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Journal articles on the topic 'African Art objects'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnograph

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MBU, DORA NYUYKIGHAN. "African Art and The Colonial Encounter: Commodification and Restitution of Sacred Objects in Linus Asong’s the Crown of Thorns." International Journal of Language and Literary Studies 5, no. 2 (2023): 400–412. http://dx.doi.org/10.36892/ijlls.v5i2.1293.

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African art though dynamic has changed in form, function, and meaning over time. However, the concept of Indigenous African art has remained static. This paper aims at examining the complex relationship between African art and colonial encounter while interrogating the commodification and restitution of African artifacts which has become a topical issue. This is because pre-colonial sacred objects have an aura of untainted timeless past reflecting the way of life of the African people. The colonial encounter with Africa witnessed a rush for African traditional religious artifacts and antiquiti

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Walker, Drew. "Lukasa! (The Devil’s Toy) African Inspirations and Western Objects." Afrika Focus 12, no. 4 (1996): 143–60. http://dx.doi.org/10.1163/2031356x-01204002.

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This paper shows the encounter between an object found among the Luba of Zaire and the art historical treatment of it by western scholars. In this encounter certain tendencies are pointed out which on one hand point to a greatly unackowledged bias of western scholars in their regarding of foreign objects as art, and on the other hand may work to refigure those ways of seeing to form a richer understanding of memory, beauty and history in western scholarly practice.

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Gundlach, Cory, and Hervé Youmbi. "Invitation as Intervention: Hervé Youmbi's Bamiléké-Dogon Ku'ngang Mask and the Stanley Museum of Art." L'Esprit Créateur 64, no. 4 (2024): 116–27. https://doi.org/10.1353/esp.2024.a949904.

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Abstract: The Stanley Museum of Art acquired recently Hervé Youmbi's Bamiléké-Dogon Ku'ngang Mask VI, 2019–2022, to highlight the contemporary relevance of masquerade in Africa, and to critique the ways in which African ritual objects function in an American art museum context. Created as a commodity for the global artworld and for ritual performance by members of the Ku'Ngang Society in Cameroon, Youmbi's work blurs and defies conventional museological and ritual practices. Through an invitation to circulate the work regularly between an American art museum and African community of origin, Yo

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Tereshchenko, Tatiana S. "Representations of Africans in Ancient Greek Art: Ritual and Semantic Aspects of the Utilitarian Objects." Oriental Courier, no. 4 (2024): 0. https://doi.org/10.18254/s268684310033440-2.

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Images of the Africans emerged in the art of the Archaic Period (the middle of the 7th – early 5th centuries BC) due to the contacts with Egypt and preserved in the Hellenistic art (4th century BC – 1st century AD). They preserved in the objects of applied arts: in jewelry and first in the vase painting and in the small plastic. Ceramics in Ancient Greek culture had a particular status: this was not just a utilitarian or ritual object but also a means of representation of the picture of the world. The characteristic trait of representations of not only Africans, but of all the Others, in Ancie

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Kerman, Monique. "The Rallying Call to Decolonize." Nka Journal of Contemporary African Art 2021, no. 48 (2021): 24–39. http://dx.doi.org/10.1215/10757163-8971271.

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When Okwui Enwezor gained world renown as artistic director of Documenta11 in 2002, his accomplishments as curator of contemporary African art were already well established. His In/Sight: African Photographers, 1940–Present, exhibition (1996) had the temerity to describe the intentional ways in which Africans shaped their own photographic representation in a medium whose history was as long and distinguished in Africa as in Europe. Enwezor’s 2001 exhibition The Short Century: Independence and Liberation Movements in Africa, 1945–1994, was a revelatory journey through the long process of coloni

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Anderson, Ron Lawrence, Filomena Salvemini, Maxim Avdeev, and Vluzin Luzin. "An African Art Re-Discovered: New Revelations on Sword Manufacture in Dahomey." Heritage 8, no. 2 (2025): 62. https://doi.org/10.3390/heritage8020062.

