Art World City

Joanna Grabski

Description

Art World City focuses on contemporary art and artists in the city of Dakar, a famously thriving art metropolis in the West African nation of Senegal. Joanna Grabski illuminates how artists earn their livelihoods from the city's resources, possibilities, and connections. She examines how and why they produce and exhibit their work and how they make an art scene and transact with art world mediators such as curators, journalists, critics, art lovers, and collectors from near and far. Grabski shows that Dakar-based artists participate in a platform that has a global reach. They extend Dakar's creative economy and the city's urban vibe into an "art world city."

Acknowledgements
Introduction. Dakar's Art World City
1. Making the City's Scene: Visibility, Exhibition Culture, and Mediatization
2. Mapping the Dak'Art Biennale in Dakar
3. A Place From Which to Speak: Artists' Studios as Infrastructure of Opportunity
4. From Street to Studio: Sourcing the Materials for Art from Urban Life
5. Picturing the City
6. Market Space and Urban Space: The Business of Selling Art in the City
Epilogue. Reflections on Dakar's Art World City: Infrastructures, Vision-Oriented Subjectivities, and Implications
Notes
Bibliography
Index

Sujets

• African Studies
• Popular Culture
• African
• History of art
• African people
• Art

Informations

• Publié par: Indiana University Press
• Date de parution: 10 juillet 2017
• Nombre de lectures: 0
• EAN13: 9780253026224
• Langue: English
• Poids de l'ouvrage: 7 Mo

Extrait

ART world city
AFRICAN EXPRESSIVE CULTURES
Patrick McNaughton, editor
ASSOCIATE EDITORS
Catherine M. Cole
Barbara G. Hoffman
Eileen Julien
Kassim Kon
D. A. Masolo
Elisha Renne
Z. S. Strother
ART world city
T HE C REATIVE E CONOMY OF A RTISTS AND U RBAN L IFE IN D AKAR
JOANNA GRABSKI
INDIANA UNIVERSITY PRESS
Publication of this book has been aided by a grant from the Millard Meiss Publication Fund of the College Art Association.

