Seydou KeïtaBack to Seydou Keïta work Version francaise
Born c. 1921, Bamako, Mali
Died in 2001, Paris, France
Seydou Keïta is unanimously regarded today as the most famous African studio photographer of the 20th century. Discovered in the West in the early 1990s, his work, composed essentially of black and white portraits made in his studio in Bamako from 1948 to 1962, has since been exhibited in major museums and written about in numerous publications. But before his talent was recognized worldwide, Keïta was initially a “studiotiste” who was very famous in Mali and throughout West Africa, thanks to his understanding of the pose, the quality of his prints and the staging of his portraits, in which the accessories bear witness to the changes in urban Malian society during the process of decolonization with independence on the horizon.
Born around 1921 in Bamako, at the time the capital of French Sudan, one of the French colonies in West Africa, Keïta was the eldest of five children. His ancestors were from the Soundyata Keïta clan, founder of the Mali Empire in the thirteenth century, and the Touré family, one of the three founding families of the city of Bamako.
Keïta did not attend school, but became at the age of seven an apprentice carpenter with his father and uncle, who were both educated.
In 1935, his uncle Tiémoko, who was very fond of Keïta, came back from a trip to Senegal with a Kodak Brownie, a 6x9 “box” camera with film that took 8 pictures. Keïta was immediately fascinated by the device, and convinced his uncle to give it to him. He began photographing his family and the people around him, particularly the apprentices in the carpentry shop. “I was 14, these were my first pictures and it was the most important moment of my life.” His first shots are often clumsy, and even blurred. “When they were developed, the subjects came out as skeletons.” But Keïta was passionate and he persevered. He had his films developed at the Sudanese Photo Hall, the first camera equipment shop in Bamako, opened by a Frenchman, Pierre Garnier, who gave him a few tips on technique.
From 1939, though entirely self-taught, Keïta began working as a professional photographer, on the street or in the homes of clients, while continuing to hold his job as a carpenter. He managed to make a good living with photography, which enabled to provide his family with regular income. Self-taught, therefore, though Keïta did acknowledge having received advice and training from Mountaga Dembele, aka Kouyaté, when it came to developing. This teacher and photographer, a Bamako personality, who joined the colonial infantry and was sent to the front, returned to Bamako to open a studio around 1945, where he would train several indigenous photographers: “(...) when Mountaga saw that I was competent, he left me his lab and every night, I was going to his place in Medina to make his prints in addition to mine. It was obligatory. At that time, I had already taken a lot of photos and I was starting to be known.” Keïta then acquired a camera with a folding view camera , which was easier to handle.
But apart from this technical training, Keïta never had a mentor in photography. He had never seen books about photography or even painting, and the only publication he consulted from time to time was the catalog of the French company Manufrance, in those days illustrated with drawings. Likewise, in the latter part of his life in the late 1990s, when he traveled to numerous exhibitions of his work in Europe and the US, he met leading contemporary photographers, who would occasionally give him their books of photographs. André Magnin found these later in Keïta’s house, their packaging intact. Keïta had never opened them.
Seeing that Keïta was beginning to assert himself as a photographer, his father offered him part of the family property, located in Bamako-Coura, new and lively neighborhood in the western part of the capital. This is where Keïta opened his studio in 1948, near the train station and many other places that attracted crowds, such as the zoo, the Rose market, the Sudan Club, Republic Square and the Cathedral. His former apprentice carpenters were the "beaters" around the station, showing travelers Seydou’s printed “cards”. Also in 1948, Keïta married for the first time. He would go on to have a total of six wives and twenty-one children.