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Antique swords from the pre-colonial West African kingdom of Dahomey are aesthetically unique, but they also have many design features inspired by swords from Europe, the Islamic world and elsewhere. As the kingdom was famous for importing luxury European objects, this study aimed to pinpoint evidence of Dahomean sword composition and manufacture to determine scientifically whether they were being made in Dahomey, or imported. An inter-disciplinary team made up of historical archaeologists and neutron scientists examined six 19th century Dahomean swords, using a non-invasive multi-methodologic

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Kriger, Colleen E. "Museum Collections as Sources for African History." History in Africa 23 (January 1996): 129–54. http://dx.doi.org/10.2307/3171938.

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A vast store of untapped primary sources for African history sits waiting to be exploited in museum collections around the world—the products made by African hands, or, if you will, African “material culture.” Within this general category I include not only the masterpieces of African artists and manufacturers, but also the more humble and mundane products used as everyday objects or as items of trade or currency, and everything in between. Although selected numbers of these works have been targeted for study by some anthropologists and art historians, historians of Africa rarely include such

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Olaleye-Otunla, Olufemi Joseph, Eyitayo Tolulope Ijisakin, Babasehinde Augustine Ademuleya, and Mosobalaje Oyebamiji Adeoye. "Beyond Frank Willett: The Need for Compositional Analysis of Yoruba Art Objects." Mediterranean Journal of Social Sciences 13, no. 2 (2022): 76. http://dx.doi.org/10.36941/mjss-2022-0018.

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Since the pioneering efforts of Frank Willett that examine the Yoruba arts, there remains a yearning gap to holistically investigate the material contents and classification of Yoruba art objects. For proper documentation, information and placement of Yoruba arts, the need for a scientific material compositional analysis of Yoruba arts cannot be overemphasised. This discourse employs a qualitative and evaluative mode of research to emphasize the need, importance and prospects of proper scientific material investigation of Yoruba arts. The study provides information on Frank Willett, the Yoruba

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Woollatt, Claire. "The creation of a clay vessel is a metaphor for the therapeutic journey of a family affected by a rare disease." South African Journal of Arts Therapies 2, no. 2 (2024): 176–96. http://dx.doi.org/10.36615/k83eh889.

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This article is located within the South African rare disease community. The article draws from a master’s thesis and focuses on a case vignette of a family affected by a rare disease diagnosis. There is limited research in South Africa focused on family art therapy. This study established that art therapy processes can uncover resilience factors in families affected by trauma associated with a rare disease diagnosis. The original study consisted of four art therapy sessions focused on identifying resilience factors through family collaborative art using clay, a medium previously unexplored by

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Classen, Albrecht. "Caravans of Gold, Fragments in Time: Art, Culture, and Exchange Across Medieval Saharan Africa, ed. Kathleen Bickford Berzock. Evanston, IL: Block Museum of Art, Northwestern University; Princeton, NJ, and Oxford: Princeton University Press, 2019, 312 pp., many colored ill. and maps." Mediaevistik 32, no. 1 (2020): 266–67. http://dx.doi.org/10.3726/med.2019.01.20.

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This catalog accompanies a fascinating and innovative exhibition documenting the art in medieval Saharan Africa, first shown at the Block Museum of Art, Northwestern University, Evanston, IL, from Jan. 26 to July 21, 2019, then at The Aga Khan Museum, Toronto, from Sept. 21 2019 to Feb. 23, 2020, and finally at the National Museum of African Art, Smithsonian Institution, Washington, DC, April 8 to Nov. 29, 2020. To bring all those very valuable objects together and to organize this exhibit, represents a major task involving many people. Here I want to concentrate only on the catalog itself, ma

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Beyers, Jaco, and Lize Kriel. "John Muafangejo’s How God Loves His People All Over the World as Material Religion." Religion and the Arts 24, no. 4 (2020): 379–98. http://dx.doi.org/10.1163/15685292-02404002.

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Abstract The artworks produced at the Evangelical Lutheran Church Art and Craft Centre at Rorke’s Drift, KwaZulu-Natal, have been highly appraised and appreciated in South African art-historical circles, not in the least so as African expressions of postcolonial and anti-apartheid resistance. The work of Namibian artist John Muafangejo (1943–1987) is prominent amongst these. In this article, while borrowing generously from the methods of art historical research, our interest is primarily in works of art as objects of material religion. Erwin Panofsky introduced iconology as a way of determinin

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Insell, Celeste. "Defining an Aesthetic: African Canadian Playwrights in Vancouver." Canadian Theatre Review 83 (June 1995): 39–42. http://dx.doi.org/10.3138/ctr.83.010.

