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Journal articles on the topic 'African Museum'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Weiss, Nancy E. "Lifting Every Voice Throughout the Nation." Public Historian 40, no. 3 (2018): 142–62. http://dx.doi.org/10.1525/tph.2018.40.3.142.

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The National Museum of African American History and Culture Act authorized the Institute of Museum and Library Services (IMLS) to establish grant programs for museums of African American history and culture. Through its Museum Grants for African American History and Culture program, IMLS helps these museums improve operations, enhance stewardship of collections, engage in professional development, and attract new professionals to the field. The Act has fostered a national ecosystem that leverages the collective resources of the National Museum and African American museums throughout the United

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Cairncross, Bruce. "Two South African Museums: The Johannesburg Geological Museum,Johannesburg, South Africa." Rocks & Minerals 87, no. 5 (2012): 418–20. http://dx.doi.org/10.1080/00357529.2012.709159.

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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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Hilden, Patricia Penn. "Race for Sale: Narratives of Possession in Two “Ethnic” Museums." TDR/The Drama Review 44, no. 3 (2000): 11–36. http://dx.doi.org/10.1162/10542040051058591.

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Have the Museum for African Art and the National Museum of the American Indian, both in New York City, been able to “move the center” from Euro-America to Africa, the African diaspora, or Native America?

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Curtis, Ariana A. "Afro-Latinidad in the Smithsonian’s African American Museum Spaces." Public Historian 40, no. 3 (2018): 278–91. http://dx.doi.org/10.1525/tph.2018.40.3.278.

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The nearly fifty-year gap between the establishment of Smithsonian’s Anacostia Community Museum (ACM) and the National Museum of African American History and Culture (NMAAHC) created a difference in the museums’ central narratives about Blackness and the inclusion of Afro-Latinidad. The Anacostia emerged in 1967 as part of the Black museum movement. It has historically framed Blackness as DC-based African Americanness with periodic inclusion of Afro-Latinidad. The first object in the collection of the NMAAHC is from Ecuador, signaling an inclusive representation of Black identities that founda

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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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ALBUQUERQUE, SARA, and SILVIA FIGUEIRÔA. "DEPICTING THE INVISIBLE: WELWITSCH'S MAP OF TRAVELLERS IN AFRICA." Earth Sciences History 37, no. 1 (2018): 109–29. http://dx.doi.org/10.17704/1944-6178-37.1.109.

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ABSTRACT This paper addresses a nineteenth century African manuscript map which has hitherto remained ‘invisible’. This manuscript was produced by Friedrich Welwitsch (1806–1872), an Austrian botanist in the service of the Portuguese government, and held by the National Museum of Natural History and Science, University of Lisbon Museums/Museu Nacional de História Natural e da Ciência, Museus da Universidade de Lisboa, Portugal (MUHNAC). This historical document contains names of several travellers, many of them ‘invisible’ explorers, located in different parts of the African continent, depicti

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COURI, MÁRCIA S., and ADRIAN C. PONT. "African Spilogona Schnabl: morphology of the male terminalia and description of a new species (Diptera: Muscidae)." Zootaxa 4277, no. 2 (2017): 295. http://dx.doi.org/10.11646/zootaxa.4277.2.12.

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Spilogona breviaristata sp. nov. from South Africa is described and the morphology of the male terminalia of seven African Spilogona Schnabl (Diptera, Muscidae) species are described and illustrated: Spilogona biguttata Emden, Spilogona fuscotriangulata Emden, Spilogona natalensis Zielke, Spilogona pertinisetodes Emden, Spilogona quasifasciata Emden, Spilogona semifasciata Emden and Spilogona spinipes (Bigot). The material studied is deposited in the Natural History Museum (BMNH), London, United Kingdom, and paratypes of the new species are also in the Museu Nacional, Universidade Federal do R

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Sansone, Livio. "Challenges to digital patrimonialization: heritage.org /digital museum of african and Afro-Brazilian memory." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (2013): 343–86. http://dx.doi.org/10.1590/s1809-43412013000100015.

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Historically subaltern groups envisage new possibilities for the creation of community museums and exhibits. This seems to be particularly true of the Global South and, even more so, of Sub-Saharan Africa and the African diaspora to Southern America - two regions of the world where, when it concerns ethno-racial minorities and social movements, presential museums and "actual" archives have more often than not been poorly funded, ill-equipped, and underscored. This article teases out the process of creating such a digital museum that focuses on African and Afro-Brazilian heritage. It is a techn

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Patton, Sharon. "African Mankala: National Museum of African Art." African Arts 18, no. 2 (1985): 78. http://dx.doi.org/10.2307/3336198.