For nearly 15 years, Keïta ran the most famous photo studio in Bamako, thanks to his talent, his mastery of poses, the quality of his prints and a certain business acumen. He sometimes received more than 40 customers a day, more or less well-to-do and sometimes from other West African countries, particularly Senegal. Notables, colonial administration employees, merchants, military officers, teachers, housewives, mothers and youths posed in Western outfits or traditional robes, wearing the various clothes and accessories Keïta made available to them: suits, ties , hats, glasses, watches, radios, Vespas, etc. Women mainly chose traditional costumes that Keïta carefully adjusted, adding pieces of jewelry. Some ladies would bring several ensembles for the same photo shoot. Keïta also used various fabrics for backgrounds, starting with his own bedspread; since he would change it every two to three years, this later enabled him to give his photos an approximate date. And in many of his photographs, often the ones that are the most popular, the play between the patterns of the dresses and the backgrounds creates very graphic compositions. Keïta always preferred natural light, and many of his shoots took place in the courtyard outside his studio. But he also used artificial light, often at night, with curtains as a plain background. From 1949 on, he did most of his portraits using a view camera in the 13x18 format, which he developed from contacts without an enlarger, and with only one shoot per customer. This format was very successful at the time, because it could easily be sent by mail. He filed the negatives carefully, in case customers came back for more prints, and cleaned them once a year. Some customers, however, chose to keep their negatives. During his rare moments of leisure, Keïta liked to go fishing and to the cinema. Keïta always said he lived very well from his photography. He bought himself a Peugeot 203 and a Simca Versailles, two luxury cars at the time in Bamako.
Mali gained its independence in 1960 and elected President Modibo Keïta to head a socialist government. The president was related to the Keïta family, and had come several times to the photographer’s studio to have his portrait done. In 1963, the director of the security services recruited Keïta as official photographer. Keïta had little choice but to accept. Soon after, Keïta stopped working in his studio entirely and spent the next 14 years as a government photographer. He covered formal events, visits by heads of state, etc. while working for the security services. The archives of this period are not accessible, and may have been destroyed.
In 1977, Seydou Keïta retired. He devoted his time to another passion, mechanics: he repaired moped engines and photographic equipment.
We have no further information about Keïta’s life until he was discovered by various Westerners in the early 1990s.
In May 1991, the exhibition “Africa Explores: Twentieth Century African Arts” opened at the Center for African Arts in New York. In this exhibition, which mixed traditional, folk and contemporary African art, the art historian Susan Vogel, curator of the exhibition, presented some contact prints made from negatives she’d brought back from her travels in West Africa in the 1970s. These images included seven photographs by Seydou Keïta, credited to “Anonymous photographer, Bamako”. Jean Pigozzi – collector of contemporary African art, and photographer – visited the exhibition and was struck by the beauty of these photos. He asked André Magnin, the curator of his collection, to track down this photographer. Magnin went to Bamako few months later and met Keïta, who showed him his negatives, mostly well preserved. This launched a long collaboration. Magnin selected 921 negatives, brought them to France and started making prints in 50x60 format. He then showed them to Keïta in Bamako to get his approval and signature. Keïta was thrilled to discover the quality of his photos in large formats, which he had not had the means to produce in his studio.
Sometime before that, during one of her many trips to Africa, the photographer Françoise Huguier also met Keïta in Bamako and discovered his work. With photographer Bernard Descamps, she began to develop a project to promote African photography. Their efforts eventually led in 1994 to the first Rencontres de la Photographie de Bamako, the now famous Bamako photo festival, at which was presented the work of Seydou Keïta and Malick Sidibé, among others. Furthering this burgeoning interest in African photography, the Revue Noire, publication dedicated to contemporary African creation, was founded in 1991 in Paris.
In 1994 André Magnin organized the first solo exhibition of Seydou Keïta’s modern 50x60 prints at the Cartier Foundation in Paris, for which the photographer was present. The exhibition met with major success and travelled around the world, to the United States, Great Britain, Finland, Brazil, etc. This exhibition marked the beginning of the global "discovery" of Keïta’s work, and his entry into the history of photography as one of the greatest portraitists of his time. In 1996, André Magnin did some experimental prints in Paris in 120x180 format. Keïta was amazed to “rediscover” his photos: "You can’t imagine what it was like for me the first time I saw prints of my negatives in large-scale, no spots, clean and perfect. I knew then that my work was really, really good. The people in my pictures look so alive, almost as if they were standing in front of me.”
