#africanarthistory

[slowlyanimating]

Context

[cyberhustlin-blog]

Bamongo Mask 🚚🚚⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣ ⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣Order yours now!⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣ ⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣👇👇⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣ ⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣Link in bio!!⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣⁣ .⁣ ⁣.⁣ ⁣.⁣ ⁣.⁣ ⁣.⁣ ⁣#africanartists #africanart #africanartcollector #contemporaryafricanart #africanartist #africanarts #africanartwork #africanartistoftheyear #africanartgallery #africanartisans #africanartstories #africanartifacts #africanartistes #africanartistsfoundation #africanartesanato #africanartisteoftheyear #africanartsfestival #africanartfair #africanartcollectors #africanartefacts #africanartistry #africanartmuseum #africanartworks #africanartistfoundation #africanartiste #africanartsgallery #africanartpaintings #africanartcollectormagazine #africanarthistory #africanartistsassociation (at Plainfield, New Jersey) https://www.instagram.com/p/B4kx74BFx6x/?igshid=gsmy3502ygyq

[hanspoppe]

Been an incredible couple of weeks, not sure what changed in the universe for me, but it's amazing to see all my pieces find a home that is hyped to have the work :) Next one up for grabs... #monoprint. #HansPoppeArt #onlyprint #print #art #africanarthistory #Canadiansunsetswin #tanzanianart #instapicoftheday #Artastherapy #the6 #thesix #torontoartist #artshoutgallery #artist #IGMississauga #art_fido #art_sanity #igerstoronto #africanartcollector

[diannesmith]

#Repost @artnewsafrica ・・・ Repost from @jasnyt Terracotta head from Ife, ca. 1200. The German explorer Frobenius refused to believe that these naturalistic bronzes & terracottas from the Middle Ages were the work of black Africans. Instead he posited the theory that they were artifacts from the mythological city of Atlantis. #ife #bronze #sculpture #arthistory #africa #africanarthistory

[afroartstuuniverse-blog]

Changes.

Sande Mask

http://www.digitalgallery.emory.edu/luna/servlet/detail/CARLOS_VC~1~1~17909~100636:Sowo-Initiation-Helmet-Mask-of-the-?qvq=q:sande;lc:CARLOS_VC~1~1,EMORYUL~3~3,CORNELL~3~1,univcincin~32~32,univcincin~27~27,CORNELL~15~1,CORNELL~14~1,univcincin~28~28,BardBar~1~1,CORNELL~9~1,RUMSEY~8~1,ESTATE~2~1,FBC~100~1,univcincin~25~25,HOOVER~1~1,CORNELL~2~1,CORNELL~13~1,RUMSEY~9~1,JCB~1~1,univcincin~24~24,MOAC~100~1,ChineseArt-ENG~1~1,CORNELL-AER~2~2,univcincin~34~34,PRATTPRT~9~9,PRATTPRT~13~13,PRATTPRT~21~21,PRATTPRT~12~12,univcincin~31~31,univcincin~33~33,CORNELL-Asia~2~2&mi=0&trs=4

Gelede Mask

http://www.metmuseum.org/collection/the-collection-online/search/316650

D' mba

http://www.metmuseum.org/collection/the-collection-online/search/312189

Diviner's Bracelet

http://www.digitalgallery.emory.edu/luna/servlet/detail/CARLOS_VC~1~1~22405~100369:Divination-Bracelet--?-&qvq=q:bracelet;lc:CARLOS_VC~1~1,EMORYUL~3~3,CORNELL~3~1,univcincin~32~32,univcincin~27~27,CORNELL~15~1,CORNELL~14~1,univcincin~28~28,BardBar~1~1,CORNELL~9~1,RUMSEY~8~1,ESTATE~2~1,FBC~100~1,univcincin~25~25,HOOVER~1~1,CORNELL~2~1,CORNELL~13~1,RUMSEY~9~1,JCB~1~1,univcincin~24~24,MOAC~100~1,ChineseArt-ENG~1~1,CORNELL-AER~2~2,univcincin~34~34,PRATTPRT~9~9,PRATTPRT~13~13,PRATTPRT~21~21,PRATTPRT~12~12,univcincin~31~31,univcincin~33~33,CORNELL-Asia~2~2&mi=5&trs=22

Maiden Spirit Mask

https://www.brooklynmuseum.org/opencollection/objects/4880/Maiden_Spirit_Helmet_Mask_Agbogho_Mmwo

The objects that I identified before for my preliminary objects absolutely did not fit what I was going for with my theme. Some I could not find reliable information but for most what I originally guessed from the name or lightly reading information about it was not suitable for "Divine Re-Attention". The Diviner's bag and Cap, while my favorites were the two I could not find much information for. The Ogoni, Bocio, and Fang just did not fit my theme. I found new objects, that I am more in love with personally and for my project. These new objects illustrate my theme better and I personally feel as if they are aesthetically more attractive than these five I mentioned.