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Sansone, Livio. "The Dilemmas of Digital Patrimonialization: The Digital Museum of African and Afro-Brazilian Memory." History in Africa 40, no. 1 (2013): 257–73. http://dx.doi.org/10.1017/hia.2013.4.

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AbstractHistorically subaltern groups envisage new possibilities for the creation of community museums and exhibits. This seems to be particularly true of the Global South and, even more so, of Sub-Saharan Africa and the African diaspora to Southern America – two regions of the world where, when it concerns ethno-racial minorities and social movements, presential museums and “actual” archives have more often than not been poorly funded, ill-equipped, and underscored. This article teases out the process of creating such a digital museum that focuses on African and Afro-Brazilian heritage. It is

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Couttenier, Maarten. "The Museum as Rift Zone – The Construction and Representation of “East” and “Central” Africa in the (Belgian) Congo Museum/Royal Museum for Central Africa." History in Africa 46 (April 4, 2019): 327–58. http://dx.doi.org/10.1017/hia.2019.7.

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Abstract:This article discusses how the (post)colonial museum in Tervuren helped to create an artificial separation between “East” and “Central” Africa on both sides of Lake Tanganyika, while in reality this was and still is a zone of encounter. The exclusion of the “Arab” was twofold. First, East African objects were not exhibited. Second, “Eastern” material culture that was collected in Central Africa, became represented as imported traces of “barbary,” only highlighting the “civilizing mission” of European colonization.

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Andersen, Josephine. "The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery." Art Libraries Journal 20, no. 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.

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Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SA

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Hayward, Jeff, and Christine Larouche. "The Emergence of the Field of African American Museums." Public Historian 40, no. 3 (2018): 163–72. http://dx.doi.org/10.1525/tph.2018.40.3.163.

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This article offers an overview of the field of African American museums, describing the growth and variety of museums created, basic operational characteristics, their service to their communities, and perceived challenges in the present and future. The data were obtained through two national surveys, each of which had a focused purpose to serve the Association of African American Museums (AAAM), and were funded by the Institute for Museum and Library Services (IMLS). Data from those surveys describe the outlines of the field of African American museums, many of which are small and undercapit

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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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Harney, Elizabeth. "National Museum of African Art." African Arts 35, no. 4 (2002): 89. http://dx.doi.org/10.1162/afar.2002.35.4.89.

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Banks, Patricia A. "Ethnicity, Class and Trusteeship at African-American and Mainstream Museums." Cultural Sociology 11, no. 1 (2016): 97–112. http://dx.doi.org/10.1177/1749975516651288.

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While Pierre Bourdieu argues that cultural capital is grounded in distinct aesthetic knowledge and tastes among elites, Francie Ostrower emphasizes that cultural capital grows out of the social organization of elite participation in the arts. This article builds on Ostrower’s perspective on cultural capital, as well as Milton Gordon’s concept of the ethclass group and Prudence Carter’s concept of black cultural capital, to elaborate how culture’s importance for class and ethnic cohesion is rooted in the separate spheres of arts philanthropy among black and white elites. The argument is empiric

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Bogatova, O. A., and A. V. Mitrofanova. "Museification of the Traumatic Past in South Africa: Competing Narratives." Izvestiya of Altai State University, no. 6(116) (December 18, 2020): 12–16. http://dx.doi.org/10.14258/izvasu(2020)6-01.

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The article summarizes the results of a case study undertaken with the help of non-participant observation in January 2020 in South Africa. Three memorial sites have been observed: the Apartheid Museum, the Liliesleaf Farm Museum and the Voortrekker Monument. Data collection and analysis have allowed identifying the ideological and evaluative content of the expositions of museums that serve the purpose of commemorating the traumatic past of South Africa, and tracing their relationship with other commemorative narratives and the evolution of historical policy in the 20th -21st centuries. The au

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Greyling, Annemarie. "The South African Cultural History Museum Library." Art Libraries Journal 20, no. 4 (1995): 25–26. http://dx.doi.org/10.1017/s0307472200009603.