In 1997, thanks to the great photography publisher Walter Keller, Magnin published the first monograph dedicated to Keïta’s work with Scalo editions in Zurich; it is today the definitive work. The same year, a number of galleries in Europe were beginning to show and sell the work of Keïta: Agnes B’s Galerie du Jour, Paris; 51 Gallery, Antwerp; DV-Galeria, San Sebastian; Hackelbury Fine Art in London; Brancolini Grimaldi in Italy. A major exhibition was organized at the Gagosian Gallery in NY, with many large format prints. Magnin recalled: “Seydou Keïta made the trip to New York. We were in the heart of Manhattan, there was a big crowd, waiting to get their book signed. The Malian community living in New York came to pay homage, but so did the intellectual Manthia Diawara, accompanied by Wole Soyinka, Nobel Prize for Literature, the Malian singer Rokia Traoré, the founder of the Real World Music label Peter Gabriel, founder of Atlantic Records Ahmet Ertegun, Walter Keller, of course, the American photographer Roy DeCarava, Nan Goldin, David Hammons, Alfredo Jaar, and naturally Jean Pigozzi. The Maysles brothers, Albert and David, followed Seydou, filming everything, all the way to a big photo store where he was presented with a Hasselblad. The evening of our departure, Keïta told me, very moved, that he could not even have dreamed such unforgettable moments….”
In 1998, the magazine Harper’s Bazaar organized a photo shoot in Bamako with Keïta. In an open-air studio, with colorful African fabrics draped in the background, the photographer carefully adjusted the poses of his models and their dresses, just as he had done in his studio 40 years earlier.
Keïta died three years later in Paris.
A biography by Elisabeth Whitelaw, CAAC – The Pigozzi Collection, Paris 2015
1. Magnin, André, Youssouf Tata, Seydou Keïta. Zurich. Scalo, 1997
2. Lamunière, Michelle, (ed.) You Look Beautiful Like That: The Portrait Photographs of Seydou Keïta and Malick Sidibé. Cambridge, MA, Harvard University Art Museums, 2001.
Seydou Keïta - Instituto Moreira Salles - Sao Paulo - Rio, Brazil (04/14/18 to 01/27/19)
Seydou Keïta Bamako portraits - FOAM – Amsterdam, The Netherlands (04/06/18 to 06/20/18)
Seydou Keïta, Galerie Nathalie Obadia, Paris, France (11/06/17 to 12/22/17)
Seydou Keïta, Galerie Nathalie Obadia, Brussels, Belgium (11/17/16 to 01/21/17)
Seydou Keïta, Galeries Nationales du Grand Palais, Paris, France, (03/31/16 to 07/11/16)
Seydou Keïta : From Jean Pigozzi's Collection, Moscow House of Photography, Moscow, Russia
Seydou Keïta , Beautiful Like That, Jack Bell Gallery, London
Seydou Keïta, Tate Modern, Level 5, London, UK (April 2008 - April 2009)
Seydou Keïta: Portraits from Mali. Museum of Contemporary Art Cleveland, Cleveland.
Seydou Keïta: Portraits. John Berggruen Gallery, San Francisco, United States
Seydou Keïta: The Image King of Africa. Sean Kelly Gallery, NewYork. United States
Seydou Keïta. Douglas Hyde Gallery, Trinity College, Dublin, Ireland
Seydou Keïta. Galleria Marabini, Bologne, Italy
Mali Portraits by Seydou Keïta
The William Bennington Museum of Art, The University of Connecticut, Storrs, Connecticut, United States
Seydou Keïta: Portraits. Grany Selwyn Fine Art, Beverly Hills, CA, United States
Galleria Nazionale d’Arte Moderna, Rome, Italy.
You Look Beautiful Like That, Fogg Art Museum, Cambridge, United States
Düsseldorf Cultural Forum, Germany.
You Look Beautiful Like That
Fogg Art Museum, Cambridge, U.S.A.
UCLA HAMMER Museum, Los Angeles, United States.
Seydou Keïta. Sean Kelly Gallery, NewYork. United States
Seydou Keïta: Portraits from Mali, Presentation House Gallery. North Vancouver, British Columbia.
PhotoEspana 99, Madrid, Spain.
Seydou Keïta , Saint Louis Museum of Art, Saint Louis, Missouri, United States
Seydou Keïta, Gagosian Gallery, New York, United States
Seydou Keïta, Museum of Modern Art, San Francisco, United States.
Seydou Keïta. Galerie DV, San Sebastián; Galerie DV, Madrid, Spain
Seydou Keïta. Pinacoteca do Estado de São Paulo, São Paulo, Brazil
Seydou Keïta, Minneapolis Institut of Art Minneapolis, United States.
National Museum for African Art, Smithsonian Institute, Washington D.C, United States.
Seydou Keïta, Fruit Market Gallery, Edinburgh, UK.
