Hostname: page-component-586b7cd67f-t8hqh Total loading time: 0 Render date: 2024-11-23T21:26:53.432Z Has data issue: false hasContentIssue false
  • English
  • Français

African Visual Arts from an Art Historical Perspective

Published online by Cambridge University Press:  23 May 2014

Monni Adams
Get access Rights & Permissions [Opens in a new window]

Extract

This overview assesses the study of sub-Saharan art by art historians in the United States, as a complement to the earlier examination by Paula Ben-Amos (1987) of African art studies from an anthropological perspective. Academic status for African art history, focused on sub-Saharan Africa, began in the 1950s, when a small group of scholars assigned style categories and broad social functions to works of West and Central African sculpture. With the expansion and development of the field, linked to the use of anthropological methods, the emphasis in research has shifted towards adopting multiple perspectives of analysis and seeking African categories in relation to varied artistic production. Nevertheless, study of sub-Saharan art has achieved only a marginal status in the disciplines of art history and anthropology. This essay examines the problems of these relationships, the types of changing scholarly activities that have characterized the field of sub-Saharan art, and considers options for the future.

Type
Articles
Information
African Studies Review , Volume 32 , Issue 2 , September 1989 , pp. 55 - 104
Copyright
Copyright © African Studies Association 1989

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Abiodun, Rowland. 1987. “Verbal and Visual Metaphors: Mythical Allusions in Yoruba Ritualistic Art at Ori .” Word and Image 3/3: 252–70.Google Scholar
Adams, Monni. 1980a. “Fon Appliquéd Cloths,” African Arts 13/2: 28-41, 87–8.Google Scholar
Adams, Monni. 1980b. “Afterword: Spheres of Men's and Women's Creativity.” Ethnologische Zeitschrift Zuerich 1: 163–67.Google Scholar
Adams, Monni. 1981a. “Interpretations of Masking in Black African Ritual.” Africa-Tervuren (Musée Royal de l'Afrique Centrale) 27/2: 46–51.Google Scholar
Adams, Monni. 1981b. “Mediating Our Knowledge,” pp. 289–300 in Cantwell, Anne-Marie, Griffin, James B., and Rothschild, Nan A., (eds.) The Research Potential of Anthropological Museum Collections. Annals of the New York Academy of Sciences 376. New York: New York Academy of Sciences.Google Scholar
Adams, Monni. 1984. “The Aesthetics of Power: Gelede Festival of the Western Yoruba.” Working Paper, Mary Ingraham Bunting Institute, Radcliffe College, Cambridge, Mass.Google Scholar
Adams, Monni. 1987a. “Problèmes d'identité: Fêtes masquées chez les Wè (Guéré) de l'ouest Ivoirien.” Arts d'Afrique Noire 62: 37–48.Google Scholar
Adams, Monni. 1987b. “Current Directions in the Study of Masking in Africa.” Africana Journal 14/2–3: 89–114.Google Scholar
Adams, Monni. 1988a. “Eighteenth-Century Kuba King Figures.” African Arts 21/3: 32-8, 88.CrossRefGoogle Scholar
Adams, Monni. 1988b. “Double Perspectives: Village Masking in Canton Boo, Ivory Coast.” Art Journal 47/2: 95–102.Google Scholar
Adams, Monni. in press a. “Balance and Off-Balance in Middle African Designs.” African Arts.Google Scholar
Adams, Monni. in press b. “Gender in African Art” The Dictionary of Art. London: Macmillan.Google Scholar
Adepegba, Cornelius Oyeleke. 1976. “A Survey of Nigerian Body Markings and Their Relationship to Other Nigerian Arts.” Ph.D. dissertation, Indiana University.Google Scholar
Alpers, Svetlana. 1977. “Is Art History?” Daedalus 106: 1–13.Google Scholar
Anderson, Martha G. 1983. “Central Ijo Art: Shrines and Spirit Images.” Ph.D. dissertation, Indiana University.Google Scholar
Arnoldi, Mary Jo. 1986. “Puppet Theater: Form and Ideology in Bamana Performance.” Empirical Studies of the Arts 4/2: 131–50.Google Scholar
Aronson, Lisa. 1983. “Legends, History and Identity among Akwete Weavers.” Paper read at Symposium on Cloth and the Organization of Human Experience, Wenner-Gren Foundation for Anthropological Research, Amenia, NY.Google Scholar
Aronson, Lisa. 1984. “Women in the Arts,” pp. 119–38 in Hay, Margaret Jean and Shichter, Sharon (eds.) African Women South of the Sahara. New York: Longman.Google Scholar
Bakhtin, Mikhail 1981. The Dialogic Imagination. Translated by Emerson, Caryl and Holquist, Michael. Austin: University of Texas Press.Google Scholar
Baldwin, James, et al 1987. Perspectives: Angles on African Art. Interviews conducted and edited by Weber, Michael John, introduction by Vogel, Susan. New York: Center for African Art and Harry N. Abrams Inc.Google Scholar
Bascom, William. 1973. African Art in Cultural Perspective. New York: Norton.Google Scholar
Bascom, William. 1976. “Changing African Arts,” pp. 303–19 in Graburn, Nelson H. H. (ed.) Ethnic and Tourist Arts. Berkeley: University of California Press.Google Scholar
Bassani, Ezio. 1983. “A Note on Kongo High-Status Caps in Old European Collections.” RES: Anthropology and Aesthetics 5: 74–84.Google Scholar
Bassani, Ezio. and McLeod, Malcolm. 1985. “African Material in Early Collections.” pp. 245–50 in Impey, Oliver and MacGregor, Arthur (eds.) The Origins of Museums: The Cabinet of Curiosities in Sixteenth- and Seventeenth-Century Europe. Oxford: Clarendon Press.Google Scholar
Bassani, Ezio. and Fagg, William B. 1988. Africa and the Renaissance: Art in Ivory. New York: The Center for African Art and Prestel-Verlag.Google Scholar
Bastin, Marie-Louise. 1965. “Tshibinda Ilunga: A propos d'une statuette de chasseur ramenée par Otto H. Schuett en 1880.” Baessler-Archiv (Berlin) n.f. 13: 501–37.Google Scholar