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The South African Museum (cultural history) opened in 1966 as part of the South African Museum; in 1969 it began an independent existence as the South African Cultural History Museum, with a mission to enable the ‘entire community… to enjoy and to learn about our Cape and international heritage’. The library dates back to the opening of the museum, and now comprises some 12,000 books, 900 pamphlets, and 190 current journals on art related topics. Although the library exists primarily to serve the museum staff, it is open to the public and is well used by students.

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Motsamayi, Mathodi Freddie. "Ethnological Collections in Selected South African Museums - Past Issues and Current Challenges." Museum and Society 18, no. 4 (2020): 441–58. http://dx.doi.org/10.29311/mas.v18i4.3259.

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The paper examines the state of ethnological collections in two post-apartheid South African museums, with a specific focus on cataloguing, and is based, inter alia, on an appraisal of anthropological discourses that informed the collections. A discussion of the artefacts’ background is of importance in establishing their origins, motives for their presence in collections and the current state of these collections. Presently, such information is difficult to establish since persons who have knowledge regarding the makers, donors and collectors of artefacts are no longer part of the museums’ es

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Mikešová, Pavla. "Museums and Their International Audiences." Muzeum: Muzejní a vlastivedná práce 55, no. 2 (2017): 42–44. http://dx.doi.org/10.1515/mmvp-2017-0046.

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Abstract The National Museum, the Centre for Presenting Cultural Heritage in cooperation with the Náprstek Museum of Asian, African and American Cultures, held on the 24th and the 25th October 2017 a specialised seminar entitled “Museums and Their International Audiences” focusing on the work of the museum staff with foreigners who are living in the Czech Republic and foreign visitors. The seminar presented innovative projects from the environments of museums and galleries that present the culture and the history of foreigners and national minorities who are living in the Czech Republic, it de

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Titova, Tatyana A., Elena G. Gushchina, and Elena V. Frolova. "Traditional Religious Beliefs of Tropical Africa Peoples in the Collections of Kazan University Ethnographic Museum." Journal of History Culture and Art Research 6, no. 5 (2017): 370. http://dx.doi.org/10.7596/taksad.v6i5.1270.

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<p>The interest regarding to African cultural values has intensified in all countries of the African continent in the second half of the twentieth - early twenty-first century. The aim of the article is to analyze the traditional religious beliefs of Tropical Africa peoples. The interdisciplinary approach that allows us to consider social realities in the context of historical and cultural changes has become the leading one to the study of this problem. The article shows the role of religion in African society. They considered the system of traditional beliefs and cults, the main forms o

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Tythacott, Louise. "The African Collection at Liverpool Museum." African Arts 31, no. 3 (1998): 18. http://dx.doi.org/10.2307/3337574.

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Powell, Richard J. "African Art at the Field Museum." African Arts 18, no. 2 (1985): 24. http://dx.doi.org/10.2307/3336186.

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Gentis, Thierry. "African Art at the Haffenreffer Museum." African Arts 18, no. 3 (1985): 44. http://dx.doi.org/10.2307/3336354.

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CONRADIE, WERNER, WILLIAM R. BRANCH, and GILLIAN WATSON. "Type specimens in the Port Elizabeth Museum, South Africa, including the historically important Albany Museum collection. Part 2: Reptiles (Squamata)." Zootaxa 4576, no. 1 (2019): 1. http://dx.doi.org/10.11646/zootaxa.4576.1.1.

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The Port Elizabeth Museum herpetology collection contains 407 type specimens, representing 70 primary and 55 secondary squamate types. The type series comprise 93 African taxa (84 lizards and 9 snakes), of which 75 are still regarded as valid. It is the third largest primary reptile type collection in Africa. This is the first catalogue of this important African squamate type collection. It provides the original name, original publication date, journal volume number and pagination, reference to illustrations, current name, museum collection number, type locality, and notes on the status of all

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BOONZAAIER-DAVIDS, MELISSA K., WAYNE K. FLORENCE, and MARK J. GIBBONS. "Novel taxa of Cheilostomata Bryozoa discovered in the historical backlogs of the Iziko South African Museum." Zootaxa 4820, no. 1 (2020): 105–33. http://dx.doi.org/10.11646/zootaxa.4820.1.5.