Self Evident, The Ikon Gallery, Birmingham -UK.
Festival « Jazz et musiques métisses ». Musée d’Angoulême, Angoulême, France
Seydou Keïta. HelsinginTaidehalli Helsingfors Konsthall, Helsinki, France
Seydou Keïta. Espace Fernand Léger, Montreuil, France
Seydou Keïta. Centre National de la Photographie, Paris, France
Black Movie. Musée d’Art et d’Histoire, La Chaux-de-Fonds (Suisse) ; Saint- Gervais, Geneva.
Seydou Keïta, Ginza art's space – Shiseido, Tokyo, Japan.
Seydou Keïta, Portraits de 1949 à 1964. Fondation Cartier pour l’Art Contemporain. Paris, France.
Photo London, UK
Galerie Nathalie Obadia – 16-19/05/2019
I-54 Contemporary African Art Fair, NY - Danziger Gallery – 21-24/02/2019
I-54 Contemporary African Art Fair, Marrakech - Galerie Nathalie Obadia – 3-5/05/2019
On aime l'art...!! agnès b., Grand Arles Express, Collection Lambert en Avignon, France
(07/06/17 to 11/05/17)
I love Africa, Festival Photo La Gacilly, Morbihan, Bretagne, France (06/03/17 to 09/30/17)
Art/Afrique, le nouvel atelier. Les Initiés, un choix d’œuvres (1989 – 2009) dans la collection d’art africain contemporain de Jean Pigozzi. Fondation Louis Vuitton, Paris, France (04/26/17 to 09/04/17)
Autophoto: de 1900 à nos jours, Fondation Cartier Paris, France (04/20/17 to 09/24/17)
Trésors de l’Islam en Afrique, De Tombouctou à Zanzibar, Institut du Monde Arabe, Paris France (04/13/17 to 07/30/17)
African Portraits: Omar Victor Diop, Seydou Keïta, Aida Muluneh, Malick Sidibé & J.D. 'Okhaï Ojeikere. HackelBury Gallery, London, UK (10/06/16 to 11/19/16)
Making Africa - A Continent of Contemporary Design, CCCB, Barcelona, Spain
In and Out of the Studio: Photographic Portraits from West Africa, Metropolitan Museum of Art, New York , United States
Après Eden- La collection Walther, La Maison Rouge, Paris, France. (10/17 /2017 – 01/17/2016)
Look at Me!, Tropenmuseum, Amsterdam
Luminós/C/ity.Ordinary Joy: From the Pigozzi Contemporary African Art Collection, Ethelbert Cooper Gallery of African & African American Art, Harvard University, Cambridge, MA, United States
WHITE : Photography, Art, Design, Fashion, Film, Nederlands Fotomuseum, Rotterdam
Malian Portrait Photography. Samuel Dorsky Museum of Art, Alice and Horace Chandler Gallery and North Gallery, New Paltz, NY, United States
Keïta, Ojeikere, Sidibé, 11 Columbia, en collaboration avec Magnin-A. Monaco
Bamako Photo in Paris, Pavillon carré de Baudouin, Paris, France
Focus sur la collection. Musée de la Fondation Zinsou, Ouidah. Benin
Six Yards Guaranteed Dutch Design, Museum voor Moderne Kunst Arnhem, The Netherlands
Who, What, Wear. Selections from the Permanent Collection - Studio Museum Harlem - New York, United States
Africa/Africa, Centre d’art contemporain, Meymac, France
Artur Walther Collection, Paris Photo, Galeries Nationales du Grand Palais, Paris
August Sander and Seydou Keïta , Walther Collection Project Space, New York, United States
Contemporary African Photography from the Walther Collection
Events of the Self: Portraiture and Social Identity, Neu-Ulm, Germany
African Stories, Marrakech Art Fair, Marrakech, Morocco
África. Objetos y Sujetos, El Centro Cultural Cajastur Palacio Revillagigedo, Gijon, Spain
Africa Rising, 1 rue du Pont Neuf Louis Vuitton - Edun, Paris, France
Why Africa? Pinacoteca Giovanni e Marella Agnelli, Turin, Italy
100% Africa, Guggenheim Museum, Bilbao, Spain (10/12/2006- 02/18/2007)
Vive l’Afrique, Galerie du Jour – Agnès b. Tokyo – Japan (05/29/2006 – 07/31/2006)
About Africa, Part One, Fifty One Fine Art Photography, Antwerp, Belgium
Arts of Africa, The Contemporary Collection of Jean Pigozzi, Grimaldi Forum, Monaco, France
