Showing posts with label african bead work. Show all posts
Showing posts with label african bead work. Show all posts

Monday, September 13, 2010

'Art of Africa: Objects from the Collection of Warren Robbins' at Keene State College


From carved serving bowls to ceremonial masks, art is interwoven into the African way of life, as shown in an exhibit set to run from Friday, Sept. 3, through Sunday, Oct. 31, at the Thorne-Sagendorph Art Gallery at Keene State College.

“‘Art of Africa: Objects from the Collection of Warren Robbins’ depicts how life and art come together in African culture,” curators said. “The exhibit presents more than 60 objects, including sculpture, textiles, beaded clothing and jewelry, which broadly represent the creativity and diversity of artistic expression of nearly 30 cultures of sub-Saharan Africa. Accompanied by a video on African masks and dance, the exhibition illustrates the broader cultural context in which these art forms were created and used.”

Robbins was founding director of the National Museum of African Art, now a branch of the Smithsonian Institution. He discovered African art while serving in the American Diplomatic Service in Germany and Austria from 1950 to 1960. Robbins visited an African art dealer’s shop near Hamburg, where the African objects immediately captured his interest and imagination. He returned to the United States with 32 objects, the beginnings of a collection that later grew to include 5,000 pieces. Robbins opened the Museum of African Art on Capitol Hill, with the hope it would help “foster a deeper understanding of African culture, its history, its values, its creative tradition,” and its relevance to lives of contemporary Americans.

Originally collected by European explorers and ethnologists as academic specimens or curios, African sculpture had, by the end of the 19th century, begun to accumulate in European natural history museums and with dealers in antiques and the “exotic” arts.

“At the beginning of the 20th century, a handful of European artists in France and Germany were intrigued by the unique forms and styles of African art and began to draw creative inspiration from them,” curators said. “The aesthetic significance of African art became highly appreciated and respected in Europe and served as a catalyst for the artistic revolution that ushered in modern art around the world.”

“Art of Africa” is from the collection of the Robbins Center for Cross Cultural Communication and organized by International Arts & Artists, Washington, D.C.

The Thorne-Sagendorph Gallery’s hours are Sundays through Wednesdays from noon to 5 p.m.; Thursdays and Fridays from noon to 7 p.m.; and Saturdays from noon to 8 p.m. It will be closed Monday, Sept. 6. There is no admission fee. The gallery is located on Wyman Way on the Keene State campus. For more information, call 358-2720 or visit www.keene.edu/tsag.
Source: New Hampshire Union Leader, Keene State College

Thursday, February 14, 2008

African Beaded Art Exhibition at Smith College, Massachussets


On February 1, 2008 I attended the opening of the beadwork exhibition titled African Beaded Art: Power and Adornment. The show runs through June 15, 2008 and is a must-see exhibition for any beadwork enthusiast.

Curated by noted Yoruba scholar, Jack Pemberton (pictured above with lender, Holly Ross, in background), the exhibition was many years in the making. Initially intended to encompass beadwork from North America as well, the sheer size of the undertaking required that the exhibition be scaled back to its present format. The exhibition focuses on beadwork from the following regions:
  • the Yoruba of southwestern Nigeria;
  • the Bamum and Bamileke peoples of the Cameroon Grasslands;
  • the Kuba, with reference also to the Luba, Yaka, and Pende peoples of the Kasai region of the Congo;
  • and the North Nguni (Zulu-speaking), South Nguni (Xhosa-speaking), and Ndebele peoples of Southeast Africa.

This exhibition and its catalogue examine how the peoples of sub-Saharan Africa responded to imported beads, both in aesthetic terms and in the ways beads reflected their changing social and political situation in the nineteenth and first half of the twentieth century. It specifically challenges uncritical assumptions that African art is essentially—or only—sculptural.

The exhibition draws from a number of public and private collections in the USA, including the Field Museum and the Metropolitan Museum of Art.


The southern African pieces were largely drawn from private collections including those of Gary van Wyk and Lisa Brittan, Toby Kasper and Susan Priebatsch. I was very honored to have a number of pieces from my personal collection included as well.

The catalogue, in soft cover only, is also well worth getting - it is available online at the Smith College Museum Store at $40. I also have a number on hand as well, signed by Mr. Pemberton, so feel free to email me for a copy.

Daniel
JacarandaTribal.com