Writing

Unfixed: Photography and Decolonial Imagination in West Africa. Durham, NC: Duke University Press, 2020. In Unfixed Jennifer Bajorek traces the relationship between photography and decolonial political imagination in Francophone west Africa in the years immediately leading up to and following independence from French colonial rule (1960). Focusing on images created by photographers based in Senegal … Continue reading Unfixed: Photography and Decolonial Imagination in West Africa

“Analog and Digital Nigeria: Inheriting Serial Cultures in the Work of Kelani Abass.” International Perspectives on Publishing Platforms: Technologies of Image-Object-Text. Ed. Meghan Forbes. London and New York: Routledge, 2019. 25-44.

“Fatimah Tuggar: Deep Blue Recodings.” Home’s Horizons (exhibition catalog). Ed. Amanda Gilvin. Munich and Wellesley, MA: Hirmer/The Davis Museum, 2019.

Collaboration with Erin Haney. During the 8th edition (2009) of the Rencontres de Bamako: Biennale africaine de la photographie, we interviewed photographers, curators, museum directors, biennial sponsors, and students and workers in local arts institutions to assess the biennial’s contribution to institutions for photography on the African continent. Our research was published in the form … Continue reading Rencontres de Bamako 2009 (8e édition)

“Beyond the ‘NGO Aesthetic’.” Social Text 127. Vol. 34, No. 2 (2016): 89-107.

“Appareils défectueux et images floues. Kodak, l’autre nom de la décolonisation en Afrique de l’Ouest? [Of broken cameras and blurred images (Or, is Kodak another name for decolonization in West Africa?)]” Trans. Jean-François Caro. Transbordeur 4 (2020): 144-155.

“Photography and the State.” Jennifer Bajorek interviewed by Simon Dawes. Theory, Culture & Society blog, January 12, 2011. Theory, Culture & Society. Co-editor, with Vikki Bell, of special sections on “Photography and the State/Recent Photography Theory” and “Global Public Life.” Annual Review Issue. Vol. 27, Nos. 7-8 (2010). “The State in Visual Matters.” Introduction to … Continue reading Photography and the State

Counterfeit Capital: Poetic Labor and Revolutionary Irony. Stanford: Stanford University Press, 2008. Counterfeit Capital reviewed by Steven Miller in SubStance

“Evocations: Photography and Public Practice.” Wide Angle: Photography and Public Practice. Ed. Terry Kurgan and Tracy Murinik. Goethe-Institut South Africa; Department of Art, University of the Witwatersrand; Market Photo Workshop; and The Hotel Yeoville Project. Johannesburg: Fourthwall Books, 2015. n.p.