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Concepts of beauty for the African diaspora can be traced back to the aesthetic and spiritual beliefs of various ethnic groups in Africa which were amalgamated over the five hundred years in which the diaspora was scattered. Today, these cultural values remain rooted in the approach that people of African heritage take in the practice of various art forms. The concept of beauty united to the spirit is central to the aesthetics of West Africa – objects of beauty possess a spiritual as well as external beauty, with even the concept of beauty differing greatly from that of the European. The Yorub

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Staples, Amy J. "Visualism and the Authentification of the Object: Reflections on the Eliot Elisofon Collection at the National Museum of African Art." Collections: A Journal for Museum and Archives Professionals 3, no. 2 (2007): 183–90. http://dx.doi.org/10.1177/155019060700300209.

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Photographic resources are well known within museum contexts. However, these images are rarely considered in terms of how they enhance the historical value of museum objects, construct aesthetic and ethnographic meanings, and interpret museum collection practices. This paper examines the multi-media collections of Eliot Elisofon, an internationally known photographer and filmmaker who traveled in Africa from 1943-1972. The Elisofon collection at the National Museum of African Art contains both photographic materials and three-dimensional objects created and collected in the course of Elisofon'

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Netshia, Shonisani. ""Sweep the yard girl": Brooms, wifely duties and the subversive art of Usha Seejarim." Image & Text, no. 37 (December 10, 2023): 1–22. http://dx.doi.org/10.17159/2617-3255/2023/n37a22.

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Jumping over the broom in African and African-American contexts symbolises the bride's commitment to clean the house and yard of the new home she is joining-to perform service through labour. In South Africa, a popular cultural song, Fiela Ngwanyana (sweep [the yard] girl), is often sung at traditional wedding ceremonies to usher the makoti (bride) into the groom's family and is laden with meanings. Through singing, dancing, and sweeping the path clean for their new makoti, the groom's family subtly inform her of the politics of household labour to come. I focus on a specific stanza in the son

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Kruzh Morzhadinu, Da Fonseka Vera. "HISTORICAL RESEARCH OF MODERNISM IN AFRICAN ARCHITECTURE OF LOW-RISE SOCIAL HOUSING." Construction Materials and Products 3, no. 2 (2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.

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the purpose of this study is to examine the emergence of modernism as a cultural response to the conditions of modernity to change the way people live, work and react to the world around them. In this regard, the following tasks were formulated: 1) study the development of modernism on the world stage, 2) identify its universal features, and 3) analyze how the independence of Central and sub-Saharan Africa in the 1950s and 1960s coincided with a particularly bright period of modernist architecture in the region, when many young countries studied and asserted their identity in art. The article

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Eyo, Ekpo. "Conventional Museums and the Quest for Relevance in Africa." History in Africa 21 (1994): 325–37. http://dx.doi.org/10.2307/3171892.

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Although the Western world knows what a museum is, in many parts of Africa its purpose is an open question. To many Africans it is an alien institution introduced by colonialists. Their intentions were good: they wished to study and exhibit local works of art and artifacts and preserve them from deterioration and depredations by local and foreign traders. Yet collecting important art objects and artifacts, some of which were still part of active rituals, and locking them up in a building rather resembling a prison, was to many, Africans and foreigners alike, inimical in principle. Nor did many

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18

Olaleye-Otunla, Olufemi Joseph. "Supplements to the Study of African Works of Art." Mediterranean Journal of Social Sciences 13, no. 3 (2022): 62. http://dx.doi.org/10.36941/mjss-2022-0024.