Baxandall, Michael. 1972. Painting and Experience in Fifteenth Century Italy. Oxford: Clarendon Press.Google Scholar
Baxandall, Michael. 1980. The Limewood Sculptors of Renaissance Germany. New Haven: Yale University Press.Google Scholar
Bedaux, R. M. A. 1988. “Tellem and Dogon Material Culture.” African Arts 21/4: 38-45, 91.Google Scholar
Belting, Hans. 1987. The End of the History of Art? Translated by Wood, Christopher S. Chicago: University of Chicago Press.Google Scholar
Ben-Amos, Paula. 1973. “Symbolism in Olokun Mud Art.” African Arts 6/4: 28-31, 95.Google Scholar
Ben-Amos, Paula. 1976. “Men and Animals in Benin Art.” Man n.s. 11/2: 243–52.Google Scholar
Ben-Amos, Paula. 1977. “Pidgin Languages and Tourist Arts.” Studies in the Anthropology of Visual Communication 4/2: 128–39.Google Scholar
Ben-Amos, Paula. 1980. “Patron-Artist Interactions in Africa.” African Arts 13/3: 56-7, 92.Google Scholar
Ben-Amos, Paula. 1983a. “The Power of Kings: Symbolism of a Benin Ceremonial Stool,” pp. 51–58 in Ben-Amos, Paula and Rubin, Arnold (eds.) The Art of Power, The Power of Art: Studies in Benin Iconography. Los Angeles: Museum of Cultural History, University of California.Google Scholar
Ben-Amos, Paula. 1983b. “Who is the Man in the Bowler Hat? Emblems of Identity in Benin Royal Art.” Baessler-Archiv (Berlin) n.f. 31: 161–83.Google Scholar
Ben-Amos, Paula. 1984. “Royal Art and Ideology in Eighteenth-Century Benin.” pp. 67–86 in Roy, Christopher D. (ed.) Iowa Studies in African Art 1. Iowa City: University of Iowa.Google Scholar
Ben-Amos, Paula. 1986. “Artistic Creativity in Benin Kingdom.” African Arts 19/3: 60-3, 83–4.Google Scholar
Ben-Amos, Paula. 1987. “African Visual Arts from a Social Perspective.” Overview Paper commissioned by the ACLS/SSRC Joint Committee on African Studies for presentation at the 30th annual meeting of the African Studies Association, Nov. 20–22, Denver.Google Scholar
Ben-Amos, Paula. 1988. “Edo Ancestral Altars: Testimonies to a Life Well-Lived.” Paper read at the Work-shop on African Material Culture (sponsored by the Joint Committee on African Studies of ACLS and SSRC and the Smithsonian Institution), Bellagio, Italy.Google Scholar
Berns, Maria C. 1986. “Art and History in the Lower Gongala Valley, Northeastern Nigeria.” Ph.D. dissertation, University of California, Los Angeles.Google Scholar
Biebuyck, Daniel P. 1969. “Introduction,” pp. 1–23 in Biebuyck, Daniel P. (ed.) Tradition and Creativity in Tribal Art. Berkeley: University of California Press.Google Scholar
Biebuyck, Daniel P. 1986. The Arts of Zaire: Eastern Zaire, vol. 2. Berkeley: University of California Press.Google Scholar
Binkley, David A. 1987. “Avatar of Power: Southern Kuba Masquerade Figures in a Funerary Context.” Africa 57/1: 75–97.Google Scholar
Blackmun, Barbara W. 1984. “The Iconography of Carved Altar Tusks from Benin, Nigeria.” 3 vols. Ph.D. dissertation. University of California, Los Angeles.Google Scholar
Blackmun, Barbara W. 1988. “From Trader to Priest in Two Hundred Years: The Transformation of a Foreign Figure on Benin Ivories.” Art Journal 47/2: 128–38.Google Scholar
Blakely, Thomas D. and Blakely, Pamela A. R. 1987. “So'o Masks and Hemba Funerary Festival.” African Arts 21/1: 30-7, 84–5.Google Scholar
Bledsoe, Caroline H. 1980. “Stratification and Sande Politics.” Ethnologische Zeitschrift Zuerich 1: 143–49.Google Scholar
Blier, Suzanne Preston. 1985. “Kings, Crowns, and Rights of Succession: Obalufon Arts at Ife and Other Yoruba Centers.” Art Bulletin 67/3: 383–401.Google Scholar
Blier, Suzanne Preston. 1987a. “African Art at the Crossroads: An American Perspective.” Paper read at Opening Symposium, National Museum of African Art, Smithsonian Institution, Washington, DC.Google Scholar
Blier, Suzanne Preston. 1987b. The Anatomy of Architecture: Ontology and Metaphor in Batammaliba Architectural Expression. Cambridge: Cambridge University Press.Google Scholar
Blier, Suzanne Preston. 1988a. “Words about Words about Icons: Iconology and the Study of African Art,” Art Journal 47/2: 75–87.Google Scholar
Blier, Suzanne Preston. 1988b. “Melville J. Herskovits and the Arts of Ancient Dahomey.” RES: Anthropology and Aesthetics 16: 125–42.Google Scholar
Boone, Sylvia Ardyn. 1986. Radiance from the Waters: Ideals of Feminine Beauty in Mende Art. New Haven: Yale University Press.Google Scholar
Borgatti, Jean M. 1979a. “Art and History in West Africa: Two Case Studies,” pp. 567–92 in Cordwell, Justine M. (ed.) The Visual Arts: Plastic and Graphic. The Hague: Mouton.Google Scholar
Borgatti, Jean M. 1979b. “Dead Mothers of Okpella.” African Arts 12/4: 48-57, 91–2.Google Scholar
Borgatti, Jean M. 1979c. From the Hands of Lawrence Ajanaku. UCLA Museum of Cultural History Pamphlet Series 1/6. Los Angeles: University of California Press.Google Scholar
Borgatti, Jean M. 1980. “Levels of Reality: Portraiture in African Art.” Working Papers 36, African Studies Center, Boston University.Google Scholar
Borgatti, Jean M. 1982. “Okpella Masks: In Search of the Parameters of the Beautiful and the Grotesque.” Studies in Visual Communication 8/3: 28–40.Google Scholar
Borgatti, Jean M. 1988. “Social Change and Aesthetic Attitudes in Okpella (Nigeria).” Paper read at the Annual Meeting of the Society for Cultural Anthropology, Washington, DC.Google Scholar
Boston, John. 1977. Ikenga Figures among the North-west Igbo and the Igala. London: Ethnographica in association with Federal Department of Antiquities, Lagos, Nigeria.Google Scholar
Bourgeois, Arthur P. 1984. Art of the Yaka and Suku. Text in English and French. Translated and adapted by Donne, J. B. Meudon, France: Alain and Françoise Chaffin.Google Scholar
