Darren Newbury is Professor of Photographic History and Director of Postgraduate Studies (Arts and Humanities) at the University of Brighton. He is the author of Defiant Images: Photography and Apartheid South Africa (2009) and People Apart: 1950s Cape Town Revisited. Photographs by Bryan Heseltine (2013); and co-editor of The African Photographic Archive: Research and Curatorial Strategies (2015) with Christopher Morton, and a Special Issue of Visual Studies on ‘Photography and African Futures’ (2017) with Richard Vokes. He was editor of the international journal Visual Studies from 2003 to 2015, and has curated exhibitions at the Pitt Rivers Museum, University of Oxford, and District Six Museum, Cape Town.Lorena Rizzo is an associate researcher and lecturer in the Center for African Studies at the University of Basel (Switzerland). She has widely published on Namibian and South African visual and gender history. She is currently finalizing a book entitled Shades of Empire: Photography and History in Colonial Southern Africa (forthcoming Routledge). Kylie Thomas is a Marie Skłodowska-Curie Research Fellow at the Netherlands Institute for War, Holocaust and Genocide Studies in Amsterdam. She is the author of Impossible Mourning: HIV/AIDS and Visuality after Apartheid (Bucknell University Press & Wits University Press, 2014) and co-editor, with Louise Green, of Photography in and out of Africa: Iterations with Difference (Routledge, 2016).

‘From the early committed generation of African female studio and press photographers to the contemporary generation of artists and curators, this long-overdue book is a stimulating invitation to further investigation into the rich and unique contributions of African women to the field of photography, and brings new perspectives to research.’Érika Nimis, Department of Art History, Université du Québec à Montréal‘This book opens an unprecedented aperture on the diverse photographic practices of women in Africa – as authors, curators, custodians. The scintillating essays urge us to rethink the ways in which history, photography, and gender have inflected each other in the past, and how they might yield new possibilities for envisioning the future.’Jean Comaroff, Department of African and African American Studies, Harvard University

• Preface ; 1. New lines of sight: Perspectives on women and photography in Africa ; PART I: WRITING WOMEN INTO PHOTOGRAPHIC HISTORIES ; 2. A working woman’s eye: Anne Fischer and the South African photography of Weimar women in exile ; 3. Curating images, performing narratives: Women and photography in the Usakos old location ; 4. Women photographers in Angola and Mozambique (1909-1950): A history of an absence ; PART II: PHOTOGRAPHIC DIALOGUES WITH THE PAST ; 5. ‘Don’t touch’: Inheriting the Deo Gratias Photo Studio in Ghana – an interview with Kate Tamakloe-Vanderpuije; 6. Photographic representations of Tunisian women from the late 1940s to the present: A transgenerational palimpsest ; 7. Some collaborative readings of personal and cultural photographs from Southern Africa in the 1980s ; PART III: GENDER AND SEXUALITY IN PHOTOGRAPHIC PRACTICE ; 8. ‘We own the night’: Youth and self-fashioning in Fatoumata Diabaté’s Sutigi ; 9. Photographs and memory making: Curating Kewpie: Daughter of District Six ; 10. Beyond the frame: Zanele’s Muholi’s queer visual activism ; PART IV: FEMINIST AND POSTCOLONIAL PRACTICES ; 11. Affective archives: Re-animating family photographs in the works of Lebohang Kganye and Thenjiwe Niki Nkosi ; 12. Visual currencies: Performative photography in South African contemporary art ; 13. Héla Ammar’s Tarz: An affective and imaginative memory upon dispossession

Darren Newbury is Professor of Photographic History and Director of Postgraduate Studies (Arts and Humanities) at the University of Brighton. He is the author of Defiant Images: Photography and Apartheid South Africa (2009) and People Apart: 1950s Cape Town Revisited. Photographs by Bryan Heseltine (2013); and co-editor of The African Photographic Archive: Research and Curatorial Strategies (2015) with Christopher Morton, and a Special Issue of Visual Studies on ‘Photography and African Futures’ (2017) with Richard Vokes. He was editor of the international journal Visual Studies from 2003 to 2015, and has curated exhibitions at the Pitt Rivers Museum, University of Oxford, and District Six Museum, Cape Town.Lorena Rizzo is an associate researcher and lecturer in the Center for African Studies at the University of Basel (Switzerland). She has widely published on Namibian and South African visual and gender history. She is currently finalizing a book entitled Shades of Empire: Photography and History in Colonial Southern Africa (forthcoming Routledge). Kylie Thomas is a Marie Skłodowska-Curie Research Fellow at the Netherlands Institute for War, Holocaust and Genocide Studies in Amsterdam. She is the author of Impossible Mourning: HIV/AIDS and Visuality after Apartheid (Bucknell University Press & Wits University Press, 2014) and co-editor, with Louise Green, of Photography in and out of Africa: Iterations with Difference (Routledge, 2016).

‘From the early committed generation of African female studio and press photographers to the contemporary generation of artists and curators, this long-overdue book is a stimulating invitation to further investigation into the rich and unique contributions of African women to the field of photography, and brings new perspectives to research.’Érika Nimis, Department of Art History, Université du Québec à Montréal‘This book opens an unprecedented aperture on the diverse photographic practices of women in Africa – as authors, curators, custodians. The scintillating essays urge us to rethink the ways in which history, photography, and gender have inflected each other in the past, and how they might yield new possibilities for envisioning the future.’Jean Comaroff, Department of African and African American Studies, Harvard University

• Preface ; 1. New lines of sight: Perspectives on women and photography in Africa ; PART I: WRITING WOMEN INTO PHOTOGRAPHIC HISTORIES ; 2. A working woman’s eye: Anne Fischer and the South African photography of Weimar women in exile ; 3. Curating images, performing narratives: Women and photography in the Usakos old location ; 4. Women photographers in Angola and Mozambique (1909-1950): A history of an absence ; PART II: PHOTOGRAPHIC DIALOGUES WITH THE PAST ; 5. ‘Don’t touch’: Inheriting the Deo Gratias Photo Studio in Ghana – an interview with Kate Tamakloe-Vanderpuije; 6. Photographic representations of Tunisian women from the late 1940s to the present: A transgenerational palimpsest ; 7. Some collaborative readings of personal and cultural photographs from Southern Africa in the 1980s ; PART III: GENDER AND SEXUALITY IN PHOTOGRAPHIC PRACTICE ; 8. ‘We own the night’: Youth and self-fashioning in Fatoumata Diabaté’s Sutigi ; 9. Photographs and memory making: Curating Kewpie: Daughter of District Six ; 10. Beyond the frame: Zanele’s Muholi’s queer visual activism ; PART IV: FEMINIST AND POSTCOLONIAL PRACTICES ; 11. Affective archives: Re-animating family photographs in the works of Lebohang Kganye and Thenjiwe Niki Nkosi ; 12. Visual currencies: Performative photography in South African contemporary art ; 13. Héla Ammar’s Tarz: An affective and imaginative memory upon dispossession