[thepovertypornproject-blog]

The Poverty Porn Project

The Poverty Porn Project intends to dig deeper into the highly contested issue of “poverty porn” that is lately making more noise amid the international development scene. There are many adamantly against the use of “poverty porn,” criticizing it for its dehumanizing effect that strips aid victims of their dignity. It’s a fair stance to take. I, too, cringe at the very sight of slow motion commercials panning over slums and zooming into crying African babies with flies on their faces - especially on a mandatory in-flight commercial before take-off because I can’t change the damn channel. 

The Poverty Porn Project does not intend to take sides. When I was introduced to the term “poverty porn” earlier this year, I personally felt that it was terrible and should never be used for any means. However, delving more into the issue I realized that without asking the main constituents (the subjects of these photos in question) about what they thought, my views were just another western assumption.

There are two parts to this project:

Part I: The Ethnographic Perspective

Part II: The Art History Perspective 

Part I was completed this summer, through a 2-month research trip to Uganda. Through the generous funding of RISD (I know, I can’t believe it either) and Maharam*, I interviewed a sample of 100-200 people in Uganda living in the slums, working in local NGOs, and elsewhere to hear what they had to say about how Africa is represented in western media. My objectives were:

A) To ascertain whether poverty porn is an issue in Uganda, among Ugandans

B) To understand how to better represent Africa and Africans 

All of the data collected will be analyzed and posted by December 2013. 

Part II: The Art History Perspective probably should have come before the ethnographic research but the timing didn’t work out so well as the fellowship that funded Part I had to be done during the summer. Part II will explore the visual culture of African representation, going back to some of the earliest art & literary works that may have served as the underpinnings of modern day poverty porn, if you will. 

One of the deliverables for this project overall will include an interactive online visual map that will deconstruct and frame the issue of poverty porn within the context of the development world. Stay tuned for updates!

*This project is funded through The RISD Maharam Fellowship

[hanspoppe]

Painting is something like a conversation with God for me... Next one up for grabs... #donationexchange. #HansPoppeArt #abstractart #art #africanarthistory #toronto #instapicoftheday #Artastherapy #the6 #thesix #torontoartist #artshoutgallery #artist #IGMississauga # #art_fido #art_sanity #igerstoronto #africanartcollector #Canadiansunsetswin

[hanspoppe]

Work in progress... #contemporaryafricanart #art #africanarthistory #portrait #artist_4_shoutout #artofinstagram #instapicoftheday #Artastherapy #art_empire #artismagic #Mississauga #torontoartist #artshoutgallery #arttherapy #artist #art #Mississauga #art_community #Africanart #art_fido #HansPoppeArt #art_sanity #igerstoronto #igtoronto

[afroartstuuniverse-blog]

Creating the African Art Student's Universe

Firstly, If it were not for my seven classmates creating this student's universe would have been beyond difficult! Before my first peer review, I was lost as to what direction I was taking for my portfolio, and this class. I wanted it to be impressive! I wanted sparkles, glitter, and it to be the greatest tumblr ever! My first two entries I made I thought it was THE coolest idea, layout, and everyone would love it! Not that everyone did not love it, butttttttt.... it needed work. My formatting, citations, and "pizzazz" were off! Not to mention poor Dr. Gagliardi did not know what a Tumblr was at all! To be quite honest, I did not EXACTLY know either. Not how to create one at least.

Everyone thought it was a great idea to use Tumblr! I felt comfort in that and knew I was on the right path however then came the criticisms. Danielle warned, "Be careful of writing an essay." Alex wrote, "Try and organize it under headings or ideas," and "Do you have a unified goal or theme?" Kellen suggested, "Maybe have the quotes under the photos so it is right underneath." With these ideas I decided to follow a different format, an organized format. I feel that I took these constructs as well as others concerned with the organization and evolved the page into a more clearly structural unit. I realized that it can not be a traditional Tumblr where things are just thrown up on a post but had to have scholastic features as well.