Brain, Robert and Pollock, Adam. 1971. Bangwa Funerary Sculpture. London: Duckworth.Google Scholar
Bravmann, René A. 1970. West African Sculpture. Seattle: University of Washington Press.Google Scholar
Bravmann, René A. 1973. Open Frontiers: The Mobility of Art in Black Africa. Seattle: University of Washington Press.Google Scholar
Bravmann, René A. 1974. Islam and Tribal Art in West Africa. Cambridge: Cambridge University Press.Google Scholar
Bravmann, René A. 1979. “Gur and Manding Masquerades in Ghana.” African Arts 13/1: 44-51, 98.Google Scholar
Bravmann, René A. 1981. “Seeking the Sense of History: Art Historians in Africa,” pp. 122–29 in Ray, Donald I., Shinnie, Peter and Williams, Donovan (eds.) Into the 80's: The Proceedings of the Eleventh Annual Conference of the Canadian Association of African Studies, B.C. Geographical Series 32. Vancouver: Tantalus Research.Google Scholar
Brett-Smith, Sarah Catherine. 1982. “Symbolic Blood: Cloths for Excised Women.” RES: Anthropology and Aesthetics 3: 15–31.Google Scholar
Brett-Smith, Sarah Catherine. 1983. “The Poisonous Child,” RES: Anthropology and Aesthetics 6: 47–64.Google Scholar
Brett-Smith, Sarah Catherine. 1984. “Speech Made Visible: The Irregular as a System of Meaning.” Empirical Studies of the Arts 2/2:121–41.Google Scholar
Bryson, Norman. 1983. Vision and Painting: The Logic of the Gaze. New Haven: Yale University Press.Google Scholar
Carroll, Kevin. 1967. Yoruba Religious Carving. London: Chapman.Google Scholar
Chappel, T. J. H. 1977. Decorated Gourds in North-eastern Nigeria. London: Ethnographica and Federal Department of Antiquities, Lagos, Nigeria.Google Scholar
Clark, T. J. 1973. Image of the People: Gustave Courbet and the 1848 Revolution. London: Thames & Hudson.Google Scholar
Clark, T. J. 1985. The Painting of Modern Life: Paris in the Art of Manet and his Followers. New York: Knopf.Google Scholar
Clifford, James. 1988. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge: Harvard University Press.Google Scholar
Clifford, James. and Marcus, George E. (eds.) 1986. Writing Culture: The Poetics and Politics of Ethnography. Berkeley: University of California Press.Google Scholar
Cole, Herbert M. 1969. “Art as a Verb in Iboland.” African Arts 3/1: 34-41, 88.Google Scholar
Cole, Herbert M. 1970. African Arts of Transformation. Santa Barbara: University of California Press.Google Scholar
Cole, Herbert M. 1982. Mbari: Art and Life Among the Owerri Ibo. Bloomington: Indiana University Press.Google Scholar
Cole, Herbert M. and Ross, Doran H. 1977. The Arts of Ghana. Los Angeles: Museum of Cultural History, University of California.Google Scholar
Cole, Herbert M. Ross, Doran H. and Aniakor, Chike C. 1984. Igbo Arts: Community and Cosmos. Los Angeles: Museum of Cultural History, University of California.Google Scholar
Cornet, Joseph. 1982. Art Royal Kuba. Milan: Edizioni Sipiel.Google Scholar
Crow, Thomas E. 1985. Painters and Public Life in Eighteenth-Century Paris. New Haven: Yale University Press.Google Scholar
Crowe, Donald W. 1973. “Geometric Symmetries in African Art,” pp. 190–96 in Zaslavsky, Claudia (ed.) Africa Counts: Number and Pattern in African Culture. Westport, Conn.: Lawrence Hill & Co.Google Scholar
Curnow, Kathy. 1983. “The Afro-Portuguese Ivories: Classification and Stylistic Analysis of a Hybrid Art Form.” 2 vols. Ph.D. dissertation, Indiana University.Google Scholar
Dark, Philip J. C. 1962. The Art of Benin. Chicago: Natural History Museum.Google Scholar
Dark, Philip J. C. 1973. An Introduction to Benin Art and Technology. Oxford: Clarendon Press.Google Scholar
Dark, Philip J. C. 1975. “Benin Bronze Heads: Styles and Chronology,” pp. 25–103 in McCall, Daniel F. and Bay, Edna G. (eds.) African Images: Essays in African Iconology. Boston University Papers on Africa 6. New York: Africana Publishing.Google Scholar
d'Azevedo, Warren L. 1973a. “Sources of Gola Artistry,” pp. 282–340 in d'Azevedo, W.L. (ed.) The Traditional Artist in African Societies. Bloomington: Indiana University Press.Google Scholar
d'Azevedo, Warren L. 1973b. “Mask Makers and Myth in Western Liberia,” pp. 126–50 in Forge, Anthony (ed.) Primitive Art and Society. London: Oxford University Press.Google Scholar
d'Azevedo, Warren L. 1980. Review of Frederick Lamp, African Art of the West Atlantic Coast. In African Arts 14/1: 81–6.Google Scholar
Dechamps, Roger. 1970–1982. “L'identification anatomique des bois utilisés pour des sculptures en Afrique.” Africa-Tervuren (Musée Royal de l'Afrique Centrale) vols. 16–28.Google Scholar
de Heusch, Luc. 1982. The Drunken King, or, The Origin of the State. Translated and annotated by Willis, Roy. Bloomington: Indiana University Press.Google Scholar
DeMott, Barbara. 1982. Dogon Masks: A Structural Study of Form and Meaning. Ann Arbor: UMI Research Press.Google Scholar
Drewal, Henry John. 1977. Traditional Art of the Nigerian Peoples: The Milton D. Ratner Family Collection. Washington, DC: Museum of African Art.Google Scholar
Drewal, Henry John. 1980. African Artistry: Technique and Aesthetics in Yoruba Sculpture. Atlanta: High Museum of Art.Google Scholar
Drewal, Henry John. 1987. “African Art Studies Today.” Paper read at the Opening Symposium, National Museum of African Art, Smithsonian Institution, Washington, DC.Google Scholar
Drewal, Henry John. 1988. “Mami Wata Shrines: Exotica and the Construction of Self.” Paper presented at the Workshop on African Material Culture (sponsored by the Joint Committee on African Studies of ACLS and SSRC and the Smithsonian Institution), Bellagio, Italy.Google Scholar
Drewal, Henry John. in press. “Meaning in Oshùgbó Art among the Ijebu Yorùbá,” in Engelbrecht, B. and Gardi, B. (eds.) Man Does Not Go Naked: Textilien und Handwerk aus Afrikanishen und Anderen Laudern. Basler Beitrage zur Ethnologie 29.Google Scholar