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Non-studied museum collections are hidden treasures—a source of information for various research fields. The novel taxa presented here were discovered during taxonomic examination of the backlogs of Bryozoa (Cheilostomata) from the Iziko South African Museum. We describe one new genus, Khulisa n. gen., and nine new species of bryozoans from South Africa. The new species are: Biflustra adenticulata n. sp., Aspidostoma sarcophagus n. sp., ?Micropora erecta n. sp., Trypostega richardi n. sp., Khulisa carolinae n. gen. et n. sp., Adeonella assegai n. sp., Hippomonavella lingulata n. sp., Phidolopo

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Madruga, Catarina. "Expert at a distance." HoST - Journal of History of Science and Technology 11, no. 1 (2017): 57–74. http://dx.doi.org/10.1515/host-2017-0004.

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Abstract The career of José Vicente Barbosa du Bocage (1823‒1907) as director of the Zoological Section of the Museu Nacional de Lisboa (National Museum of Lisbon) followed by the presidency of the Society of Geography of Lisbon is presented in this paper as an example of transfer of expertise between scientific fields, specifically from zoology to geography. Additionally, it explores the connection between scientific credit and political recognition, in the sense of the conflation of Bocage’s taxonomical and zoogeographical work with the colonial agenda of his time. Although Bocage himself ne

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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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Vrtal, Vlastimil. "A Collection of African Red Slip Ware in the Náprstek Museum." Annals of the Náprstek Museum 38, no. 2 (2017): 75–86. http://dx.doi.org/10.1515/anpm-2017-0031.

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A group of six specimens of Late Roman pottery from the region of North Africa forms part of collections of the Náprstek Museum. The group comprises of vessels from several different functional types, forming a representative sample of the pottery production of the region. The paper discusses the setting of the individual vessels in the North African ceramic production, their dating, and provenance.

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Scott A.G.M. Crawford. "The Springbok Experience: South African Rugby Museum." Journal of Sport History 45, no. 1 (2018): 94. http://dx.doi.org/10.5406/jsporthistory.45.1.0094.

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Scott A.G.M. Crawford. "The Springbok Experience: South African Rugby Museum." Journal of Sport History 45, no. 2 (2018): 242. http://dx.doi.org/10.5406/jsporthistory.45.2.0242.

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Döring, Tobias. "African Cultures, Visual Arts, and the Museum." Matatu 25, no. 1 (2002): 1–19. http://dx.doi.org/10.1163/18757421-90000417.

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Hardin, Kris L. "Inaugural Exhibitions: National Museum of African Art." African Arts 21, no. 3 (1988): 72. http://dx.doi.org/10.2307/3336448.

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Johnson, Melissa A., and Keon M. Pettiway. "Visual Expressions of Black Identity: African American and African Museum Websites." Journal of Communication 67, no. 3 (2017): 350–77. http://dx.doi.org/10.1111/jcom.12298.

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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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Bernal, Victoria. "Digitality and Decolonization: A Response to Achille Mbembe." African Studies Review 64, no. 1 (2021): 41–56. http://dx.doi.org/10.1017/asr.2020.90.

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AbstractThis article explores questions of decolonization, in part through analyzing Belgium’s Africa Museum. Bernal considers the role of academia and knowledge production, as well as the technological developments that may create new concentrations of power faster than decolonial projects can dismantle established hierarchies. She concludes that decolonization must address material questions of reparations and restitution, and that digital media have been transformative in ways that bring northern models of social existence closer to African ones. Having lived under colonizers, despots, and

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Arinze, Emmanuel Nnakenyi. "Training in African museums: the role of the Centre for Museum Studies, Jos." Museum International 39, no. 4 (1987): 278–80. http://dx.doi.org/10.1111/j.1468-0033.1987.tb00711.x.

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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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Eisensmith, Jake. "Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa." Contemporaneity: Historical Presence in Visual Culture 9, no. 1 (2021): 95–98. http://dx.doi.org/10.5195/contemp/2021.328.

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Exhibition Schedule: The Block Museum, Northwestern University, Chicago, IL, January 26–July 21, 2019; Aga Khan Museum, Toronto, Canada, September 21, 2019–February 23, 2020; Smithsonian Museum of African Art, Washington, DC, TBD–TBD

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Kalibani, Mèhèza. "The less considered part: Contextualizing immaterial heritage from German colonial contexts in the restitution debate." International Journal of Cultural Property 28, no. 1 (2021): 43–53. http://dx.doi.org/10.1017/s0940739120000296.