African Art Now : Masterpieces from the Jean Pigozzi Collection, Museum of Fine Art Houston,
Houston, United States
Smithsonian Institution, National Museum of African Art, Washington DC, United States
A Hundred Years of Children, (travelling exhibition)
• The Bunkamura Museum of Art, Tokyo – Japan
• Granship, Shizuoka – Japan
• The Niigata Bandaijima Art Museum, Niigata - Japan
Collection Remixed. Bronx Museum of Arts, Bronx, NY, United States
Contact:9th Annual Toronto Photography Festival. Alliance Française, Toronto, Toronto, Canada
Corporate Culture. The Fleming Collection, London, UK
Go Johnny Go !, Kunsthallewien, Vienna, Austria
Fifty One celebrates four years, Fifty One Fine Art Photography, Antwerp – Belgium
Je m’installe aux abattoirs, La collection d’art contemporain d’agnès b., Les Abattoirs Toulouse, France
Joy of life – Two Photographers from Africa. Hara Museum of Contemporary Art, Tokyo, Japan
AIM 24: Portraits and Places. Bronx Museum of Art, Bronx, New York, United States
Image and Identity: Portraits by Philip Kwame Apagya, Samuel Fosso, Seydou Keïta and Malick Sidibé. The Sheldon Art Galleries, Saint Louis, Missouri. United States
Faces in the Crowd: Images of Modern Life from Manet to Today. Whitechapel Art Gallery, London. UK
Contemporary Photography from the Harn Museum Collection (Part II). Samuel P. Harn Museum of Art, Gainesville, Florida, United States
2003 - 2004 (travelling exhibition)
Village Global : Années 60
2nd October 2003 – 18th January 2004 : Musée des Beaux-Arts de Montréal, Montreal – Canada
19th February 2004 – 23rd May 2004 : Dallas Museum of Art, Dallas, United States
Les Ateliers des désirs. Centre culturel francais de Fribourg, Fribourg-en-Brisgau.
Patchworking. Produzentengalerie, Hambourg. Germany
Fables de l’identité: Œuvres de la collection NSM Vie / ABN AMRO. Centre national de la photographie, Paris
Portraits of Pride: Seydou Keïta, Malick Sidibé and Samuel Fosso. Moderna Museet c/o Enkehuset, Stockholm, Sweden. Norskt Fotomuseum, Oslo, Norway.
2002 - 2003 (travelling exhibition)
Alter Ego : Anthropologies involontaires.
20th June – 31 October 2002 : Mundaneum Museum, Mons, Belgium
17 January – 23rd March 2003 : Hotel de Sully, Paris, France
2001 - 2003
You look beautiful like that : The Portrait of Photographs of Seydou Keïta and Malick Sidibé
* Williams College Museum of Art, Williamstown
Massachusetts, MA, United States.
National Portrait Gallery, London, UK.
Norton Museum of Art, West Palm Beach, FL, United States.
UCLA Hammer Museum, University of California, Los Angeles, CA, United States.
Fogg Art Museum, Harvard University Art Museums, Cambridge, MA, United States.
Face Time. Atlanta Contemporary Art Center, Atlanta. United States
Childhood – Collection of the National Fund of Modern Art, Paris. Maison moscovite de la photographie, Moscow, Russia.
The Short Century Independence and Liberation Movements in Africa, 1945-1994. Museum of Contemporary Art, Chicago (2001) ; House of World Cultures, Martin- Gropius-Bau, Berlin (2001); Museum Villa Stuck, Munich, (2002), MoMA P.S.1, New York (2002)
Flash Afrique: Fotografie aus Westafrika. Kunsthalle Wien, Vienna, Austria.
XVI International Video and Multimedia Arts Festival. Musée d’Art moderne de la Ville de Paris, Paris, France.
I ka nyì tan – Seydou Keïta e Malick Sidibé fotografi a Bamako, Museo Hendrik Christian Andersen, Rome, Italy (02/26 – 06/17, 2001)
Africa: Past-Present: Malick Sidibé, Seydou Keïta, P. K. Apagya, Depara, CA. Azaglo and Ojeikere. Fifty One Fine Art Photography, Antwerp.