Drewal, Henry John. and Drewal, Margaret Thompson. 1978. “More Powerful Than Each Other: An Egbado Classification of Egungun.” African Arts 11/3: 28-39, 98–9.Google Scholar
Drewal, Henry John. 1983. Gelede: Art and Female Power among the Yoruba. Bloomington: Indiana University Press.Google Scholar
Drewal, Henry John. 1985. “An Ifa Diviner's Shrine in Ijebuland.” African Arts 16/2: 60-7, 99–100.Google Scholar
Drewal, Margaret Thompson. 1977. “Projections from the Top in Yoruba Art.” African Art 11/1: 43-9, 91–2.Google Scholar
Drewal, Margaret Thompson. and Drewal, Henry John. 1987. “Composing Time and Space in Yoruba Art.” Word and Image 3/3: 225–51.Google Scholar
Duquette, Danielle Gallois. 1979. “Woman Power and Initiation in the Bissagos Islands.” African Arts 12/3: 31–5.Google Scholar
Ehrlich, Martha J. 1981. “A Catalogue of Ashanti Art Taken from Kumasi in the Anglo-Ashanti War of 1874.” Ph.D. dissertation, Indiana University.Google Scholar
Erekosima, Tonye Victor and Eicher, Joanne Bubolz. 1981. “Kalabari Cut-Thread and Pulled-Thread Cloth: An Example of Cultural Authentication.” African Arts 14/2: 48-51, 87.Google Scholar
Eyo, Ekpo and Willet, Frank. 1980. Treasures of Ancient Nigeria. New York: Knopf/Random House.Google Scholar
Ezra, Kate. 1988. Art of the Dogon: Selection from the Lester Wunderman Collection. New York: Metropolitan Museum of Art.Google Scholar
Fagg, William B. 1963. Nigerian Images: The Splendor of African Sculpture. New York: Praeger.Google Scholar
Fernandez, James W. 1966. “Principles of Opposition and Vitality in Fang Aesthetics.” Journal of Aesthetics and Art Criticism 25/1: 53–64. Reprinted in Carol F. Jopling (ed.) 1971. Art and Aesthetics in Primitive Societies. New York: E. P. Dutton.Google Scholar
Fernandez, James W. 1977a. “Fang Reliquary Art: Its Quantities and Qualities.” Cahiers d'Etudes Africaines 60/15, 4: 723–46.Google Scholar
Fernandez, James W. 1977b. Fang Architectonics. Working Papers in the Traditional Arts 1. Philadelphia: Institute for the Study of Human Issues.Google Scholar
Fischer, Eberhard. 1978. “Dan Forest Spirits: Masks in Dan Villages,” African Arts 11/2: 16-23, 94.Google Scholar
Fischer, Eberhard. and Himmelheber, Hans. 1984. The Arts of the Dan. Translated by Bundle, Anne. Zurich: Rietberg Museum. First published in German, 1976.Google Scholar
Flam, Jack D. 1970. “Some Aspects of Style Symbolism in Sudanese Sculpture.” Journal de la Société des Africanistes 40/2: 137–50.CrossRefGoogle Scholar
Flam, Jack D. 1971. “The Symbolic Structure of Baluba Caryatid Stools.” African Arts 4/2: 54-9, 80.Google Scholar
Flam, Jack D. 1982. “Signs and Symbols in Traditional Metal Art of the Western Sudan,” pp. 19–30 in Brincard, Marie-Thérèse (ed.) The Art of Metal in Africa. New York: African-American Institute.Google Scholar
Forster, Kurt W. 1972. “Critical History of Art, or Transformation of Values?” New Literary History 3: 459–70.Google Scholar
Frank, Barbara E. 1987. “Open Borders: Style and Ethnic Identity,” African Arts 20/4: 48-55, 90.Google Scholar
Fraser, Douglas. 1962. Primitive Art. Garden City, NJ: Doubleday.Google Scholar
Fraser, Douglas. 1972. “Correspondence.” Art Bulletin 54/2: 233.Google Scholar
Fraser, Douglas. (ed.) 1974. African Art as Philosophy. New York: Interbook.Google Scholar
Fraser, Douglas. and Cole, Herbert M. (eds.) 1972. African Arts and Leadership. Madison: University of Wisconsin Press.Google Scholar
Freedberg, David. 1988. Iconoclasm and Painting in the Revolt of the Netherlands, 1566-1609. New York: Garland Press.Google Scholar
Freyer, Bryna. 1987. Royal Benin Art in the Collection of the National Museum of African Art. Washington, DC: National Museum of African Art, Smithsonian Institution Press.Google Scholar
Fried, Michael. 1980. Absorption and Theatricality: Painting and Beholder in the Age of Diderot. Berkeley: University of California Press.Google Scholar
Garrard, Timothy F. 1980. Akan Weights and the Gold Trade. London: Longman.Google Scholar
Garrard, Timothy F. 1984. “Figurine Cults of the Southern Akan,” pp. 167–90 in Roy, Christopher D. (ed.) Iowa Studies in African Art 1. Iowa City: University of Iowa.Google Scholar
Geary, Christraud M. 1982. “Casting the ‘Red Iron’: Bamum Bronzes,” pp. 71–78 in Brincard, Marie-Thérèse (ed.) The Art of Metal in Africa. New York: African-American Institute.Google Scholar
Geary, Christraud M. 1983. Things of the Palace: A Catalogue of the Bamum Palace Museum in Foumban (Cameroon). Studien zur Kulturkunde 60. Wiesbaden: Steiner Verlag.Google Scholar
Geary, Christraud M. 1987. “Basketry in the Aghem-Fungom Area of the Cameroon Grassfields.” African Arts 20/3: 42-53, 89–90.Google Scholar
Geary, Christraud M. 1988a. “Art and Political Process in the Kingdoms of Bali-Nyonga and Bamum (Cameroon Grassfields).” Canadian Journal of African Studies 22/1: 11–41.Google Scholar
Geary, Christraud M. 1988b. Images from Bamum: German Colonial Photography from the Court of King Njoya, Cameroon, West Africa, 1902-1915. Washington, DC: National Museum of African Art, Smithsonian Institution Press.Google Scholar
Geertz, Clifford. 1983. Local Knowledge. New York: Basic Books.Google Scholar
Gillon, Werner. 1984. A Short History of African Art. New York: Viking.Google Scholar
Glaze, Anita J. 1975. “Woman Power and Art in a Senufo Village.” African Arts 8/3: 24-9, 64-8, 90–1.Google Scholar
Glaze, Anita J. 1981. Art and Death in a Senufo Village. Bloomington: Indiana University Press.Google Scholar
Glaze, Anita J. 1986. “Dialectics of Gender in Senufo Masquerades.” African Arts 19/3: 30-9, 82.Google Scholar
