Gridwork

Notes

• See the coverage of individual photographers in volumes such as In/sight: African Photographers, 1940 to the Present (New York: Guggenheim Museum Publications, 1998); Anthology of African and Indian Ocean Photography (Paris: Revue Noir, 1999).
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• For coverage of European photographic depictions of African colonial life, see Nicolas Monti, Africa Then (New York: Knopf, 1987).
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• See Jean-Loupe Pivin, “The Icon and the Totem,” in Anthology of African and Indian Ocean Photography (Paris: Revue Noir, 1998), 25–31.
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• Following common usage, “the Gambia” refers to “the Gambia Colony.” After Independence (1965), “the Gambia” became “The Gambia,” as in “The Republic of The Gambia.”
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• For details on the archive and the recent status of the collection, see Liam Buckley, “Objects of Love and Decay: Colonial Photographs in a Postcolonial Archive,” Cultural Anthropology 20(2005): 249–270. For an annotated catalog of the collection, see Liam Buckley, “Studio Photography and the Aesthetics of Postcolonialism in The Gambia, West Africa” (PhD diss., University of Virginia, 2003), 230–262.
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• Colonial Film Unit CSO2/3536 Colonial Secretary Correspondence, 24 November 1947.
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• Pierre Bourdieu, Photography: A Middle-Brow Art (Stanford: Stanford University Press, 1990), 76.
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• See Kris Hardin, The Aesthetics of Action: Continuity and Change in a West African Town (Washington and London: Smithsonian Institution Press, 1993), 150–161.
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• Liam Buckley, “Portraiture and the Aesthetics of Citizenship,” in Sensible Objects: Colonialism, Museums and Material Culture, eds. Elizabeth Edwards, Chris Gosden, and Ruth B. Phillips (New York: Berg Press, 2006), 61–85.
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• Christraud Geary, “Different Visions? Postcards from Africa by European and African Photographers and Sponsors,” in Delivering Views: Distant Cultures in Early Postcards, eds. Christraud M. Geary and Virginia-Lee Webb (Washington, D.C.: Smithsonian Institution Press, 1998), 166; Vera Viditz-Ward, “Studio Photography in Freetown,” in Anthology of African and Indian Ocean Photography (Paris: Revue Noir, 1999), 37.
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• Chiefs' Conference in the Protectorate–-Proposals for and General Arrangements. CSO2/2092, Colonial Secretary Correspondence, 1943, 75.
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• Objectives of HM's Government in relation to information work in the Colonies. Public Relations Policy 1943- CSO10/81, The Secretariat- Confidential Correspondence, 22 September 1947.
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• See Bathurst, Government Printers, First Conference of Protectorate Chiefs, 1944.
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• Nnamdi Elleh, “Architecture and Nationalism in Africa, 1945–1994,” in The Short Century: Independence and Liberation Movements in Africa, 1945–1994, ed. Okwui Enwezor (Munich: Prestel Books, 2001), 234.
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• Michel Foucault, Vol. 1 of The History of Sexuality (Harmondswoth, UK: Penguin, 1978), 93.
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• For a discussion of the image of the grid in recent critical theory, see Robert Payne, “Grids: On Being-as-Transmission and Normativity,” M/C Journal: A Journal of Media and Culture (2006) http://journal.media-culture.org.au/0603/06-payne.php. Last accessed 12 August 2007.
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• Frank Spencer, “Some Notes on the Attempt to Apply Photography to Anthropometry during the Second Half of the Nineteenth Century,” in Anthropology and Photography, 1860–1920, ed. Elizabeth Edwards (New Haven: Yale University Press, 1992), 99–107.