Voilà. Le Monde dans la tête. Paris Museum of Modern Art. Paris, France.
The Museum of Contemporary Photography, Chicago, United States.
L’Afrique indépendante. Partobject Gallery, Carrboro, North Carolina. United States.
Seydou Keïta & Malick Sidibé. Galerie du Jour agnès b., Paris, France
PHotoEspaña 99. Madrid, Spain
Kunst-Welten im Dialog von Gauguin zur Globalen Gegenwart. Museum Ludwig Köln, Cologne, Germany.
Roteiros, Roteiros, Roteiros, Roteiros, Roteiros. XXIV Bienal de São Paolo, São Paolo, Brazil.
Moscou 2nd Biennal for Photography, Moscow, Russia.
Les cinquantes ans de Tati, Musée des Arts Décoratifs, Paris, France.
1997 – 1998
“Images Sensibles” | Secours Populaire à la Galerie Photo de la FNAC, Paris, France
Trade Routes: History and Geography. 2nd Johannesburg Biennale, Johannesburg, South Africa.
Seydou Keita. Festival Plein Sud de Cozes (Charente-Maritime); Institut français de Mexico, Mexico.
Triangle de Rennes, Rennes, France.
“Permanent Collection since 1997”. San Francisco Museum of Modern Art, San Francisco, California, United States
“Seydou Keïta” | Galerie DV / ARCO, Madrid, Spain
“Retrats de l’Anima. Fotografia Africana”, Fundacio « la Caixa »
In/Sight: African Photographers, 1940 to the Present. Solomon R. Guggenheim Museum, NewYork.
African Photographers, Guggenheim Museum. New York, United States.
“Fotofest” | Maison de la Culture de Frontenac, Montréal, Canada
“Permanent Collection since 1996” | Minneapolis Institut of Art, Minnesota, United States
“Africaines” | 1er Festival de la photographie des 3 continents, Nantes, France
Big City Artists from Africa. Serpentine Gallery, Londres. UK
Seydou Keïta & Malik Sidibé. Fruitmarket Gallery, Edimbourg. UK
Counter Cultures: Photography and Image Formation in a Multicultural Society. The Netherlands Photography Institute, Rotterdam. The Netherlands.
Multiple Exposure: The Group Portrait in Photography. The Bruce Museum Greenwich (Connecticut) ; Bayly Art Museum, Charlottesville (Virginie) ; Oakville Galleries, Oakville (Ontario). United States.
Self Evident. Ikon Gallery, Birmingham. UK
Rimes et regards. Espace Alain Afflelou, Paris. France
“Festival « Jazz et Musiques Métisses »” | Musée d’Angoulême, Angoulême, France
Premières Rencontres Photographiques de Bamako - Bamako, Mali.
Troisièmes Rencontres photographiques de Normandie, Rouen, France.
Africa Explores: 20th Century African Art. Espace lyonnais d’art contemporain, Lyon, France.
“Images of Africa” | Festival, Copenhagen, Denmark
“Rencontres Internationales de la photographie – Seydou Keïta (projection)” | Théâtre Antique
Africa Explores: 20th Century African Art. The Center for African Art and the New Museum for Contemporary Art, NewYork, United States.
100 YEARS 100 ARTWORKS A History of Modern and Contemporary Art, Ágnes Berecz. Editions Prestel. p. 74-75
Comment regarder la photographie, Anne De Mondenard et Isabelle-Cécile Le Mée
Editions Hazan. pp 42, 62
1-54 New York
Art Africa Ltd. Fair Catalogue p.38
ART HISTORY Sixth Edition, Marilyn Stokstad, Michael W. Cothren
Pearson. p. 914
Les Initiés, un choix d’œuvres (1989 – 2009) dans la collection d’art africain contemporain de Jean Pigozzi. Editions Dilecta, Fondation Louis Vuitton, Paris, France. Catalogue d’exposition.
Autophoto: de 1900 à nos jours. Exhibition catalogue, Fondation Cartier pour l’Art Contemporain Paris - Editions Xavier Barral , Paris. Pp. 66, 67
Trésors de l’Islam en Afrique. De Tombouctou à Zanzibar. Exhibition catalogue. SilvanaEditoriale – Institut du Monde Arabe, Paris.