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For many years, the history of the arts, crafts and connoisseurship has been determined using the sensory organs; with the introduction of technology, researches in the sciences have found their ways into the study of humanities and the arts. There exists recently additional modern, genuine and acceptable ways of assessing art historical studies other than the traditional sensory means - sight and touch. There is the need for art historical studies now to be more advanced, viewed from a global standard. Apart from formal, iconographic and iconological analyses, art historical studies of the 21

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Jules‐Rosette, Bennetta. "CURATORIAL NETWORKS AND MUSEUM CULTURE: Objects and Evidence in Museums of African Art." Museum Anthropology 43, no. 1 (2020): 14–28. http://dx.doi.org/10.1111/muan.12215.

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De Villiers-Human, Suzanne. "Art historiography and Bild-wissenschaft: new perspectives on some objects by the Venda sculptor, Phutuma Seoka." Acta Academica: Critical views on society, culture and politics, no. 1 (January 31, 2012): 20–42. https://doi.org/10.38140/aa.v0i1.1379.

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It is argued that the apparatus of western art history has been sharpened by the current media consciousness. Typical art historical tools are self-consciously harnessed in the process of scrutinising objects which resist and expand these methods and theories. The focus is on some objects of Venda polychrome sculpture which “took the South African art world by storm” in the 1980s when these specimens of rural craftsmanship in wood were deemed fit to enter the gallery circuit. An analysis of the Venda sculptors’ religious and social knowledge of the use of patterned decoration on ritual tools i

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Folorunso, Caleb A. "Globalization, Cultural Heritage Management and the Sustainable Development Goals in Sub-Saharan Africa: The Case of Nigeria." Heritage 4, no. 3 (2021): 1703–15. http://dx.doi.org/10.3390/heritage4030094.

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This paper addresses the impacts of globalization on cultural heritage conservation in sub-Saharan Africa. The homogenization and commodification of Indigenous cultures as a result of globalization and it’s impacts on the devaluation of heritage sites and cultural properties is discussed within a Nigerian context. Additionally, the ongoing global demand for African art objects continues to fuel the looting and destruction of archaeological and historical sites, negatively impacting the well-being of local communities and their relationships to their cultural heritage. Global organizations and

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22

Dapena-Tretter, Antonia, and Eloise Pelton. "African Art at the Kreeger Museum: Validating a Collection and Its Historic Stakeholders." Collections: A Journal for Museum and Archives Professionals 14, no. 1 (2018): 63–93. http://dx.doi.org/10.1177/155019061801400104.

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Written by The Kreeger Museum's former head of education and its founding archivist, this article looks closely at provenance and makes use of primary source documents and photographs to relive the rich story of how The Kreeger Museum's African art collection came to be. A detailed account of the negotiations, communications, transactions, and circulations of people, objects, and ideas—the following narrative offers an interesting case study into the early European and American art collectors' circuit.

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MACGAFFEY, WYATT. "CHANGING REPRESENTATIONS IN CENTRAL AFRICAN HISTORY." Journal of African History 46, no. 2 (2005): 189–207. http://dx.doi.org/10.1017/s002185370400043x.

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This article examines how historiography makes its objects and includes critical reflections on the epistemological frames that have shaped historical representations of Central African states and social structures. The article examines the seductive quality of migration narratives; mythical features of some classical models, creating order from reduced totalities; historiographic burdens imposed by questionable anthropological models of kinship and matrilineal descent; and asks if the prevalence of dual regimes of priest and king is a product more of ideology than history. The article argues

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Hollmann, Jeremy C. "'Geometric' Motifs in Khoe-San Rock Art: Depictions of Designs, Decorations and Ornaments in the Gestoptefontein-Driekuil Complex, South Africa." Journal of African Archaeology 12, no. 1 (2014): 25–42. http://dx.doi.org/10.3213/2191-5784-10249.

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‘Geometric’ motifs in rock art — so-called because they superficially resemble certain mathematical shapes — are globally widespread and likely have different meanings. Southern African researchers have described these motifs variously as ‘abstract’, ‘non-representational’, or ‘entoptic phenomena’. Research at the Gestoptefontein-Driekuil Complex (GDC), a cluster of rock art sites in South Africa’s North West Province, suggests, however, that certain ‘geometric’ motifs depict recognisable, tangible and significant objects. I use Leonard Schultze’s term Khoe-San (originally Khoi-San) to refer t

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Gaouette, Sebastian, and Ellery Frahm. "Chains of Currency: Manilla Money Bracelets, Early Modern Africa and the Ties That Bind." American Journal of Undergraduate Research 21, no. 1 (2024): 3–19. http://dx.doi.org/10.33697/ajur.2024.109.