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• See James Ryan, Picturing Empire: Photography and the Visualization of the British Empire (Chicago; University of Chicago Press, 1998), 211–213; Elizabeth Edwards and Janice Hart, “Introduction: Photographs as Objects,” in Photographs Objects Histories: On the Materiality of Images, eds. Elizabeth Edwards and Janice Hart (London: Routledge, 2004), 10–11; Hudita Mustafa, “Portraits of Modernity: Fashioning Selves in Dakaois Popular Photography,” in Images and Empire: Visuality in Colonial and Postcolonial Africa, eds. Paul Landau and Deborah Kaspin (Berkeley: University of California Press, 2002).
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• See Edwards and Hart, Photographs Objects Histories; Elizabeth Edwards, Chris Gosden and Ruth Phillips, eds. Sensible Objects: Colonialism, Museums and Material Culture (New York: Berg Press, 2006).
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• See Edwards and Hart, Photographs Objects Histories.
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• 1 Glenn Willumson, “Making Meaning: Displaced Materiality in the Library and Art Museum” in Edwards and Hart, Photographs Objects Histories, 62; Buckley, “Objects of Love and Decay.”
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• Report on Working of Information Office. CSO2/1887, Colonial Secretary Correspondence, 1940.
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• The West African Photographic Service (WAPS) was based in Accra, Gold Coast, and sent photographers on assignment throughout “British West Africa” to record the war effort. WAPS supplied the imagery that was distributed around the “Empire” by the Ministry of Information.
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• Volume 8, 1944, Photograph U521–9, G6–6, Set 1(i), “Arrival of the Chiefs at Bathurst for the 2nd Chiefs Conference.”
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• Volume 8, 1944, Photograph U523–10, Set 2, “Gambia Chiefs visit Government Office in Bathurst.”
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• Volume 8, 1944, Photograph U523–7, Set 2, “Gambia Chiefs visit Government Office in Bathurst.”
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• E.P. Thompson, “Time, Work Discipline, and Industrial Capitalism,” Past and Present 38(1967), 56–97; Frederick Cooper, “Colonizing Time: Work Rhythms and Labor Conflict in Colonial Mombasa,” in Colonialism and Culture, ed. Nicholas B. Dirks (Ann Arbor: University of Michigan Press, 1992).
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• These photographic series appear in the following respective albums: Volume 14, 1951, series 1; Volume 10, 1946, series 9; Volume 11, 1947, series 19; Volume 11, 1947, series 13; Volume 12, 1946–1947, series 12.
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• Cooper, “Colonizing Time,” 228.
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• See Ann Parker and Avon Neal, Hajj Paintings: Folk Art of the Great Pilgrimage (I B Tauris & Co Ltd, 1999).
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• Okwui Enwezor and Octavio Zaya, “Colonial Imagery, Tropes of Disruption: History, Culture, and Representation in the Works of African Photographers,” in In/sight; Geary, “Different Visions?”; Elikia M'Bokol, “Shifting Africa,” in Anthology of African and Indian Ocean Photography, 10–15.
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• Olu Oguibe, “Photography and the Substance of the Image,” in In/sight; Liam Buckley, “Self and Accessory in Gambian Studio Photography,” Visual Anthropology Review 16(2001), 81–87.
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• Christopher Pinney, “Notes from the Surface of the Image: Photography, Postcolonialism, and Vernacular Modernism,” in Photography's Other Histories, eds. Christopher Pinney and Nicolas Peterson (Durham and London: Duke University Press, 2003), 202–220.
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• Pinney, “Notes from the Surface of the Image,” 216–219.
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• Alan Sekula, “The Body and the Archive,” in The Contest of Meaning: Critical Histories of Photography ed. Richard Bolton (Cambridge, Mass.: MIT Press, 1989), 374–375.
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• Buckley, “Self and Accessory,” 88; Buckley, “Portraiture and the Aesthetics of Citizenship.”
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• Bourdieu, Photography, 35; Michel Foucault, “Panopticism,” in Discipline and Punish: The Birth of the Prison (London: Allen Tate, 1977), 195–228; Michel Foucault “The Eye of Power,” in Foucault Live: Collected Interviews, 1961–1984 (New York: Semiotext(e), 1996), 226–240.
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