I love Africa, Festival Photo La Gacilly, exhibition catlaogue
Mia, Minneapolis Institute of Art, Laura Silver.
Collection Catalogue. p.340
Seydou Keïta, Exhibition catalogue, Réunion des musées nationaux – Grand Palais, Paris
Bloch, Judy, Stein Suzanne, Views on the Collection, exhibition catalogue, San Francisco Museum of Modern Art,
Blanco, José, A., Imaginez, Le Français Sans Frontières, Vista Higher Learning, Inc. p.171.
GODEAU, Vincent, La Photographie africaine contemporaine,
Après Eden, la collection Walther, Simon Njami, Arthur Walter, catalogue d’exposition, la maison rouge, Coédition Fage, Paris
Angier, Roswell, Train Your Gaze: A practical and theoretical introduction to portrait photography, Second Edition, Bloomsbury Publishing, p 155
Coté Paris, N°37, February-March, 2015, p. 38-40
Amelie Klein, Making Africa - A Continent of Contemporary Design, Vitra Design Museum catalogue, p. 136-137
Irwin, Kimberly, Surface Design for Fabric, Bloomsbury p. 69.
Kirkham, Pat and Weber Susan, History of Design: Decorative Arts and Material Culture, 1400-2000, New York: Bard Graduate Center, Yale University Press, 2014 p. 548.
Durden, Mark, Photography Today, London: Phaidon Press, Ltd., 2014, p. 89.
Thomas, Nicholas, Body Art,London : Thames & Hudson, Ltd., 2014, p. 135.
Bindman, David and Gates, Jr., Henry Louis, Dalton, Karen, The Image of the Black in Western Art - The Twentieth Century: The Rise of Black Artists, London : Belknap Harvard, 2014, p. 248.
Apostrophe, Français 5é, Hachette Livre International, p 26.
Mémoires Vives, 30 ans. Fondation Cartier pour l'art contemporain, Exhibition catalogue, Fondation Cartier.
Photography Today, Mark Durden, Phaidon Press, London
Art History in the Wake of the Global Turn, edited by Jill H. Casid and Aruna D'Souza, Sterling and Francine Clark Art Institute, Yale University Press, p.65.
The History of Photography: Volume 4, The Contemporary Era, Walter Guadagnini, Skira, Milan
Body Art, Nicholas Thomas, Thames & Hudson, London
How to Write about Contemporary Art, Gilda Williams, Thames & Hudson, London
Travel & See: Black Diaspora Art Practices since the 1980s, Kobena Mercer, Duke University Press
African Arts, Winter 2014, Volume 47, Number 4, p 37-39, 41
Century. 2. The Rise of Black Artists, Londres, Belknap Harvard, 2014.
Seydou Keïta, CISSE ,YoussoufTata, Photo Poche, Actes Sud
The African Diaspora: A history through Culture, Patrick Manning, Columbia Univesity Press.
Peffer, John and Cameron, Elisabeth L., Portraiture & Photograpy in Africa, John Peffer and Elisabeth L. Cameron, Indiana University Press.
Seydou Keïta, Photographs, Bamako, Mali 1948 – 1963, Edited by Steidldangin
Contemporary African Photography from the Walther Collection
Events of the Self: Portraiture and Social Identity
Edited by Okwui Enwezor
Exhibition catalogue. Published by Electa & Pinacoteca Giovanni e Marella Agnelli.
Exhibition catalogue. Published by TF Editores & FMGB Guggenheim Bilbao Museum.
WARREN, Lynne (dir.), Encyclopaedia of Twentieth Century Photography,
New York, Routledge, 2006.
Living with Art
Seventh Edition by Mark Getlein. Published by McGraw Hill.
Arts of Africa: The Contemporary Collection of Jean Pigozzi
Exhibition catalogue. Published by Skira Edition & Grimaldi Forum Monaco.
African Art Now: Masterpieces from the Jean Pigozzi Collection
Exhibition catalogue. Published by Merrell.
CAUJOLLE, Christian, «Le portrait (depuis les années 1960) », dans GOVIGNON, Brigitte (dir.), La Petite Encyclopédie de la photographie, Paris, Éditions de la Martinière, 2004, p. 154-155 et 244.
VINE, Richard, «Report from Mali: The Luminous Continent »,
Art in America, octobre 2004.
Go Johnny Go !