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Manilla money bracelets emerged during the early modern period (ca. fifteenth century AD) as a form of currency between western Europe and West Africa, and continued to circulate until the early twentieth century. While there has been little formal scholarship on manillas, narratives abound: some histories cast the bracelets as the blood money of the transatlantic slave trade; others highlight them as the copper source used to make the Benin Bronzes; and still others uphold the manilla as a symbolically important West African cultural object in and of itself. This study begins with a history o

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Ogbechie, Sylvester Okwunodu. "The Historical Life of Objects African Art History and the Problem of Discursive Obsolescence." African Arts 38, no. 4 (2005): 62–95. http://dx.doi.org/10.1162/afar.2005.38.4.62.

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27

Jones, Alexandra. "Ethiopian Objects at the Victoria and Albert Museum." African Research & Documentation 135 (2019): 8–24. http://dx.doi.org/10.1017/s0305862x00023864.

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The Victoria and Albert Museum, or V&A, is a museum of art, design and performance based in South Kensington, London. It was established in 1852, following on from the 1851 “Great Exhibition of the Works of Industry of All Nations” spearheaded by Prince Albert. The museum's collections today number over 2.7 million objects, amassed over the past 150 years through active collecting. Amongst them is a small but very significant collection of Ethiopian material, which tells a story about the complex relationship between Britain and Ethiopia during the 19th century, as well as prompting much d

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Jones, Alexandra. "Ethiopian Objects at the Victoria and Albert Museum." African Research & Documentation 135 (2019): 8–24. http://dx.doi.org/10.1017/s0305862x00023864.

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The Victoria and Albert Museum, or V&A, is a museum of art, design and performance based in South Kensington, London. It was established in 1852, following on from the 1851 “Great Exhibition of the Works of Industry of All Nations” spearheaded by Prince Albert. The museum's collections today number over 2.7 million objects, amassed over the past 150 years through active collecting. Amongst them is a small but very significant collection of Ethiopian material, which tells a story about the complex relationship between Britain and Ethiopia during the 19th century, as well as prompting much d

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29

Mark, Peter. "Towards a Reassessment of the Dating and the Geographical Origins of the Luso-African Ivories, Fifteenth to Seventeenth Centuries." History in Africa 34 (2007): 189–211. http://dx.doi.org/10.1353/hia.2007.0012.

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Fifty years ago, a group of 100 ivory carvings from West Africa was first identified by the English scholar William Fagg as constituting a coherent body of work. In making this important identification, Fagg proposed the descriptive label “Afro-Portuguese ivories.” Then, as now, the provenance and dating of these carved spoons, chalices (now recognized as salt cellars), horns, and small boxes posed a challenge to art historians. Fagg proposed three possible geographical origins: Sierra Leone, the Congo coast (Angola, ex-Zaïre), and the Yoruba-inhabited area of the old Slave Coast. Although Fag

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Gusarova, Ekaterina. "Ethiopian Manuscripts in the State and Private Collections of St Petersburg: An Overview." Aethiopica 18 (July 7, 2016): 109–27. http://dx.doi.org/10.15460/aethiopica.18.1.926.

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For more than two centuries St Petersburg, the capital of the former Russian Empire, has been famous for its collections of Ethiopian manuscripts, objects of art and documents concerning Ethiopian history. They are concentrated in three state institutions and in several private collections of African art. This article provides a short history of formation of Ethiopian manuscript collections of Russia and describes the process of their description and study. Some interesting and unpublished items were generally describedand their miniatures published.

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Djos-Raph, Sarah. "Objectifying and Objecting Objects: Looting to Rooting? How the American Black Lives Matter Movement Influences French Restitution in Benin." Women in French Studies 31, no. 1 (2023): 134–50. http://dx.doi.org/10.1353/wfs.2023.a909484.

