...Matthew DeBord Copyright © 2000 Nka: Journal of Contemporary African Art 2000 ly macabre, National Geographic MALICK SIDIBE...

... that dictions that modernity filtered able camera technology. chronicled the turbulence of a MALICK SIDIBE became the conquest of a new Photography became fashionable continent in general...

...Lisa Binder Copyright © 2008 Nka: Journal of Contemporary African Art 2008 MALICK SIDIBE PORTRAIT OF THE ARTIST AS A PORTRAITIST A film by Susan Vogel National Museum of Mali First Run / Icarus Films, 2006 Portrait of the Artist...

... connotations can see the African youth movement toward in the representation of the youth in Tooki Bouki modernity framed by the still camera. Each photo• signal to the same symbols of freedom and inde• graph by Seydou Keita, Malick Sidibe, Samuel pendence emphasized in the black-and-white...

.... chronicled the turbulence of a MALICK SIDIBE became the conquest of a new Photography became fashionable continent in general and the imaginary space and an essential when roving...

... of helping us to address the questions of rep• course on contemporary African art swings resentation and identity and the evolution of Malick Sidibe, Untitled, 2005, Grey Art Gallery, NY. Gelatin silver print, 15 3/4x11 7/8 in. Courtesy CAAC—the Pigozzi Collection, Geneva. © Malick...

... Wall and Malick Sidebé. Malick and Wall Jeff of influences differentiated, yet indelible, the bears context and tent con index, and pattern tableau, and intimacy of convergence Mthethwa’s...

..., Abdel Hadi al- Gazzar, David Goldblatt, Ernest Mancoba, Seydou Keita, John Muafangejo, Wilfredo Lam, Amir Nour, Uzo Egonu, Malick Sidibé, and many others. And we continue to track the work of emerging artists, such as Grace Ndiritu, Nadia Kaabi-Linke, Kiluanji Kia Henda, Mikhael Subotzky...

... of black figuration that Ofili blue paintings of the later rooms. refers to and works within. In his painting Dance in Shadow (2008–9) Ofili also refers to an iconic pho- tograph by Malick Sidibé. N. J. Hynes is a freelance writer, editor, and occa- There is a sense...

... of modernity found in the 1940s and 1950s studio photography of Seydou Keïta and Malick Sidibé that would become vaunted in the West in the 1990s.9 Though undergirded by a quest to explore African art and culture, Biggers ventured a different portrayal of African people, one that appeared to show colonialism...

... years for African photography (as opposed to anthropological inquiry) to appear in contem- porary art discourse. The international art world has since been fascinated with the work of artists contemporaneous with James Barnor: Seydou Keïta and Malick Sidibé in Bamako, Mali; J. D. ’Okhai...

..., particularly the photograph, for its distribution and perpetuation. The most relevant work has been through Seydou Keïta’s and Malick Sidibé’s images from Bamako, Mali, during the 1960s. Although the success of their photographs has been fundamental to expanding beyond the constraints...

.... On the other hand, Malick Sidibé, also known as the “Eye of Bamako,” headed into the streets and nightclubs to photograph young people dancing and carousing. Young men...

... and the next project is an out• and institutions, galleries, art magazines, and col• door exhibition of Malick Sidibe. lectors on the continent. Until this is addressed, the sporadic dipping in and out of Africa will con• Chika: Clive's response brings up a crucial ques• tinue not only by Western...

... cura- at the NMNH, earthworks in the Smithsonian gar- tor on her own purchased works by Malick Sidibé dens, and programs that network these units to the and Julie Mehretu. The challenge came in that she National Museum of American Art, the Smithso- did not consult with me in advance of buying...

... a problematic part of its dou Keïta against the more eclectic work of Malick critical scope. Sidibé? Or even, perhaps, the dramatic difference I am therefore worried that we are embarking between David Goldblatt’s documentary black-and- on a type of balkanization...