Balance of Power: A Throne for an African Prince

According to Yoruba oral history, artist Olówè of Ise (about 1870–1938) could sculpt a person’s likeness on the spot—without looking at the wood he was carving. This special exhibition spotlights a single extraordinary work by Olówè: a throne he made for Prince Ilori, heir apparent of the town of Isè in southwestern Nigeria. This exhibition is organized by the Detroit Institute of Arts. On view until March 16th, 2014.

Visit the DIA website.

Image courtesy of the Detroit Institute of Arts

Through African Eyes at the Nelson-Atkins Museum of Art Explores African Artists' Perceptions of Westerners

A groundbreaking visual examination of how African artists expressed the dynamic interactions between African cultures and Europeans and Westerners will open Sept. 25 at The Nelson-Atkins Museum of Art. Through African Eyes: The European in African Art, 1500–Present, on view through Jan. 9, 2011, will feature 95 works of art exploring 500 years of contact.

The exhibition, which debuted this past spring at the Detroit Institute of Arts (DIA), is the first to give a wide perspective of the African point of view of Europeans, from first encounters and trade relations, to European settlements and colonization, through the contemporary years of post-independence. Sculptures, masks, utilitarian objects, textiles, photographs and paintings lent from more than 30 museums, institutions and collections give a riveting visual commentary on artistic perceptions from more than 20 African countries.

“These works express an incredible diversity of response to white people, spanning the gamut of emotion from admiration to resentment,” said Leesa Fanning, associate curator, Modern & Contemporary Art, at the Nelson-Atkins, who served as curator for the Kansas City venue.

The exhibition was initiated and curated by Nii Quarcoopome, who leads the Department of Africa, Oceania and Indigenous Americas at DIA. As a child in the 1960s in Ghana, he witnessed first-hand the complex relationships between Africans and white Europeans and Americans.

“At the heart of the exhibition and its accompanying catalogue is the desire to give agency to African voices; indeed, the title, Through African Eyes, primarily obtains from this thinking,” he said. “After all, what good is African art and history without the African voice?”

The works of art generally take three forms. First are the portraits of specific Europeans or images that represent a particular moment in time; next are images of white people as a metaphor or allusion to authority, power, brutality, wealth, literacy, etc.; and finally, there are utilitarian objects that Africans used to denote European or Western culture, such as guns, books and eyeglasses.

“At first, because Africans encountered Europeans only as occasional visitors to their communities, white people remained exotic characters,” Quarcoopome wrote in the catalogue. “But once Europeans decided to settle among Africans, African attitudes changed toward them as a people and culture. Increased familiarity eroded much of the initial fascination and enabled Africans to more fully assess the racial and cultural differences.”

The exhibition is organized in seven sections:

Strangers and Spirits: Histories passed down through generations of Africans tell of various reactions to first meetings with Europeans. The arrival of the Portuguese around 1450 created a sensation. In many African cultures, whiteness is traditionally associated with the supernatural and spirits. African sculptures with white pigment surfaces are instantly recognized by Africans as representing spirits. With their pale skin, the Portuguese were first thought to be supernatural beings. This sculpture represents an ancestor spirit. It was used as a grave marker and it functioned as a mediator between the living and the dead. The figure has filed teeth characteristic of Yombe peoples but wears European-style clothes.

Traders: Direct partnerships between Portuguese traders and African kingdoms resulted in a long-lasting impact on African arts and cultures. African artists incorporated European imagery, imported materials and goods. Objects in this section show the European as a trader of goods and slaves–lucrative for some, destructive for others.

Settlers: Although European settlers lived apart from their African neighbors, Africans observed them closely. These works reveal the results of those observations, such as the sculpture of the couple walking their dog (first page of release) by the Yoruba artist Thomas Ona Odulate, who documented colonial life in his carvings. In African culture, dogs perform functional roles, such as hunting and providing protection. With this sculpture, the artist makes a commentary on the European lifestyle – dog walking as a leisure activity – and represents an African stereotype of European culture in which love for dogs trumps that for humans.

Spirituality and Technology: Africans usually admired and welcomed European technologies. Artists here reflect the desire to own or be associated with European technology, but also express caution about its use. This work, Fantasy Coffin, a sculpture of a Mercedes Benz from 1996 by the Ghanaian artist Ben Kane Kwei, would have been commissioned to celebrate a life of wealth and achievement, provide an elegant ride for the deceased in the afterlife and fulfill the lifetime fantasy of owning such a car.

Education: The introduction of Western teachings created tensions within African societies, and many Africans saw access to Western education as a way to influence and resist European ways of understanding the world.

Colonizers: In the late 1800s representatives from 12 European countries divided Africa into colonies and established themselves as masters. Works here reveal how African artists expressed their attitudes toward colonizers from resistance to alignment. Between the 1950s and 1960s, as Africa’s boundaries were redrawn and independent nations appeared, artists created works of art reflecting on the era of colonization with feelings that ranged from deeply critical to nostalgic.