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Abstract: In the West African country of Benin, the restitution of some key anthropomorphic statues bearing royal emblems has become a reality, in part thanks to the American Black Lives Matter Movement. This article highlights how the restitution of the art objects was undoubtedly aided by the fight of Felwine Sarr, Bénédicte Savoy, Marie-Cécile Zinsou, Assa Traoré, and feminist-led anti-racism organizations. Furthermore, this paper describes the importance of these returned artifacts for defending, conserving, and expanding modern art in Benin, a country that is at the forefront of offering

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Kurumchina, A. E. "Russian cultural diplomacy practices: an African case." Discourse-P 21, no. 1 (2024): 110–31. https://doi.org/10.17506/18179568_2024_21_1_110.

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Developing Russian cultural diplomacy in African states requires conducting a scientifc analysis of inﬂuence spheres, inﬂuence forms, practices and technologies for promoting Russian culture deep into the Dark Continent. Thus the paper aims to reveal main achievements of the cultural diplomacy of the Russian Federation related to establishing friendly and working relations with African countries in different historical periods. The article compares two concepts similar in meaning, soft power and cultural diplomacy, it is argued that initially the concept of soft power was used to enhance the i

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Taoua and Miller. "Of Objects, Exhibit Spaces, and Markets: Meschac Gaba's Museum of Contemporary African Art." Transition, no. 119 (2016): 188. http://dx.doi.org/10.2979/transition.119.1.23.

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Bristow, Tegan. "With objects that speak: the force of interaction in historical African artefacts and contemporary art." International Journal of Arts and Technology 10, no. 2 (2017): 150. http://dx.doi.org/10.1504/ijart.2017.084949.

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Bristow, Tegan. "With objects that speak: the force of interaction in historical African artefacts and contemporary art." International Journal of Arts and Technology 10, no. 2 (2017): 150. http://dx.doi.org/10.1504/ijart.2017.10005934.

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Hixenbaugh, Randall. "The Current State of the Antiquities Trade: An Art Dealer’s Perspective." International Journal of Cultural Property 26, no. 3 (2019): 227–38. http://dx.doi.org/10.1017/s0940739119000183.

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Abstract:The antiquities trade is the subject of contentious debate. The anti-trade position stems from a long unquestioned stance within academia that private ownership of antiquities inherently results in archaeological site destruction and the loss of valuable data. However, there is little data to support this notion. It also ignores the enormous contributions to our shared knowledge of the past that have been made through art collecting and museum acquisitions. The narrative that the destruction of ancient sites is directly tied to Western demand for ancient art is overly simplistic. Desp

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Faith Lori and Lilian Onyinye Ohanyere. "LE RAYONNEMENT DE LA CULTURE AFRICAINE AU SEIN DU MONDE: ETUDE DE CAS DU CAMEROUN ET DU NIGERIA." La Revue des Etudes Francophones de Calabar (RETFRAC) 16, no. 1 (2025): 25–33. https://doi.org/10.64414/yn693903.

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This study, which utilized secondary sources, explored the global influence of African culture, focusing on Cameroon and Nigeria. It examined the material and intangible cultural heritage of both countries. In Cameroon, the study highlighted and explained tourist sites, art objects, clothing, music, dance and gastronomic traditions. Similar variables were also examined in Nigeria. The study found that the global influence of African culture is not well promoted, meaning its impact is relatively weak. This is the essence of this work, as African culture cannot shine brightly due to the dominanc

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Kriger, Colleen E. "Words and Things and “The Kuba Miracle”." History in Africa 45 (June 2018): 131–43. http://dx.doi.org/10.1017/hia.2018.20.

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Abstract:The essay revisits Vansina’s work on the Kuba kingdom, drawing together art historical, historical linguistic, written documents, and oral sources. It argues that Vansina’s eclectic methodology fostered continual revision to his historical conclusions as new material in one of those threads forced rethinking interpretations of the others. Vansina’s captions to images of material forms from Kuba exemplify skilled compression while figuring African audiences, artisans, and owners of objects with humor and respect.