Gombrich, E. H. 1960. Art and Illusion. New York: Pantheon Books. Reprinted 1969.Google Scholar
Green, Kathryn L. 1987. “Shared Masking Traditions in Northeastern Ivory Coast.” African Arts 20/4: 62-9, 92.Google Scholar
Griaule, Marcel. 1938. Masques Dogon. Travaux et Mémoires de l’Institut d'Ethnologie 33. Paris: Musée de l'Homme. Reprinted 1963, 1983.Google Scholar
Harley, George W. 1950. Masks as Agents of Social Control in Northeast Liberia. Peabody Museum Papers 32/2. Cambridge: Harvard University.Google Scholar
Hersak, Dunja. 1986. Songye Masks and Figure Sculpture. London: Ethnographica.Google Scholar
Himmelheber, Hans. 1960. Negerkuenst und Negerkuenstler. Braunschweig: Klinkhardt and Biermann.Google Scholar
Himmelheber, Hans. 1964. “Sculptors and Sculptures of the Dan,” pp. 243–55 in Bown, Lalage and Crowder, Michael (eds.) The Proceedings of the First International Congress of Africanists. Evanston: Northwestern University Press.Google Scholar
Hodder, Ian. 1982. Symbols in Action: Ethnoarchaeological Studies of Material Culture. New York: Cambridge University Press.Google Scholar
Horton, Robin. 1963. “The Kalabari Ekine Society: A Borderland of Religion and Art.” Africa 3/3: 94–113.Google Scholar
Houlberg, Marilyn Hammersley. 1973. “Ibeji Images of the Yoruba.” African Arts 7/1: 20-7, 91–2.Google Scholar
Jamin, Jean and Coulibaly, Nabé Vincent. 1979. “A bout de souffle: La dette de la vie chez les Sénoufo.” Objets et Mondes (Musée de l'Homme) 19/1–4: 280–92.Google Scholar
Jedrej, M. C. 1980. “Structural Aspects of a West African Secret Society.” Ethnologische Zeitschrift Zuerich 1: 133–42. Reprinted in Journal of Anthropological Research 32/3 (1976): 234–45.Google Scholar
Johnson, Barbara C. 1986. Four Dan Sculptors: Continuity and Change. San Francisco: The Fine Arts Museums.Google Scholar
Johnson, Barbara C. 1987. “Ldamie, Figurative Brass Caster of the Dan,” pp. 49–65 in Roy, Christopher D. (ed.) Iowa Studies in African Art: The Stanley Conferences at the University of Iowa 2. Iowa City: University of Iowa.Google Scholar
Johnson, Marian A. 1980. “Black Gold: Goldsmiths, Jewelry and Women in Senegal.” Ph.D. dissertation, Stanford University.Google Scholar
Jones, Adam. 1988. “Drink Deep, or Taste Not: Thoughts on the Use of Early European Records in the Study of African Material Culture.” Paper read at the Workshop on African Material Culture (sponsored by the Joint Committee on African Studies of ACLS and SSRC and the Smithsonian Institution), Bellagio, Italy.Google Scholar
Jules-Rosette, Bennetta. 1984. The Messages of Tourist Art: An African Semiotic System in Comparative Perspective. New York: Plenum Press.Google Scholar
Kasfir, Sidney Littlefield. 1980. “Patronage and Maconde Carvers.” African Arts 13/3: 67-70, 91–2.Google Scholar
Kasfir, Sidney Littlefield. 1982. “Anjenu: Sculpture for Idoma Water Spirits.” African Arts 15/4: 47-51, 91–2.Google Scholar
Kasfir, Sidney Littlefield. 1984. “One Tribe, One Style? Paradigms in the Historiography of African Art.” History in Africa 11: 163–93.Google Scholar
Kasfir, Sidney Littlefield. 1986. Review of Jan Vansina, Art History in Africa . In African Arts 19/2: 10, 12, 14, 17, 19, 92.Google Scholar
Kasfir, Sidney Littlefield. 1987. “Apprentices and Entrepreneurs: The Workshop and Style Uniformity in Sub-Saharan Africa,” pp. 25–47 in Roy, Christopher D. (ed.) Iowa Studies in Africa Art: The Stanley Conferences at the University of Iowa 2. Iowa City: University of Iowa.Google Scholar
Kasfir, Sidney Littlefield. forthcoming. “Remembering Ojiji: Portrait of the Artist as an Old Man.”Google Scholar
Kleinbauer, W. Eugene. 1971. Modern Perspectives in Western Art History: An Anthology of Twentieth-Century Writings on the Visual Arts. New York: Holt, Rinehart & Winston.Google Scholar
Kreamer, Christine M. 1987. “The Art and Ritual of the Moba of Northern Togo.” Ph.D. dissertation, Indiana University.Google Scholar
Kubler, George. 1962. The Shape of Time. New Haven: Yale University Press.Google Scholar
Lamp, Frederick. 1985. “Cosmos, Cosmetics, and the Spirit of Bondo.” African Arts 18/3: 28-43, 98–9.Google Scholar
Laude, Jean. 1964. “La statuaire du pays Dogon.” Revue d'Esthétique 17/1–2: 46–68. Translated and adapted as African Art of the Dogon: Myths of the Cliff Dwellers (1973). New York: Viking Press.Google Scholar
Laude, Jean. 1971. The Arts of Black Africa. Translated by Decock, Jean. Berkeley: University of California Press.Google Scholar
Lawal, Babatunde. 1976. “Some Aspects of Yoruba Aesthetics.” British Journal of Aesthetics 14/3: 239–49.Google Scholar
Lawal, Babatunde. 1985. “Ori: The Significance of the Head in Yoruba Sculpture.” Journal of Anthropological Research 41/1: 91–103.Google Scholar
Leloup, Hélène. 1988. “Dogon Figure Styles,” African Arts 22/1: 44-51, 98–9.Google Scholar
Le Moal, Guy. 1980. Les Bobo: Nature et fonction des masques. Travaux et Documents de l'ORSTOM 121. Paris: ORSTOM.Google Scholar
MacCormack, Carol P. 1980. “Art and Symbolism in Thoma Ritual among the Sherbro, Sierra Leone.” Ethnologishe Zeitschrift Zuerich 1: 151–61.Google Scholar
MacGaffey, Wyatt and Janzen, John M. 1974. “A Propos: Nkisi Figures of the Bakongo.” African Arts 7/3: 87–9.Google Scholar
McKesson, John. 1987. “Réflexions sur l'evolution de la sculpture des reliquaires Fang.” Art d'Afrique Noire 63: 7–21.Google Scholar
McLeod, Malcolm D. 1978. “Aspects of Asante Images,” pp. 305–16 in Greenhalgh, Michael and Megaw, Vincent (eds.) Art in Society. New York: St. Martin's Press.Google Scholar