Another aspect that I found people enjoyed which was the turning point was how personal my posts were. I still wanted to have some aspect of Tumblr and speaking from first person really embodies and personalizes my pages as with the purpose of tumblr: individuality. As the class moved forward, I began to question and wonder about certain aspects that became easier to express on Tumblr than to ask in class.  Dr. Gagliardi however gave me the idea to utilize that and turn my page into more of  documentation of the journey in this class. This was much easier to do as trying to find new, innovative, fun posts were becoming not only difficult but time consuming. Also I began to try to hard, to reach, to pull from any and everywhere to get a post. I feel that this is organic now. It is my voice. I hope one day a future art history student will stumble upon my page and read through my struggles, questions, and wonder to be inspired to create their own universe!

[afroartstuuniverse-blog]

Divine Re-Attention: The Preliminary Outline

Yoruba Diviner's Bag http://metmuseum.org/collection/the-collection-online/search/318332

Female Diviner's Figure http://metmuseum.org/collection/the-collection-online/search/310826

Female Face Mask http://metmuseum.org/exhibitions/view?exhibitionId=%7b1b3cc484-73a2-49d4-aace-8046200d930f%7d&oid=321135

Luba Headrest https://africa.si.edu/collections/view/objects/asitem/search@/1/title-asc?t:state:flow=503ad25a-fa93-4a8a-88f6-2fc7e93a06c8​

Mami Wata http://www.digitalgallery.emory.edu/luna/servlet/detail/CARLOS_VC~1~1~19102~102669:Mami-Wata-Figure?qvq=q:mami%2Bwata;lc:CARLOS_VC~1~1,EMORYUL~3~3,CORNELL~3~1,CORNELL~15~1,CORNELL~14~1,BardBar~1~1,CORNELL~9~1,RUMSEY~8~1,ESTATE~2~1,FBC~100~1,HOOVER~1~1,CORNELL~2~1,CORNELL~13~1,RUMSEY~9~1,JCB~1~1,MOAC~100~1,ChineseArt-ENG~1~1,CORNELL-AER~2~2,PRATTPRT~9~9,PRATTPRT~13~13,PRATTPRT~21~21,PRATTPRT~12~12,CORNELL-Asia~2~2&mi=0&trs=4

Kifwebe Mask http://www.brooklynmuseum.org/opencollection/objects/169088/Female_Kifwebe_Mask>

Prestige Cap http://metmuseum.org/collection/the-collection-online/search/319248->

Ogoni Headdress http://www.digitalgallery.emory.edu/luna/servlet/detail/CARLOS_VC~1~1~6713~100633:Mask-Headdress?qvq=q:ogoni;lc:CARLOS_VC~1~1,EMORYUL~3~3,CORNELL~3~1,CORNELL~15~1,CORNELL~14~1,BardBar~1~1,CORNELL~9~1,RUMSEY~8~1,ESTATE~2~1,FBC~100~1,HOOVER~1~1,CORNELL~2~1,CORNELL~13~1,RUMSEY~9~1,JCB~1~1,MOAC~100~1,ChineseArt-ENG~1~1,CORNELL-AER~2~2,PRATTPRT~9~9,PRATTPRT~13~13,PRATTPRT~21~21,PRATTPRT~12~12,CORNELL-Asia~2~2&mi=0&trs=2

Bocio Power Figure http://www.digitalgallery.emory.edu/luna/servlet/detail/CARLOS_VC~1~1~8113~102302:Power-Figure,-Bocio?qvq=q:bocio;lc:CARLOS_VC~1~1,EMORYUL~3~3,CORNELL~3~1,CORNELL~15~1,CORNELL~14~1,BardBar~1~1,CORNELL~9~1,RUMSEY~8~1,ESTATE~2~1,FBC~100~1,HOOVER~1~1,CORNELL~2~1,CORNELL~13~1,RUMSEY~9~1,JCB~1~1,MOAC~100~1,ChineseArt-ENG~1~1,CORNELL-AER~2~2,PRATTPRT~9~9,PRATTPRT~13~13,PRATTPRT~21~21,PRATTPRT~12~12,CORNELL-Asia~2~2&mi=0&trs=4

Fang http://metmuseum.org/collection/the-collection-online/search/310870

My preliminary outline pools objects together that will convey greater attention towards women’s roles in divination and religion. As I have viewed and studied objects in this class I have noticed a large feminine influence and wonderful female objects that are now controlling much of my interest. Unfortunately, this interest has turned to the lack of not the female presence in art but attention, significance and time spent around this subject, specifically in the area of religion. It is my hope to bring forth these current and past happenings and display it as equal of worthiness and consideration while forming a connection between American and African patriarchal societies. 

