Since the 1990s, a dedicated assembly of African intellectuals and art professionals initiated a movement to present photography from the continent in a new light. Their aim was to move beyond the stereotypical depictions of hardship and conflict frequently seen in international media, instead focusing on the profound artistic contributions that have defined African photography. This included everything from the elegant studio portraits of mid-20th century Mali to the compelling photojournalism of figures like David Goldblatt and Santu Mofokeng in South Africa.
The late Okwui Enwezor, a pioneering curator and co-founder of Nka: Journal of Contemporary African Art, underscored the importance of publications as platforms for intellectual exploration. Influenced by this perspective, curators such as Bisi Silva and Koyo Kouoh established vital institutions for modern art in Lagos and Dakar. Now, Oluremi C. Onabanjo, a curator at MoMA, continues this legacy. Her exhibition, 'Ideas of Africa: Portraiture and Political Imagination,' revisits a crucial period in photographic history, linking the postcolonial transformations of the 1960s and 70s with the American civil rights movement through the works of artists like James Barnor, Kwame Brathwaite, Samuel Fosso, and Sanlé Sory. Onabanjo emphasizes the central role of photobooks in the exhibition, illustrating how publishing has been indispensable in the creation and dissemination of artistic understanding.
The exhibition's title, 'Ideas of Africa,' intentionally plural, suggests diverse interpretations of history and photographic styles. Onabanjo sought to highlight mid-century Western and Central African portrait photography through the lens of imagination, grappling with its enduring influence as a creative force. She notes that the genre's "golden age" during the 1950s-70s coincided with significant global upheavals, emphasizing the political imagination inherent in these works. Onabanjo also points out the internationalist solidarity that underpinned resistance movements, including the US civil rights movement, suggesting a shared vision that transcended national borders.
An integral part of the exhibition is a reading room, conceived after a meeting with the Parisian artistic collective Air Afrique. This collective, whose name honors the former Pan African Airlines, produced an in-flight magazine, Balafon, which served as a dynamic space for the circulation of political and artistic ideas. Onabanjo embraces this spirit, presenting magazines and books in the reading room that have profoundly shaped the exhibition's themes. She underscores the significance of mobility in fostering liberatory concepts that extended beyond nation-states, enabling individuals to envision a broader world.
The contemporary era has seen a resurgence in the reprinting of seminal photographic works. Ernest Cole's 1967 House of Bondage, a powerful exposé of apartheid in South Africa, was once a "fugitive" book, difficult to access due to its controversial content and eventual ban. Cole's clandestine documentation and subsequent publication in exile illustrate the book's undeniable force as an activist document. The reissues of such works, including those by David Goldblatt, reflect their enduring relevance and their shift into the realm of celebrated art books, bridging historical activism with contemporary artistic recognition.
Santu Mofokeng's The Black Photo Album / Look at Me: 1890–1950 (2012) stands as another pivotal publication, documenting a slideshow that debuted at the Johannesburg Biennale in 1997. This work, combining text with studio portraits from private family collections, is a landmark in conceptual photography and archival practice. Despite its current out-of-print status, its significance in mapping a history of Black South African identity remains profound. Although Mofokeng's monumental compendium Stories (2019) is a testament to his expansive vision, its high cost raises questions about accessibility and the circulation of such critical artistic resources.
Publishing houses like Paris-based Revue Noire were crucial in making African art and photography accessible through concise, affordable books. Their Anthology of African and Indian Ocean Photography (1999) became an indispensable resource, providing comprehensive insights into numerous photographers and fostering capacity building within the field. Similarly, institutions such as RAW Material Company, CCA, and Fourthwall Books have played vital roles in publishing photobooks and critical analyses, enriching art history and criticism. These platforms demonstrate the importance of local institutions in shaping global discourse, challenging the notion that intellectual and artistic production solely originates from Western centers.
The collaboration on Marilyn Nance's book Last Day in Lagos (2022) with Fourthwall Books, a South African publisher, underscores the importance of regional partnerships. This strategic choice ensured that the publication resonated within the continent. Building on the legacies of pioneers like Okwui Enwezor, who championed the "auteur" in African photography, contemporary curators like Onabanjo aim for a "slight transposition." Her goal is to expand upon existing frameworks, recognizing that artistic innovation is a collective endeavor. She affirms that publications are both a starting point and an ongoing journey, indicating that the exploration and celebration of African photography is far from over.