McNaughton, Patrick R. 1979. Secret Sculptures of Komo: Art and Power in Bamana Initiation Associations. Working Papers in the Traditional Arts 4. Philadelphia: Institute for the Study of Human Issues.Google Scholar
McNaughton, Patrick R. 1982. “The Shirts That Mande Hunters Wear.” African Arts 15/3: 54-8, 91.Google Scholar
McNaughton, Patrick R. 1988. The Mande Blacksmiths: Knowledge, Power, and Art in West Africa. Bloomington: Indiana University Press.Google Scholar
Magid, Alvin. 1972. “Political Traditionalism in Nigeria: A Case-Study of Secret Societies and Dance Groups in Local Government.” Africa 42/4: 289–304.Google Scholar
Mark, Peter. 1987a. “The Senegambian Horned Initiation Mask: History and Provenance.” Art Bulletin 64/4: 626–40.Google Scholar
Mark, Peter. 1987b. Review of Labelle Prussin, Hatumere: Islamic Design in West Africa . In African Studies Review 30/1: 124–26.Google Scholar
Memel-Foté, Harris. 1967. “La vision du beau dans la culture négro-africaine,” pp. 47–67 in Colloque sur l'art nègre, vol. 1, Rapport, ler Festival Mondial des Arts Nègres. Paris: Société Africaine de Culture and Présence Africaine.Google Scholar
Neyt, François. 1977. La grande statuaire Hemba du Zaire. Louvain-la-Neuve: Institut supérieur d'archéologie et d'histoire de l'art.Google Scholar
Niangoran-Bouah, G. L'univers Akan des poids à pesser l'or / The Akan World of Gold Weights. 3 vols. Abidjan: Les Nouvelles Éditions Africaines, 1984–1987.Google Scholar
Northern, Tamara. 1973. Royal Art of Cameroon. Hanover, NH: Dartmouth College.Google Scholar
Nunley, John W. 1981. “The Fancy and the Fierce.” African Arts 14/2: 52-8, 87–8.Google Scholar
Nunley, John W. 1988. Moving with the Face of the Devil: Art and Politics in Urban West Africa. Urbana: University of Illinois Press.Google Scholar
Okpaku, Joseph; Opubor, Alfred and Oloruntimehim, Benja. (eds.) 1986. The Arts and Civilization of Black and African Peoples. Vol. 1, Black Civilization and the Arts. Vol. 2, Black Civilization and Philosophy. Lagos: Centre for Black and African Arts and Civilization. 2 of 10 projected volumes.Google Scholar
Olbrechts, Frans M. 1946. Plastiek van Kongo. Antwerp: Standaard Bookhandel. Translated into French 1959, English 1982.Google Scholar
Orwicz, Michael R. 1985. “Critical Discourse in the Formation of a Social History of Art: Anglo-American Response to Arnold Hauser.” Oxford Art Journal 8/2: 52–62.Google Scholar
Ottenberg, Simon. 1972. “Humorous Masks and Serious Politics among the Afikpo Ibo,” pp. 99–121 in Fraser, Douglas and Cole, Herbert M. (eds.) African Art and Leadership. Madison: University of Wisconsin Press.Google Scholar
Ottenberg, Simon. 1973. “Afikpo Masquerades: Audience and Performers.” African Arts 6/4: 32-5, 94–5.Google Scholar
Ottenberg, Simon. 1975. Masked Rituals of Afikpo. Seattle: University of Washington Press.Google Scholar
Ottenberg, Simon. 1982. “Illusion, Communication, and Psychology in West African Masquerade,” Ethos 10/2: 149–85.Google Scholar
Ottenberg, Simon. 1983. “Artistic and Sex Roles in a Limba Chiefdom,” pp. 76–90 in Oppong, Christine (ed.) Male and Female in West Africa. London: Allen & Unwin.Google Scholar
Ottenberg, Simon. 1988. “Psychological Aspects of Igbo Art.” African Arts 21/2: 72-82, 93.Google Scholar
Panofsky, Erwin. 1955. “Iconography and Iconology,” pp. 26–54 in Meaning in the Visual Arts. Garden City, NJ: Doubleday.Google Scholar
Pemberton, John. 1978. “Egungun Masquerades of the Igbomina Yoruba.” African Arts 11/3: 40-7, 99–100.Google Scholar
Pemberton, John. 1987. “The Yoruba Carvers of Ila Orangun,” pp. 117–47 in Roy, Christopher (ed.) Iowa Studies in African Art: The Stanley Conferences at the University of Iowa 2. Iowa City: University of Iowa.Google Scholar
Perani, Judith M. “Nupe Crafts: The Dynamics of Change in 19th and 20th Century Weaving and Brassworking.” Ph.D. dissertation, Indiana University.Google Scholar
Pernet, Henry. 1982. “Masks and Women: Toward a Reappraisal.” History of Religion 22/1: 45–59.Google Scholar
Perrois, Louis. 1972. La statuaire Fang, Gabon. Memoires ORSTOM 59. Paris: ORSTOM.Google Scholar
Phillips, Ruth B. 1979. “The Sande Society Masks of the Mende of Sierra Leone.” 2 vols. Ph.D. dissertation, School of Oriental and African Studies, University of London.Google Scholar
Poynor, Robin. 1987. “Naturalism and Abstraction in Owo Masks.” African Arts 20/4: 56-61, 91.Google Scholar
Preston, George Nelson. 1975. “Perseus and Medusa in Africa: Military Art in Fanteland, 1834-1972.” African Arts 3/3: 36-9, 68-71, 91–2.Google Scholar
Preston, George Nelson. 1985. Sets, Series and Ensembles in African Art. New York: The Center for African Art.Google Scholar
Prussin, Labelle. 1969. Architecture in Northern Ghana: A Study of Forms and Functions. Berkeley: University of California Press.Google Scholar
Prussin, Labelle. 1986. Hatumere: Islamic Design in West Africa. Berkeley: University of California Press.Google Scholar
Ravenhill, Philip L. 1980. Baule Statuary Art: Meaning and Modernization. Working Papers in the Traditional Arts 5. Philadelphia: Institute for the Study of Human Issues.Google Scholar
Ravenhill, Philip L. 1988. “An African Triptych: On the Interpretation of Three Parts and the Whole.” Art Journal 47/2: 88–94.Google Scholar
Read, Herbert. 1956. Art and Society. London: Faber and Faber.Google Scholar
Richter, Dolores. 1980. Art, Economics and Change: The Kulebele of Northern Ivory Coast. La Jolla, Calif.: Psych/Graph Publishers.Google Scholar
Roberts, Allan F. and Maurer, Evan (eds.) 1986. The Rising of a New Moon: A Century of Tabwa Art. Ann Arbor: University of Michigan Museum of Art.Google Scholar
Ross, Doran H. 1982. “The Verbal Art of Akan Liguists' Staffs.” African Arts 16/1: 56-67, 95–6.Google Scholar