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AbstractSince the publication of the “restitution report” by Felwine Sarr and Bénédicte Savoy in November 2018, the debate around the restitution of African artifacts inherited from German colonialism in German museums has become increasingly intense. While the restitution debate in Germany is generally focused on “material cultural heritage” and human remains, this reflection attempts to contextualize the “immaterial heritage” (museum collections inventory data, photographs, movies, sound recordings, and digital archive documents) from German colonialism and plead for its consideration in thi

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TSHILILO, PRECIOUS. "Review of South African Euryphyminae ." Zootaxa 4820, no. 1 (2020): 70–104. http://dx.doi.org/10.11646/zootaxa.4820.1.4.

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Euryphyminae is a Southern African endemic subfamily, which to date consists of 23 genera. We collected all available information from historic literature accounts, 626 positively identified museum specimens from 16 genera and 624 fresh field-collected specimens from eight genera to review the Euryphyminae genera of South Africa. Three genera are recorded for the first time to occur in South Africa; Rhodesiana Dirsh, 1959, Acrophymus Uvarov, 1922 and Plegmapteropsis Dirsh, 1956, while Aneuryphymus rhodesianus species is also recorded for the first time in South Africa. This brings the total nu

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Zonstein, Sergei L., and Yuri M. Marusik. "On the revisited types of four poorly known African species of Palpimanus (Araneae, Palpimanidae)." African Invertebrates 60, no. 1 (2019): 83–95. http://dx.doi.org/10.3897/afrinvertebr.60.34229.

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Based on the types deposited in the Museum für Naturkunde Berlin (Germany), the following African species of Palpimanus Dufour, 1820 are re-examined and redescribed in details: P.namaquensis Simon, 1910 (South Africa, Namibia), P.nubilus Simon, 1910 (Namibia), P.paroculus Simon, 1910 (South Africa, Namibia) and P.processiger Strand, 1913 (Rwanda). The distribution of the considered species is specified and the erroneously interpreted geographical data, previously presented in the World Spider Catalog (2019), are corrected.

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GONá‡ALVES, MARIA ALICE REZENDE, and MAURáCIO BARROS DE CASTRO. "A FEIRA DAS YABáS E O PROJETO ”MUSEU AFRODIGITAL RIO: memória entre gerações nos quintais do samba da Grande Madureira”." Outros Tempos: Pesquisa em Foco - História 15, no. 25 (2018): 95–107. http://dx.doi.org/10.18817/ot.v15i25.638.

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Este artigo tem como objetivo refletir sobre memória, samba e poláticas culturais a partir dos resultados obtidos com o projeto de pesquisa ”Museu Afrodigital Rio: memória entre gerações nos quintais do samba da Grande Madureira” desenvolvido pelo Museu Afrodigital Rio (http://www.museuafrorio.uerj.br/), no peráodo de 2012-2016. Trata-se de um museu digital, conectado em rede nacional com outros museus da mesma natureza, que tem como objetivo a preservação da história e da memória dos afro-brasileiros no estado do Rio de Janeiro. O referido projeto de pesquisa dedicou-se a investigar os ritu

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Twitchin, Mischa. "Concerning “the Eurocentric African Problem” (Meschac Gaba)." Open Cultural Studies 3, no. 1 (2019): 276–85. http://dx.doi.org/10.1515/culture-2019-0025.

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Abstract Even as it is often eclipsed by reference to the “contemporary,” modernity is widely celebrated in European museums and galleries. When refracted through the commitments of an avowedly Black artistic agenda, how might these institutions reconceive their understanding of modernism in light of African, diasporic, or Afropean perspectives? How might concerns with African agency be enacted in these cultural spaces as they project historical narratives and produce a “public” memory in their own image? What are the implications of the fact that critical resistance to modes of cultural appro

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46

Hart, W. A. "African Art in the National Museum of Ireland." African Arts 28, no. 2 (1995): 34. http://dx.doi.org/10.2307/3337224.

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Ivanov, Paola. "African Art in the Ethnologisches Museum in Berlin." African Arts 33, no. 3 (2000): 18. http://dx.doi.org/10.2307/3337687.

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Spring, Christopher, Nigel Barley, and Julie Hudson. "The Sainsbury African Galleries at the British Museum." African Arts 34, no. 3 (2001): 18. http://dx.doi.org/10.2307/3337876.

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Alston, Geleana Drew. "Adult education and an African American history museum." Studies in the Education of Adults 48, no. 2 (2016): 225–39. http://dx.doi.org/10.1080/02660830.2016.1219472.

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Towle, Ashley. "National Museum of African American History and Culture." American Journalism 34, no. 1 (2017): 119–20. http://dx.doi.org/10.1080/08821127.2016.1275249.

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