Notes
- Warburg's work has always enjoyed an ambivalent status. The very reasons invoked to justify his neglect have been used to explain his importance. For two recent examples, see David Freedberg, “Warburg's Mask: A Study in Idolatry,” in Anthropologies of Art, ed. Mariet Westermann (Williamstown: Clark Art Institute, 2005); and Hans Belting, “Image, Medium, Body: A New Approach to Iconology,” in Critical Inquiry 31(Winter 2005): 302–319.
- For a good discussion of these terms in the context of political iconography, see Michael Diers, Schlagbilder. Zur Politischen Ikonographie der Gegenwart (Frankfurt: Fischer, 1997).
- Aby Warburg, Der Bilderatlas Mnemosyne, ed. M. Warnke (Berlin: Akademie Verlag, 2000).
- See Diers, Schlagbilder.
- On Warburg's hidden iconoclasm, see Ulrich Raulff, Wilde Energien. Vier Versuche zu Aby Warburg (Göttingen: Wallstein Verlag, 2003); and Georges Didi-Huberman, L'image survivante. Histoire de l'art et temps des fantomes selon Aby Warburg. (Paris: Editions de minuit, 2002).
- For a discussion of this painting, see Ulli Beier, “Naïve Art from Nigeria,” Black Orpheus 19(1966): 31–39; and Augustin Okoye, Middle Art (Bayreuth: Iwalewa Haus Publications, 1999).
- See Ulli Beier, “Public Opinion on Lovers,” Black Orpheus 14(1964): 4–16. Beier's essay is reprinted in this issue of Critical Interventions.
- Jürgen Habermas, The Structural Transformation of the Public Sphere (Cambridge, Mass.: MIT Press, 1989). First published in German in 1962.
- Hans Blumenberg, “Light as a Metaphor for Truth,” in Modernity and the Hegemony of Vision, ed. David Michael Levin (Berkeley: University of California Press, 1993); and Wolfgang Schivelbusch, Disenchanted Night: The Industrialization of Light in the 19th Century, trans. Angela Davies (Berkeley: University of California Press, 1995), 118.
- Similarly, in Akan the word for photography is anibuye, literally meaning “the opening of the eyes.” See Tobias Wendl, “Entangled Traditions: Photography and the History of Media in Southern Ghana,” RES 39(2001): 78–101.
- J.D.Y. Peel, “Olaju: A Yoruba Concept of Development,” Journal of Development Studies 14, 2 (1978).
- Ibid.: 154–155.
- Olu Oguibe, The Culture Game (Minneapolis: University of Minnesota Press, 2004), 76.
- Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism, Rev. ed. (London: Verso, 1991).
- Except for a small footnote on the “museumizing of the Borobodur” (179, n. 29), photography is curiously absent from Anderson's analysis.
- See the chapter, “The Imperial Imaginary,” in Ella Shohat and Robert Stam, Unthinking Eurocentrism (New York: Routledge, 1994).
- Anderson, Imagined Communities, 6.
- See Andrew Benjamin's illuminating treatise on “sites of style,” in Style and Time: Essays on the Politics of Appearance (Evanston: Northwestern University Press, 2006). I would like to acknowledge my gratitude to Birgit Meyer for having drawn my attention to this study.
- Serge Maffesoli, The Contemplation of the World: Figures of Community Style (Minneapolis: University of Minnesota Press, 1996).