Ross, Doran H. and Garrard, Timothy H. (eds.) 1983. Akan Transformations: Problems in Ghanaian Art History. Museum of Cultural History Monograph Series 21. Los Angeles: University of California.Google Scholar
Roy, Christopher D. 1987. Art of the Upper Volta Rivers. Translated and adapted by Françoise Chaffin. Meudon, France: Alain and Françoise Chaffin.Google Scholar
Rubin, Arnold. 1967. “The Arts of the Jukun-speaking Peoples of Northern Nigeria.” Ph.D. dissertation, Indiana University.Google Scholar
Rubin, Arnold. 1970. Review of Philip Allison, African Stone Sculpture and Willett, Frank, Ife in the History of West African Sculpture. In Art Bulletin 72/3: 348–54.Google Scholar
Rubin, Arnold. 1972. Monuments of African Sculpture in Southern California Collections. Santa Ana, Calif.: Santa Ana College Gallery.Google Scholar
Rubin, Arnold. 1974. African Accumulative Sculpture: Power and Display. New York: Pace Gallery.Google Scholar
Rubin, Arnold. 1987. “Artists and Workshops in Northeastern Nigeria,” pp. 7–22 in Roy, Christopher D. (ed.) Iowa Studies in African Art: The Stanley Conferences at the University of Iowa 2. Iowa City: University of Iowa.Google Scholar
Rubin, Arnold. (ed.) 1988. Marks of Civilization: Artistic Transformations of the Human Body. Los Angeles: Museum of Cultural History, University of California.Google Scholar
Rubin, William (ed.) 1984. “Primitivism” in 20th Century Art: Affinity of the Tribal and the Modern. 2 vols. New York: The Museum of Modern Art.Google Scholar
Ruby, lay (ed.) 1982. A Crack in the Mirror: Reflexive Perspectives in Anthropology. Philadelphia: University of Pennsylvania Press.Google Scholar
Schapiro, Meyer. 1953. “Style,” pp. 287–312 in Kroeber, A. L. (ed.) Anthropology Today. Chicago: University of Chicago Press.Google Scholar
Shaw, Thurstan. 1978. “The Art of Benin Through the Eyes of the Artist, the Art Historian, the Ethnographer and the Archaeologist,” pp. 207–23 in Greenhalgh, Michael and Megaw, Vincent (eds.) Art in Society: Studies in Style, Culture and Aesthetics. New York: St. Martin's Press.Google Scholar
Shiff, Richard. 1988. “Art History and the Nineteenth Century: Realism and Resistance.” Art Bulletin 70/1: 25–48.Google Scholar
Sieber, Roy. 1959. “The Aesthetic of Traditional African Art.” n.p. in Rainey, Froelich (ed.) Seven Metals of Africa. Philadelphia: University Museum. Reprinted in Carol F. Jopling (ed.) 1971. Art and Aesthetics in Primitive Societies. New York: E. P. Dutton.Google Scholar
Sieber, Roy. 1962. “Masks as Agents of Social Control.” African Studies Bulletin 5/11: 8–13. Reprinted in Douglas Fraser (ed.) 1966. The Many Faces of Primitive Art. Englewood Cliffs, NJ: Prentice-Hall.Google Scholar
Sieber, Roy. 1967. “Art as an Aspect of the Reconstruction of Culture History,” pp. 117–37 in Gabel, Creighton and Bennett, Norman R. (eds.) Reconstructing African Culture History. Boston: Boston University Press.Google Scholar
Sieber, Roy. 1972. African Textiles and Decorative Arts. New York: Museum of Modern Art.Google Scholar
Sieber, Roy. 1980. African Furniture and Household Objects. Bloomington: Indiana University Press.Google Scholar
Sieber, Roy. 1986. Testimonial read at presentation of ACASA Leadership Award in ACASA Newsletter (Arts Council of the African Studies Association) 12: 7–8.Google Scholar
Sieber, Roy. and Rubin, Arnold. 1968. Sculpture of Black Africa: The Paul Tishman Collection. Los Angeles: Los Angeles County Museum of Art.Google Scholar
Sieber, Roy. and Celenko, Theodore. 1977. “Rayons x et l'art africain.” Arts d'Afrique Noire. 21: 16–28.Google Scholar
Sieber, Roy. and Walker, Roslyn Adele. 1987. African Art in the Cycle of Life. Washington, DC: National Museum of African Art, Smithsonian Institution Press.Google Scholar
Siegmann, William C. 1980. “Spirit Manifestation and the Poro Society.” Ethnologische Zeitschrift Zuerich 1: 89–111.Google Scholar
Silver, Harry R. 1981. “Calculating Risks: The Socioeconomic Foundations of Aesthetic Innovation in an Ashanti Carving Community.” Ethnology 20/2: 101–14.Google Scholar
Silver, Harry R. 1983. “Foreign Art and Asante Aesthetics.” African Arts 16/3: 64-7, 79.Google Scholar
Silverman, Raymond A. 1986. “Bono Brass Casting.” African Arts 19/4: 60-4, 85–6.Google Scholar
Siroto, Leon. 1969. “Masks and Social Organization among the BaKwele People of Western Equatorial Africa.” Ph.D. dissertation, Columbia University.Google Scholar
Siroto, Leon. 1972. “Gon: A Mask Used in Competition for Leadership among the BaKwele,” pp. 57–77 in Fraser, Douglas and Cole, Herbert M. (eds.) African Art and Leadership. Madison: University of Wisconsin Press.Google Scholar
Siroto, Leon. 1976. African Spirit Images and Identities. New York: Pace Gallery.Google Scholar
Stanley, Janet L. 1988. “African Material Culture Information Network.” Paper read at the Workshop on African Material Culture (sponsored by the Joint Committee on African Studies of ACLS and SSRC and the Smithsonian Institution), Bellagio, Italy.Google Scholar
Steiner, Christopher B. 1988. Review of Jean Paul Delcourt and Giovanni Franco Scanzi, Potomo Waka . In African Arts 21/3: 84–5.Google Scholar
Steiner, Christopher B. forthcoming. “The Art Traders of Côte d'Ivoire: Networks and the Organization of Commerce in a West African Market.” Ph.D. dissertation, Harvard University.Google Scholar
Stocking, George W. Jr., (ed.) 1985. Objects and Others: Essays on Museums and Material Culture. History of Anthropology 3. Madison: University of Wisconsin Press.Google Scholar
Teilhet, Jehanne H. 1978. “The Equivocal Role of Women Artists in Non-Literate Cultures.” Heresies 7: 96–102.Google Scholar
