Acknowledgments
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ix 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 Touré Behan, Abdoulaye Ndoye, Ndary Lo, Cheikhou Ba, El Hadji Sy, Fodé Camara, Djibril André Diop, Pap Ba, Viyé Diba, Fatou Kandé Senghor, ACKNOWLEDGMENTS Acknowledgments x Soly Cissé, Serigne Mbaye Camara, Germaine Anta Gaye, Hassane Sar, JeanMarie 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 Kébé, Serigne Ndiaye, Moussa Tine, Sea Diallo, Moussa Mbaye, Mamadou Wade, Chalys Leye, Babacar Traoré, Mamady Seydi, Pascal Nampémanla Traoré, Bouna Medoune Seye, Ibou Diouf, Iba Ndiaye, Alpha Walid Diallo, Souleymane Keita, Papa Ibra Tall, Cherif Thiam, Seydou Barry, AmadouBa,AliouneBadiane,OusmaneFaye,AmadouSeck,DiattaSeck,Omar Katta Diallo, Modou Niang, Béatrice Soulé, 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 Cissé, Ousseynou Wade, Souleymane Bachir Diagne, Sylvain Sankalé, Victor-Emmanuel Cabrita, Baba Diop, Iba Ndiaye Djadji, Abdou Sylla, Remi Sagna, Ousmane Sow Hutchard, Elsa Despiney, N’Goné Fall, Dieumbe Dimé Fall, Djamilatou Bikami, Mansour Ciss, Ousmane Ndiaye Dago, Joëlle le Bussy, Aissa Dione, Amadou Yacine Thiam, Hervé Youmbi, Dominique Zinkpé, 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. Acknowledgments xi 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...



Subject Headings

  • 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.
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