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Lyakhovskaya, Nina D. "The fate of African mask in the works of French-speaking writers in West and Central Africa." Vestnik of Kostroma State University 27, no. 3 (2021): 202–9. http://dx.doi.org/10.34216/1998-0817-2021-27-3-202-209.

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The article examines the attitude of contemporary African writers to the traditional zoomorphic and anthropomorphic masks. In the 1960s–70s, for the supporters of the theory of negritude, the sacred mask embodied the spirit of ancestors and an inextricable connection with tradition. In a transitional era (the 1990s – the early 21st century), the process of desacralisation of the mask has been observed and such works appear in which the idea of the death of tradition is carried out. The article consistently examines the history of the emergence and strengthening of interest in the image of the

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Chebanenko, Sergey B. "Regarding the problem of restitution of African art pieces removed from Benin during the British military expedition of 1897: practice and legal aspects." Issues of Museology 11, no. 2 (2020): 319–35. http://dx.doi.org/10.21638/11701/spbu27.2020.214.

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The question of the fate of the “Benin bronze” is part of a more general problem of the restitution of African art pieces exported from the continent, during the period of European colonial rule. The difference between the history of the looting of the monuments of the Benin Kingdom (the territory of modern Nigeria) by British troops from many other examples of the removal of original African heritage, is in the fact, that in this case there was a robbery committed as a result of a military conflict, both sides of which were politically independent. The political independence of each party, st

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Schoen, Quinn. "The Passbook, Deconstructed." Nka Journal of Contemporary African Art 2022, no. 51 (2022): 34–46. http://dx.doi.org/10.1215/10757163-10127139.

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The catalyst of millions of arrests, fervent protests, and a police-led massacre, the passbook is a haunting relic of apartheid South Africa. Operating as a colonial appendage to be carried, tucked away, and presented to police on demand, these pocket-sized identification books radically constrained the mobility and selfhood of Black South Africans. They also gesture toward a perhaps unanticipated symptom of South Africa’s democratic turn: the issue of confronting the stuff of apartheid, the archival debris left over from a system reliant on exhaustive administrative documentation to surveil a

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Katz, Dana. "Barbarism Begins at Home: Islamic Art on Display in Palermo's Museo Nazionale and Sicilian Ethnography at the 1891‐92 Esposizione Nazionale." International Journal of Islamic Architecture 9, no. 1 (2020): 91–117. http://dx.doi.org/10.1386/ijia_00005_1.

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Abstract In the last quarter of the nineteenth century, Palermo's Museo Nazionale (National Museum) displayed one of the earliest institutional collections of Islamic art in Western Europe. The museum's director, Antonino Salinas, exhibited objects demonstrating the island's material heritage, including its two-and-a-half centuries of rule by North African dynasties during the medieval period. The prevailing perception elsewhere in post-unification Italy ‐ that Sicily was ungovernable and barbaric in nature ‐ heightened the display's significance. Another exhibition that many Italians would ha

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McCarthy, Conal. "Editorial." Museum Worlds 7, no. 1 (2019): vii—ix. http://dx.doi.org/10.3167/armw.2019.070101.

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Museum Worlds: Advances in Research Volume 7 (2019) is an open issue, covering a rich variety of topics reflecting the range and diversity of today’s museums around the globe. This year’s volume has seven research articles, four of them dealing with very different but equally fascinating issues: contested African objects in UK museums, industrial heritage in Finland, manuscript collecting in Britain and North America, and Asian art exhibitions in New Zealand. But this issue also has a special section devoted to Barbara Kirshenblatt-Gimblett, which contains three articles and an interview.

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Deepwell, Katy. "The Politics and Aesthetic Choices of Feminist Art Criticism." Arts 12, no. 2 (2023): 63. http://dx.doi.org/10.3390/arts12020063.

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This article explores feminist art criticism from the point of view of aesthetics/politics in global contemporary art. It is based on the author’s experience as an art critic and founding editor of n.paradoxa: international feminist art journal (1998–2017). Reading articles published in the previous two decades both for the journal and outside it, it became possible to identify how subjects produce specific objects in art criticism that demonstrate different locations and standpoints in thought and how these align with criticism from broader feminist political theories. This is an exploration

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Swinney, Geoffrey N. "Recycled objects: curatorial practice and the engagement of contemporary art in the interpretation of historical African figurative sculpture." Museum Management and Curatorship 32, no. 4 (2017): 353–71. http://dx.doi.org/10.1080/09647775.2017.1298046.