Thompson, Robert Farris. 1968. “Aesthetics in Traditional Africa.” Art News 66/9: 44-5, 63–6. Reprinted in Carol F. Jopling (ed.) 1971. Art and Aesthetics in Primitive Societies. New York: E. P. Dutton.Google Scholar
Thompson, Robert Farris. 1969. “Abátàn: A Master Potter of the Egbádò Yorùbá,” pp. 120–82 in Biebuyck, Daniel P., Tradition and Creativity in Tribal Art. Berkeley: University of California Press.Google Scholar
Thompson, Robert Farris. 1970. “The Sign of the Divine King: An Essay on Yoruba Bead-Embroidered Crowns with Veil and Bid Decorations.” African Arts 3/3: 8-17, 74–80.Google Scholar
Thompson, Robert Farris. 1971. Black Gods and Kings: African Art at UCLA. Los Angeles: University of California Press.Google Scholar
Thompson, Robert Farris. 1973. “Yoruba Artistic Criticism,” pp. 19–61 in d'Azevedo, Warren L. (ed.) The Traditional Artist in African Societies. Bloomington: Indiana University Press.Google Scholar
Thompson, Robert Farris. 1974. African Art in Motion. Los Angeles: University of California Press.Google Scholar
Thompson, Robert Farris. and Cornet, Joseph. 1981. The Four Moments of the Sun: Kongo Art in Two Worlds. Washington, DC: National Gallery of Art.Google Scholar
Tunis, Irwin L. 1981. “The Benin Chronologies.” African Arts 14/2: 86–7.Google Scholar
Tunis, Irwin L. and Tunis, Angelika. 1984. “Museum fuer Voelkerkunde Berlin: Benin Studies,” pp. 76–81 in Bassani, Ezio (ed.) Art in Africa: Reality and Perspectives in a Study of the History of African Arts. Modena: Edizioni Panini.Google Scholar
Turner, Victor. 1964. The Ritual Process. Chicago: Aldine.Google Scholar
Turner, Victor. 1967. The Forest of Symbols. Ithaca: Comell University Press.Google Scholar
van Beek, Walter E. A. 1988. “Functions of Sculpture in Dogon Religion.” African Arts 21/4: 58-65, 91.Google Scholar
Vansina, Jan. 1965. Oral Tradition: A Study in Historical Methodology. Translated by Wright, H. M. Chicago: Aldine.Google Scholar
Vansina, Jan. 1972. “Ndop: Royal Statues among the Kuba,” pp. 41–56 in Fraser, Douglas and Cole, Herbert M. (eds.) African Art and Leadership. Madison: University of Wisconsin Press.Google Scholar
Vansina, Jan. 1983. “Is Elegance Proof? Structuralism and African History.” History in Africa 10: 307–48.Google Scholar
Vansina, Jan. 1984. Art History of Africa: An Introduction to Method. London: Longman.Google Scholar
Verger-Fèvre, Marie-Noël. 1980. Masques faciaux de l'ouest de la Côte d'lvoire dans les collections publiques françaises. 2 vols. Mémoire Ecole du Louvre, Paris.Google Scholar
Visonà, Monica Blackmun. 1987a. “The Limitations of Labels.” African Arts 20/4: 38.Google Scholar
Visonà, Monica Blackmun. 1987b. “Divinely Inspired Artists from the Lagoon Cultures of Ivory Coast,” pp. 67–78 in Roy, Christopher D. (ed.) Iowa Studies in African Art: The Stanley Conferences at the University of Iowa 2. Iowa City: University of Iowa.Google Scholar
Vogel, Susan Mullin. 1973. “People of Wood: Baule Figure Sculpture.” Art Journal 33/1: 23–6.Google Scholar
Vogel, Susan Mullin. 1977. “Baule Art as the Expression of a World View.” Ph.D. dissertation, New York University.Google Scholar
Vogel, Susan Mullin. 1980. Beauty in the Eyes of the Baule: Aesthetics and Cultural Values. Working Papers in the Traditional Arts 6. Philadelphia: Institute for the Study of Human Issues.Google Scholar
Vogel, Susan Mullin. (ed.) 1981. For Spirits and Kings: African Art from the Tishman Collection. New York: Metropolitan Museum of Art.Google Scholar
Vogel, Susan Mullin. 1984. “‘The Sheep Wears his Spots Where he Pleases’, or the Question of Regional Styles in Baule Sculpture,” pp. 29–44 in Roy, Christopher D. (ed.) Iowa Studies in African Art 1. Iowa City: University of Iowa.Google Scholar
Volavka, Zdenka. 1972. “Nkisi Figures from the Lower Congo.” African Arts 5/2: 52-9, 84.Google Scholar
Wagner, Anne Middleton. 1986. Jean-Baptiste Carpeaux: Sculptor of the Second Empire. New Haven: Yale University Press.Google Scholar
Wahlman, Maude. 1974. Contemporary African Arts. Chicago: Field Museum of Natural History.Google Scholar
Wahlman, Maude. and Chuta, Enyinna. 1979. “Sierra Leone Resist-Dyed Textiles,” pp. 447–66 in Cordwell, Justine M. and Schwarz, Ronald A. (eds.) The Fabrics of Culture: The Anthropology of Clothing and Adornment. The Hague: Mouton.Google Scholar
Washburn, Dorothy K. in press. Native Categories of Material Culture: Named Patterns on Bakuba Raffia Cloth. Philadelphia: Transactions of the American Philosophical Society.Google Scholar
Weil, Peter M. 1988. “Modeling Form in Mande Masking.” Paper read at the 31st Annual Meeting of the African Studies Association, Chicago.Google Scholar
Wescott, Joan. 1962. “The Sculpture and Myths of Eshu-Elegba, the Yoruba Trickster: Definition and Interpretation in Yoruba Iconography.” Africa 32/4: 336–54.Google Scholar
Willett, Frank. 1967. Ife in the History of West African Sculpture. London: Thames & Hudson.Google Scholar
Willett, Frank. 1971. African Art: An Introduction. New York: Thames and Hudson.Google Scholar
Willett, Frank. and Picton, John. 1967. “On the Identification of Individual Carvers: A Study of Ancestor Shrine Carvings from Owo, Nigeria.” Man n.s. 2/1: 62–70.Google Scholar
Williams, Denis. 1974. Icon and Image: A Study of Sacred and Secular Forms in African Classical Art. New York: New York University Press.Google Scholar
Willis, Roy. 1980. “The Literalist Fallacy and the Problem of Oral Tradition.” Social Analysis 4: 28–37.Google Scholar
Wingert, Paul S. 1950. The Sculpture of Negro Africa. New York: Columbia University Press.Google Scholar
Zerner, Henri. 1982. “Editor's Statement: The Crisis in the Discipline,” Art Journal 42/4: 279.Google Scholar