek, review of KANE, Hamedine. — La maison bleue. Film documentaire, 55 min., Belgique, Tândor Productions, 2020, DCP/Bluray/DVD. In Cahiers d’études africaines, No. 254 (special issue on “Les équivoques de la dissuasion de la migration” [The Ambiguities of Migration Deterrence], ed. Camille Cassarini, Aïssatou Mbodj-Pouye and Kelly Poulet) (2024): 470-475. “Hamedine Kane’s remarkable 2020 film, … Continue reading Cahiers d’études africaines: Review of Hamedine Kane, La maison bleue [The Blue House]

Mama Casset. Portrait of two girls with a telephone. Dakar, Senegal, 1950s. Image credit: Centre de Recherches et de Documentation du Sénégal (CRDS). Catalog essay for A World in Common: Contemporary African Photography, ed. Osei Bonsu. London: Tate Publishing, 2023. A celebration of the visual and cultural landscape of contemporary African photography, this stunning paperback … Continue reading Studio Portraiture and the Postcolonial Archive (“A World in Common” at Tate Modern)

Unfixed: Photography and Decolonial Imagination in West Africa. Durham, NC: Duke University Press, 2020. Reviewed by Érika Nimis, in Photographica. March 21, 2023. Reviewed by Yann Petit, in Journal of Visual Culture. April 2022. Reviewed by Afonso Dias Ramos, in Sehepunkte: Rezensionsjournal für die Gechichtswissenschaften. March 2022. Reviewed by Daniela Yvonne Baumann, in Camera Austria. … Continue reading Unfixed: Photography and Decolonial Imagination in West Africa

“Analog and Digital Nigeria: Inheriting Serial Cultures in the Work of Kelani Abass.” International Perspectives on Publishing Platforms: Technologies of Image-Object-Text. Ed. Meghan Forbes. London and New York: Routledge, 2019. 25-44.

Mow 504, Monnaie de singe, 2021. Digital photomontage, dimensions variable. Image courtesy of the artist. © Mow 504. “This Past Must Address Its Future: Uses of African Non-Contemporaneity in Contemporary Art from the French Borderscape.” ARTMargins (2023) 12 (2). “Art History, Postcolonialism, and the Global Turn,” ed. Joshua Cohen, Foad Torshizi, and Vazira Zamindar: 69–80.

Collaboration with Erin Haney. During the 8th edition (2009) of the Rencontres de Bamako: Biennale africaine de la photographie, we interviewed photographers, curators, museum directors, biennial sponsors, and students and workers in local arts institutions to assess the biennial’s contribution to institutions for photography on the African continent. Our research was published in the form … Continue reading Rencontres de Bamako 2009 (8e édition)

“Fatimah Tuggar: Deep Blue Recodings.” Home’s Horizons (exhibition catalog). Ed. Amanda Gilvin. Munich and Wellesley, MA: Hirmer/The Davis Museum, 2019.

“Non-Alignment: African Futures, Lost and Found.” Cold War Camera. Ed. Thy Phu, Erina Duganne, and Andrea Noble. Durham and London: Duke University Press, 2022. 167-192.

“Appareils défectueux et images floues. Kodak, l’autre nom de la décolonisation en Afrique de l’Ouest? [Of broken cameras and blurred images (Or, is Kodak another name for decolonization in West Africa?)]” Trans. Jean-François Caro. Transbordeur 4 (2020): 144-155.