Exhibition catalogue published by Steidl, Kunsthallwien
Carnets de Voyage T2, By Titouan Lamazou. Paris, Gallimard .
Diakhate, Lydie, «The Last Interview: Seydou Keïta 1921-2001», Nka: Journal of Contemporary African Art, no 16-17, automne-hiver 2002
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MARIEN, Mary Warner (dir.),
Photography: A Cultural History, London, Laurence King Publishing Ltd., 2002.
"I ka nyi tan" , Seydou Keïta fotografi a Bamako. Castelvecchi Arte. Museo Hendrik Christian Andersen.
YOU LOOK BEAUTIFUL LIKE THAT, The portrait photographs of Seydou Keïta - Malick Sidibé.
Michelle Lamunière. Harvard University Art Museums, Cambridge. Yale University Press, New Haven and London. Text in English.
DAILEY, Meghan, « Mali High », Artforum, 40, no 1, september 2001.
FLASH AFRIQUE, Fotografie aus Westafrika, Kunsthalle Wien, Steidl. Bilingual text: German, English.
KASFIR, Sydney Littlefield, L’Art contemporain africain, Paris,Thames and Hudson, 2000.
50x50, Tati 50 years Exhibition Catalogue
STEIDL p.92-99 (8 pages, 13 pictures)
Monographic Book - 287 pages, 207 reproductions.
Published by SCALO, Edited by André Magnin. Book, French or English version.
The Parkett Serie with Contemporary Artists N°49 , Bamako : Full Dress Parade by Robert Storr p.24-34.
Bilingual texts: English, German.
MATADOR N°2, Portfolio, Spain.
RAVACHE, Martine, «Un photographe et son appareil: Seydou Keïta», Phototographe Magazine, no 78, juillet-août 1996.
In/Sight: African Photographers, 1940 to the Present, cat. exp. (NewYork, Solomon R. Guggenheim Museum, 1996), NewYork, Solomon R. Guggenheim Museum, 1996.
Self Evident. Seydou Keïta, The Ikon Gallery, Birmingham, UK.
Seydou Keïta, Photopoche, Ed. National Center of Photography, Paris.
« Une nouvelle photographie : Premières Rencontres photographiques de Bamako, Mali», Revue Noire, décembre 1994 – février 1995.
GIBBS, Michael, « Counter Cultures: Photography and Image Formation in a Multicultural Society:The Netherlands Photography Institute, Rotterdam, Pays-Bas», Afterimage, 23, no 4, janvier- février 1995.
Seydou Keïta - 1949 to 1962 Exhibition catalogue texts in French by André Magnin. Fondation Cartier pour l'Art Contemporain, Paris.
VOGEL, Susan, Africa Explores: Twentieth Century African Art, cat. exp. (New York, Museum for African Art), New York, Museum for African Art, 1991.
HUGUIER, Françoise, Sur les traces de l’Afrique fantôme, Paris, Maeght éditeur, 1990.
Public and Private collections:
The Walther Collection, Neu-Ulm
21C Museum Foundation, Louisville, KY Akron Art Museum, Akron, OH
Bronx Museum of Art, Bronx, NY Detroit Institute of Arts, Détroit, MI Fogg Art Museum, Harvard University Art Museums, Cambridge, MA
Harn Museum of Art, University
of Florida, Gainesville, FL
Los Angeles County Museum of Art, Los Angeles, CA
Metropolitan Museum of Art, Department of Arts of Africa/Oceania, NewYork, NY
Michael C. Carlos Museum,
Emory University, Atlanta, GA Museum of Modern Art, New York, NY Norton Family Collection,
Santa Monica, CA
Philadelphia Museum of Art, Philadelphie, PA
Princeton University Art Museum, Princeton, NJ
Saint Louis Museum of Art,Trinity College, Saint Louis, MO
University of Chicago, Chicago, IL
US Department of State Collection, Washington
William Benton Museum of Art, University of Connecticut, Storrs, CT
Fondation Cartier pour l’art contemporain, Paris
Collection agnès b., Paris
Fonds national d’art contemporain, Paris Musée d’Art moderne de la Ville
de Paris, Paris
Douglas Hyde Gallery, Dublin
Moderna Museet, Stockholm
Crédit SuisseTrust Collection
CAAC – The Pigozzi collection, Geneva