This book is a publication of
Indiana University Press
Office of Scholarly Publishing
Herman B Wells Library 350
1320 East 10th Street
Bloomington, Indiana 47405 USA
iupress.indiana.edu
2017 by Joanna Grabski
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Names: Grabski, Joanna, author.
Title: Art world city : the creative economy of artists and urban life in Dakar / Joanna Grabski.
Other titles: African expressive cultures.
Description: Bloomington, Indiana : Indiana University Press, 2017. | Series: African expressive cultures | Includes bibliographical references and index.
Identifiers: LCCN 2017003819 (print) | LCCN 2017005324 (ebook) | ISBN 9780253026057 (pbk.) | ISBN 9780253026224 (e-book)
Subjects: LCSH: Dak art (Exhibition) | Art, Modern-21st century. | Art, Modern-20th century. | Art, Senegalese-21st century. | Art, Senegalese-20th century. | Artists-Senegal-Dakar. | Art-Senegal-Dakar-Exhibitions.
Classification: LCC N7399.S42 .D354 2017 (print) | LCC N7399.S42 (ebook) | DDC 709.66309051-dc23
LC record available at https://lccn.loc.gov/2017003819
1 2 3 4 5 22 21 20 19 18 17
For my daughter, Olivia Clarke, and my godmother, Rita Rodriguez
CONTENTS
ACKNOWLEDGMENTS
INTRODUCTION: Dakar s Art World City
CHAPTER 1. Making the City s Scene: Visibility, Exhibition Culture, and Mediatization
CHAPTER 2. Mapping the Dak Art Biennale in Dakar
CHAPTER 3. A Place from Which to Speak: Artists Studios as Infrastructure of Opportunity
CHAPTER 4. From Street to Studio: Sourcing the Materials for Art from Urban Life
CHAPTER 5. Picturing the City
CHAPTER 6. Market Space and Urban Space: The Business of Selling Art in the City
EPILOGUE : Reflections on Dakar s Art World City: Infrastructures, Vision-Oriented Subjectivities, and Implications
NOTES
BIBLIOGRAPHY
INDEX
ACKNOWLEDGMENTS
I first began thinking about the creative economy and urban life as intertwined themes for this book after a few years of working with artists, collectors, and other art scene makers in Dakar. By that time, Dakar s lively art scene was not only inflected by the city s urbanization, it was also increasingly involved in the processes of art world globalization. Fortuitous timing made these thematic axes appear salient. It was even more fortuitous to have so many interlocutors interested in sharing their perspectives about artists and the city s art world.
As is necessarily the case for any project of comparable scope and depth, this book would not have been possible without the generosity of many colleagues, collaborators, and friends. I extend my gratitude to the many individuals who shared their work, time, and viewpoints with me, especially Dakar s artists, collectors, journalists, critics, curators, and gallerists. They opened their studios, offices, and homes to me. They answered my questions patiently and passionately. And they shared their expertise in navigating the geographies of their city and its art world. Years of interviews and conversations with these individuals form the backbone of this book, and the relationships created during nearly two decades constitute its heart. My hope is that this book does justice to the intelligence and creativity that reverberate throughout Dakar s art world city.
More people than I can name shared their perspectives and facilitated introductions. This list is by no means exhaustive, and any oversight does not signal a lack of appreciation. Some of the individuals mentioned are no longer here with us, and this saddens me. I had wished to continue our conversations and to share this book with them. I offer my profound gratitude to Cheikh Ndiaye, Mamadou Tour Behan, Abdoulaye Ndoye, Ndary Lo, Cheikhou Ba, El Hadji Sy, Fod Camara, Djibril Andr Diop, Pap Ba, Viy Diba, Fatou Kand Senghor, Soly Ciss , Serigne Mbaye Camara, Germaine Anta Gaye, Hassane Sar, Jean-Marie Bruce, Cheikh Niass, Ndoye Douts, Fally Sene Sow, Birame Ndiaye, Mouhamadou Dia, Amadou Camara Gueye, Amadou Tounkara, Piniang, Kalidou Sy, Daouda Ba, Assane Ndoye, Rackie Dianka, Khadidiatou Sow, Joe Ouakam, Ibrahima K b , Serigne Ndiaye, Moussa Tine, Sea Diallo, Moussa Mbaye, Mamadou Wade, Chalys Leye, Babacar Traor , Mamady Seydi, Pascal Namp manla Traor , Bouna Medoune Seye, Ibou Diouf, Iba Ndiaye, Alpha Walid Diallo, Souleymane Keita, Papa Ibra Tall, Cherif Thiam, Seydou Barry, Amadou Ba, Alioune Badiane, Ousmane Faye, Amadou Seck, Diatta Seck, Omar Katta Diallo, Modou Niang, B atrice Soul , Ousmane Sow, Bassam Chaitou, Baidy Agne, Abdourahim Agne, Serigne Babacar Sy, Oumar Sow, Habib Diene, Libasse Thiaw, Mayoro Wade, Mauro Petroni, Khalifa Dieng, Binette and Nicolas Ciss , Ousseynou Wade, Souleymane Bachir Diagne, Sylvain Sankal , Victor-Emmanuel Cabrita, Baba Diop, Iba Ndiaye Djadji, Abdou Sylla, Remi Sagna, Ousmane Sow Hutchard, Elsa Despiney, N Gon Fall, Dieumbe Dim Fall, Djamilatou Bikami, Mansour Ciss, Ousmane Ndiaye Dago, Jo lle le Bussy, Aissa Dione, Amadou Yacine Thiam, Herv Youmbi, Dominique Zinkp , Justine Gaga, Tapha and Adjie Seck, Laurie Klaas, Meadow Dibble, Bill Karg, the Village des Arts, the Dak Art Biennale Office, the National Archives of Senegal, and the Ministry of Culture.
Colleagues at the West African Research Center, especially Ousmane Sene, Abdoulaye Niang, Adama Diouf, and Mame Coumba Ndoye, provided intellectual support and logistical advice. Kristin Stewart and Aminata Fall Samb in the Cultural Affairs Office of the American embassy in Dakar provided generous support and practical advice during and after my Fulbright-Hays Faculty Fellowship in Dakar. I was fortunate to have many conversations about art with Kimberly Kay and Elizabeth Linder. Stretching back to my first stay in Dakar, I must acknowledge El Hadji M. Sarr, Jerome Faye, and Grace Brunton, who facilitated my meeting several artists. Ambassador Dane Smith and Judy Smith offered their encouragement and shared wonderful stories. Mary Jane Snyder shared her friendship and home with me.
Over the years I have worked with many research assistants and collaborators on various aspects of this project. I often consulted with friends as I translated the interviews and documents for this book. I am grateful to Christine Latrouitte Armstrong, Aissata Barry, Fanta Diamanka, Yvonne-Marie Mokam, El Hadji M. Sarr, and Ibra Sene for answering my questions about the French and Wolof languages and improving my translations. My thanks to Leonie Boukham and Emma Vinou for their work transcribing interviews; to Hassane Ndiaye and Cheikh Diallo for helping me move easily around the city; and to Ousmane Gueye for his archival research about markets. Emily Domiano and Ra Jene Martin worked on this book s endnotes and bibliography while Gretchen Giltner cheerfully and reliably edited chapter drafts and checked many references.
This book has benefited enormously from colleagues and friends who provided critical feedback on its conceptualization and chapter drafts. I hope they will find the echoes of our exchanges in this book. My sincere thanks go to Mary Jo Arnoldi, Allen Roberts and Polly Nooter Roberts, Leslie Rabine, Mamadou Diouf, Patrick McNaughton, Eileen Julien, Shannen Hill, Kim Miller, and Barbara Frank. I owe a very special thanks to Carol Magee, who read and commented on multiple drafts of every chapter, and to Mary Tuominen, who read several chapters and offered invaluable support during the writing process.
Colleagues working in Dakar on contemporary art and on urban life more broadly were great interlocutors and companions. Several insights and conceptualizations in this book emerged during conversations with them. Thank you to Fiona McLaughlin, Leo Villal n, Susan Kart, Wendy Wilson Fall, Dominique Malaquais, Kadiatou Diallo, Joseph Underwood, Karen Milbourne, Beth Buggenhagen, Maria Grosz-Ngate, Sarah Walsworth Diouf, Danielle Chekaraou, Till F rster, Fiona Siegenthaler, Fanta Diamanka, Ousmane Sene, Jenny Parker, Bamba Ndiaye, Liora Bigon, Kinsey Katchka, Ferdinand de Jong, Ellen Foley, Jacqueline Woodfork, Rebecca Fenton, and Marie-Laure Allain Bonilla. At Denison University, Christian Faur, Jacqueline Pelasky, Shannon Robinson, and Leslie Smith assisted with research, photographs, and technical issues. My gratitude also goes to the Millard Meiss Publication Fund of the College Art Association and to the Denison University Research Foundation for funding this book s color illustrations.
The research for this project was made possible by funding from the Fulbright-Hays Faculty Research Abroad Fellowship (2010), the R. C. Good Fellowship (20