[afroartstuuniverse-blog]

Chatter about chats.

Yesterday (March 17), Dr. Amanda Hellman was guest speaker in our class as we took a closer look into “African Cosmos” and what it takes to be a curator. One particular issue that grabbed my attention is the labels and chats of an object. From the time we stepped into the High Museum until now and probably beyond, I have had an issue with chats! Such a significant yet subjective portion of museology I cannot grasp how to “correctly” create one. Something so simple yet complex, the chat can make or break the experience of perception when viewing the object. Seeing as the chat is the largest portion of our project (and ultimately my grade!) I am quite anxious and a little frightened about what I should do! When I first began the class I purposely focused more on aesthetics than context to avoid the chat. I felt it was unnecessary as I wanted to view the objects as art, nothing more nothing less. However as time and experiences have passed from January to now I see that the chat is an important, integral part of the experience of viewing an object. Especially with African art, background information (if available) can be helpful in the appreciation of the object as well as providing information as to its original meaning or function. So, now that I am on the “chat bandwagon”, what to write and how to write it? Dr. Hellman described her chat style as “short and sweet” providing only the necessities even going as far to exclude maps in the label, which are a common sighting in labels. However, I must admit her minimalist style is something I personally favor but as I will be playing curator it brings another issue to my mind: For whom am I writing the chats? I understand my demographic at the Carlos Museum as we discussed we are leaning towards scholarly and educational groups but even amongst scholars and students there are preferences. I am a student who prefers less chat, more art. How do I please someone like me but also the opposite? And now, what to write? I struggle to pull out what is important to not me but to think about what is important to others. While I have to stay within the limits of my theme “playing with the words” like Dr. Gagliardi has said is leaving my brain in a scramble with random words floating about yet no answers. 

So, I went to the Carlos Museum today (March 18) to get a few more examples. As different curators manage different geographical art, I visited the other sections of the museum instead of only “African Cosmos” to see different styles of chats. I quickly brushed up on “African Cosmos” to get a more detailed look at Dr. Hellman’s. I moved down to the Greek and Roman galleries where the real fun *sarcasm* began. Seeing as it was my first time in that gallery I was struck with wonder at all the marble and enormity of the objects. I then circled back to study the chats and boy were they something to study! These chats felt like whole textbooks! While it was VERY informative, even down to the form and reasons for damage, it was annoying. It took my focus away from the actual object and I started to picture the history around the object and not the object itself. I quickly moved on and entered the Asian section which was quite small and dark; the Indian gallery which is my interest in Asia was the darkest and smallest unfortunately. Disappointed I left without looking at the chats. I moved to the Egyptian section which was nothing like what I expected or maybe the sleeping mummy boy totally wierded me out I am not sure. The chats to my surprise were very short or there were none. Each individual object, especially in the side galleries, usually did not have its own chat which I did not like as I wanted details for each thing however I understand that it would not be practical due to space and quantity. I did notice however in this section and downstairs galleries all together, there were larger information plaques (like the yellow circles in “African Cosmos”) that I had missed before. I then began to understand the intent of smaller individual chats and it also occurred to me that these geographical areas and their art have extensive research information while African art does not; the curators probably found it unnecessary to provide such large contextual aspects as most people have background knowledge of these places and culture. My visit provided great insight on my own curatorial duties and I feel like I have a much better understanding, however many questions and obstacles I still have. 

*I wonder if there is a reason most of the Greek art does not have an artist or even “unidentified artist” in the label. I did see some that stated what city the artist or object was made but nothing more. 

[afroartstuuniverse-blog]

“The Mask”... by me.

The Mask is a bookwritten by 11-year-old me and tells the story of four teenagers discovering a map that finds them as the temporary owner of a mysterious mask. When the mask begins to perform peculiar actions it is up to the high- schoolers to return the mask to its original location. I do not remember how I came up with this concept of a “magical mask” but I do know I meant it in the (stereotypical) context of being African related. I am super interested in the divine aspects of African religion however I did not realize this interest manifested so young as I created this picture book! 

*Please excuse the grammar and fumbling of my words. My writing as of sixth grade was quite sketchy.