Westerners: African artistic interpretation of the West continues today. This section features art forms that reflect the ongoing complex interaction with the world.

This exhibition has been organized by the Detroit Institute of Arts. Generous support has been provided by the Friends of African and African American Art, the DTE Energy Foundation, the National Endowment for the Humanities and the National Endowment for the Arts. In Kansas City the exhibition is supported by The Helzberg Fund for African Art.

A Struggling Detroit Art Museum Tries to Reach Out

Imam Sohel Mangera photographs a Koran from about 1450-60, displayed at the Detroit Institute of Arts, part of the museum's new permanent gallery of Islamic art

Last week, the Detroit Institute of Arts opened its newest permanent gallery, one devoted to Islamic works. The collection, which features a Timurid Koran written on gold-flecked Chinese paper, and ceramic bowls from the 15th century Ottoman Empire, is a bold acknowledgment by one of the country's most venerable museums of the breadth of Islam's influence. It's also a test of whether the cash-strapped museum can tap into this region's relatively affluent Middle Eastern community, the largest in America.

To understand the new gallery's significance, consider the history of the DIA, as the museum is known in Detroit. Shortly after its founding in the 1880s, the DIA began collecting Islamic art. The 1920s auto-industry boom made Detroit one of the world's wealthiest cities — "the Paris of the Midwest," many called it. In 1927, the DIA moved into its current home, a white Beaux Arts building near Detroit's downtown, and sharply expanded its collections, mainly with European and American pieces, although it briefly hired an Islamic-arts specialist to curate a small collection. In the following decades, Detroit witnessed several key shifts: the emergence of a sizable black middle class and the arrival of Middle Eastern immigrants. But the DIA, which ranks among the country's top 10 museums, has largely remained the province of Detroit's white suburban élites.

In the late 1990s, the DIA hired Graham Beal, who formerly headed the Los Angeles County Museum of Art, to serve as its CEO. He arrived just as the DIA was set to launch a six-year, $158 million renovation and expansion. Beal's mandate: "to rethink how we present art to the general public." That meant tripling the amount of space devoted to the DIA's Native American art collection and opening a department to curate a collection of African-American art. Beal ordered that exhibit labels be more accessible to the masses. In one gallery, he added a virtual dining table, with porcelain and silver tableware, to offer a glimpse into the lives of 18th century French aristocrats.

Because of Detroit's disastrous past decade, the renovation took longer than expected, and the museum struggled: attendance, which is highly dependent on special exhibits, fell sharply. Last year Beal reduced the DIA's budget, from $32 million to $26 million, partly by laying off 20% of the museum's staff. Cultural sites nationwide are struggling to weather the economic crisis, but the challenge facing Detroit's institutions is especially severe; they can no longer rely on support from the region's ailing auto industry. Raising money, Beal says, "has been unbelievably challenging."

Still, Beal continued to push for an Islamic-art gallery. In the summer of 2005, he hired Heather Ecker, a well-regarded curator whose background includes a year at Qatar's Museum of Islamic Art. Ecker carefully combed the 900-plus pieces of Islamic art in the DIA's collection, most of which was stored in the basement. Some pieces, like shards of pots, weren't worthy of being publicly shown. Others were striking finds, like the massive gilded copper candlestick the DIA acquired from a Belgian art dealer in 1922. It had been classified as an 18th century candlestick but was actually made between 1400 and 1500 in what is now Turkey. Some people thought the candle looked like a church bell.

The gallery's nearly 170 pieces mainly concentrate on Islamic art from countries such as Spain and India. One room showcases sacred Muslim, Jewish and Christian texts. Last month a party marking the gallery's opening drew nearly 300 people, including many Muslim professionals from across the Detroit region. Many hadn't bothered visiting the museum before or hadn't spent much time there. "They didn't feel connected," says Ali Moiin, a prominent physician and the chair of the DIA's Asian and Islamic Arts Forum. The prevailing view, he adds, was, " 'There was nothing I wanted to see.' Now, they can say, 'I can relate to it.' "

Beal says reactions have largely been positive. But he has also been asked when he is going to open a Christian art gallery. His response: The museum has, in fact, two galleries devoted to Christian art. And Christianity is infused throughout the museum, especially in the European collections. Beal, who is fond of Islamic ceramics, says, "It's also important for non-Muslims to see this and understand the depth and beauty of Islamic art." His next challenge is to raise $1.5 million to open an Asian-art gallery.

The museum is slowly taking other steps to broaden its base of patrons to reflect Detroit's status as one of the country's most ethnically diverse regions. One example is the upcoming exhibit "Through African Eyes: The European in African Art." But some barriers remain. Sitting at a $20,000 table at the DIA's gala last November, a black socialite scanned the largely white room and sighed. Detroit has significant black wealth, she observed, "but it's hard getting them to participate."

source: Steven Gray, Time Magazine