Rediscovering African Photography: A Journey Through the Lens of History
In the 1990s, a remarkable shift began to take place in the world of African photography. A collective of African writers and curators sought to reshape the narrative surrounding the continent’s visual representation. Rather than focus on the “ethnographic lens”—which typically highlighted famine, war, and poverty—the goal was to spotlight artistic voices that captured the essence of African life. This brought forth a renaissance in photography, showcasing everything from the graceful studio portraits of mid-century Mali to the profound long-form storytelling of photographers like David Goldblatt and Santu Mofokeng in South Africa.
The Role of Curators and Institutions
A key figure in this transformative movement was the late curator Okwui Enwezor, who co-founded Nka: Journal of Contemporary African Art. Enwezor’s philosophy championed the power of publishing as a space for deep thought and exploration. His exhibitions and catalogs became iconic, reshaping how the world viewed African art. Alongside colleagues like Bisi Silva and Koyo Kouoh, he helped establish vital institutions such as the Center for Contemporary Art (CCA) in Lagos and RAW Material Company in Dakar. Their efforts not only influenced the artistic landscape but also paved the way for a new generation of curators, including Oluremi C. Onabanjo. Now a curator at the Museum of Modern Art (MoMA) in New York, Onabanjo’s initiatives continue to build on this legacy.
Exploring Ideas of Africa: Portraiture and Political Imagination
Onabanjo’s latest exhibition, Ideas of Africa: Portraiture and Political Imagination, serves as a bridge between history and the contemporary art scene. This exhibition revisits crucial periods in photographic history, connecting postcolonial transformations of the 1960s and 1970s with the U.S. civil rights movement through the works of photographers like James Barnor, Kwame Brathwaite, Samuel Fosso, and Sanlé Sory.
In a recent discussion, Onabanjo emphasized the exhibition’s use of photobooks, arguing that they play a critical role in the production of artistic knowledge. By incorporating works that encourage viewers to engage deeper, the exhibit helps visitors appreciate the intertwining histories of Africa and the broader world.
Dialogues about Identity and Resistance
Onabanjo’s choice of title—Ideas of Africa—reflects a conscious effort to invite multifaceted interpretations of African photographic history. “I wanted to entice people to consider midcentury Western and Central African portrait photography through the vector of imagination,” he noted.
This notion of political imagination has often been overlooked in discussions of portrait photography. An exploration of the golden age of African photographic portraiture reveals how it blossomed during the upheavals of the 1950s, 60s, and 70s—a time when many were vying for identity and independence.
The Significance of the Reading Room
Integral to the exhibition is a reading room that emerged from Onabanjo’s encounter with the artistic collective Air Afrique during a studio visit in Paris. Named after the defunct Pan African Airlines, Air Afrique produced an in-flight magazine, Balafon, which served as a space for political ideas, arts, and profiles of influential figures like Malick Sidibé.
This reading room continues the legacy of making knowledge accessible. Onabanjo is committed to nurturing this spirit, celebrating collaborations and interactions that have historically transcended national boundaries.
Fugitive Books and Contested Histories
In the conversation, the topic of Ernest Cole’s groundbreaking work, House of Bondage, came up. This project, documented during the oppressive apartheid regime, was conceived for international audiences, seeking to unveil the brutal realities of life in South Africa. Onabanjo shared a personal connection to the book, describing how he once “pinched” a copy from his father’s library. Such books represent the complex dynamics of circulation and the often “fugitive” nature of knowledge about African identity.
The Changing Landscape of African Photography
As contemporary photographers gain recognition, there’s a rekindled focus on republishing influential works. For instance, collections by David Goldblatt are experiencing a revival, shifting our understanding of their context and significance in the present-day art world.
The importance of accessible art education is seen in initiatives like Revue Noire, which published accessible monographs on pivotal figures in African photography. This highlights the need for institutions and organizations that foster discussions surrounding African art and photography, creating meaningful spaces for emerging voices.
Collaborative Futures
Onabanjo’s insights into the importance of collaborative efforts within the art world underscore a vision for the future. He notes that while the foundations laid by earlier curators and institutions are robust, there’s still room for innovation. “It’s not just about thinking of Africa from the outside; it’s about recognizing the importance of thinking from within,” he emphasizes.
This focus on grounded narratives is essential for a holistic understanding of African art. Photobooks, exhibitions, and discussions represent just the beginning of this rich narrative journey.
Each of these themes enriches our understanding of African photography, illustrating how this dynamic field continues to evolve. By recognizing the contributions of established and emerging voices alike, we can appreciate the vibrant tapestry that African photography represents today and into the future.