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Adewumi, Kehinde. "If Bronze, Why Not Wood? A Case for the Repatriation of the Yoruba Ere Ibeji." African Journal of Inter/Multidisciplinary Studies 4, no. 1 (2022): 30–39. http://dx.doi.org/10.51415/ajims.v4i1.954.

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In light of the current trend of repatriation of illegally acquired African art which are scattered all over galleries and museums in Europe and the Americas, consideration should also be given to the Ere Ibeji of the Yoruba. These figures are not mere objects of curiosity for Western fascination, but they are strongly tied to the birth and death of twins in Yoruba culture. This paper seeks to revisit this tradition based on literature, in line with its resultant art forms in a bid to contribute to the gamut of existing knowledge on the Yoruba twin tradition, as well as to (re)generate contemp

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Koleini, Farahnaz, Philippe Colomban, Innocent Pikirayi, and Linda C. Prinsloo. "Glass Beads, Markers of Ancient Trade in Sub-Saharan Africa: Methodology, State of the Art and Perspectives." Heritage 2, no. 3 (2019): 2343–69. http://dx.doi.org/10.3390/heritage2030144.

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Glass beads have been produced and traded for millennia all over the world for use as everyday items of adornment, ceremonial costumes or objects of barter. The preservation of glass beads is good and large hoards have been found in archaeological sites across the world. The variety of shape, size and colour as well as the composition and production technologies of glass beads led to the motivation to use them as markers of exchange pathways covering the Indian Ocean, Africa, Asia, Middle East, the Mediterranean world, Europe and America and also as chronological milestones. This review addres

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Adejuwon, Akinsola. "The Art and life of Alàgbà Fálétí – A Pic torial, Art and Artifacts Exhibition in Honor of Alàgbà Adébáyọ̀ Fálétí (1921- 2017) curated by Akinsola Adejuwon and Seyi Ogunjobi". Yoruba Studies Review 3, № 2 (2021): 1–7. http://dx.doi.org/10.32473/ysr.v3i2.129995.

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Alàgbà Adébáyọ Fálétí to generations both in “town and gown” is a Yorùbá ̀ iconic cultural statement. His life was a window to different historical epochs in Nigeria. A life that spanned and recorded historical trajectories of early colonial, decolonisation, independent movement, First and Second World Wars, and Nigerian Civil War, Military and Civilian Rules experiences of Nigeria, is worth studying. The Institute of Cultural Studies, Obafemi Awolowo University Ile Ife in recognition of the deep engraving of the footprints of Fálétí in the sands of Yorùbá, indeed African times, called for bef

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Joachim, Joana. "Black Gold: A Black Feminist Art History of 1920s Montréal." Canadian Journal of History 56, no. 3 (2021): 266–91. http://dx.doi.org/10.3138/cjh.56-3-2021-0017.

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The 1920s have been touted as the golden era of jazz and Black history in Montréal. Similarly, the decade is well known for the Harlem Renaissance, a key moment in African American art history. Yet this period in Black Canadian art histories remains largely unknown. As a first step toward shedding some light on this period in Black Canadian art history, I propose to use what I term a Black feminist art-historical (bfah) praxis to discuss some visual art practices undoubtedly active alongside well-known jazz musicians and cultural producers in 1920s Montréal. This paper presents an overview of

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Rabinowitz, Richard. "Eavesdropping at the Well." Public Historian 35, no. 3 (2013): 8–45. http://dx.doi.org/10.1525/tph.2013.35.3.8.

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Tracing the history of northern slavery in a narrative exhibition at the New-York Historical Society required overcoming the silence of archival and museum collections. Despite the centrality of slavery to the colonial city, the first two centuries of black lives left few traces. In the archival record, African voices were unheard and never registered. A careful deployment of interpretive media—display techniques, audio-visual programs, graphic annotations, commissioned art objects, and architectural design—aimed to bring visitors physically and emotionally ever closer to the experience of New

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