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Ch.34 African Art after 1800

Ch.34 African Art after 1800. Art Beyond the Western Tradition. The majority of the work viewed in this slide show is from the Western coast of Africa. With the exception of South Africa and Eastern coast ( Horn, Kenya). AFRICA 1 ST ART PRODUCING AREAS OF THE WORLD.

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Ch.34 African Art after 1800

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  1. Ch.34 African Artafter 1800 Art Beyond the Western Tradition

  2. The majority of the work viewed in this slide show is from the Western coast of Africa.With the exception of South Africa and Eastern coast ( Horn, Kenya) AFRICA 1ST ART PRODUCING AREAS OF THE WORLD. EARLY HISTORY IS UNDOCUMENTED. ART IS AN ACTIVE AGENT IN THE LIVES OF THE PEOPLE. TRADITION IS HIGHLY IMPORTANT.

  3. Figure 34-2 Stock raid with cattle, horses, encampment, and magical “rain animal,” rock painting, (two details) San, Bamboo Mountain, South Africa, mid-19th century. Pigments on rock, full painting 8’ long. Natal Museum, Pietermaritzburg. SAN-SOUTHEASTERN COAST OF SOUTH AFRICA. HUNTERS,GATHERERS HISTORICAL NARRATIVE STORY MIXES TRADITIONAL AND MODERN CULTURES. ORIGINALLY 8 FT LONG

  4. Figure 34-2 Stock raid with cattle, horses, encampment, and magical “rain animal,” rock painting, (two details) San, Bamboo Mountain, South Africa, mid-19th century. Pigments on rock, full painting 8’ long. Natal Museum, Pietermaritzburg. THEMES HUMAN AND ANIMAL INTERACTION HUNTING IRREGUALR PAINTED SURFACE

  5. Figure 34-3 Reliquary guardian figure (bieri), Fang, Gabon, lat 19th century. Wood, 1’ 8 3/8” high. Philadelphia Museum of Art, Philadelphia. HOLDS RELICS OF ANCESTORS. ANCESTOR WORSHIP HELPS THE LIVING AND CROP PRODUCTION. PROPORTIONS REFLECT CYCLE OF LIFE-INFANT BODY WITH ADULT MUSCULARITY. FIGURE SITS ON TOP OF A RELIC BOX. THEMES RELICS,PILGRIMAGES BODY PROPORTIONS

  6. Figure 34-4 Reliquary guardian figure (mbulu-ngulu), Kota, Gabon, 19th or early 20th century. Wood, copper, iron, and brass, 1’ 9 1/16” high. Barbier-Mueller Museum, Geneva. RELIQUARY FIGURE GUARDS AGAINST EVIL. LOWER PORTION INSERTED INTO A BASKET OR BOX. COVERED IN SHEETS OF POLISHED COPPER AND BRASS-THE GLEAMING SURFACE REPELS EVIL. THEMES PROTECTION FROM EVIL GEOMETRIC FORMS SACRED USE OF METAL

  7. Figure 34-1 Ancestral screen (nduen fobara), Kalabari Ijaw, Nigeria, late 19th century. Wood, fiber, and cloth, 3’ 9 ½” high. British Museum, London. HEADDRESS IS A 19TH CENTURY EUROPEAN SAILING SHIP-REFERENCES HIS SUCCESSFUL TRADING BUSINESS. USEO F HIERARCHICAL SCALE AND COMPOSITION. KALABAR IJAW PEOPLE ARE A TRADING ECONOMY. THEMES TRADING, ECONOMY, BUSINESS HIERACHICAL SCALE ALTAR

  8. Figure 34-5 Throne and footstool, of King Nsangu, Bamum, Cameroon, ca. 1870. Wood, textile, glass beads, and cowrie shells, 5’ 9” high. Museum fur Volkerkunde, Staatliche Museen zu Berlin, Berlin. THRONE AND FOOTSTOOL FOR KING NSANGU. BODYGUARDS HOLDING EUROPEAN RIFLES. THEMES ROYALTY MIXED MEDIA(LUMINOUS) MATERIALS FURNITURE

  9. Figure 34-6 AKATI AKPELE KENDO, Warrior figure (Gu?), from the palace of King Glele, Abomey, Fon, Republic of Benin, 1858-1859. Iron, 5’ 5” high. Musee du quai Branly, Paris. BOCIO-EMPOWERMENT FIGURE KNOWN ARTIST-AKATI AKPELE KENDO ARTIST WAS A PRISONER OF WAR. LIFE-SIZE CENTERPIECE FOR IRON SWORDS. PATRON-KING GUEZO’S SON GLELE THEMES WAR, SOLDIERS LIFE-SIZE FREESTANDING SCULPTURE PATRONAGE

  10. Figure 34-7 Yombe mother and child (pfemba) Kongo, Democratic Republic of Congo, late 19th century. Wood, glass, glass beads, brass tacks,and pigment, 10 1/8”high. National Museum of African Art, Washington, D.C. PFEMBA-MOTHERAND CHILD FIGURE IMAGE OF ROYALTY NOT DEITIES DEPICTS LEGENDARY FOUNDING CLAN MOTHER. POSSIBLY USED BY DIVINERS TO HELP WITH INFERTILITY. THEMES MOTHER AND CHILD WOMEN IN ART

  11. Figure 34-8 Nail figure (nkisi n’kondi), Kongo, from Shiloango River area, Democratic Republic of Congo, ca. 1875–1900. Wood, nails, blades, medicinal materials, and cowrie shell, 3’ 10 3/4” high. Detroit Institute of Arts, Detroit. POWER FIGURE-FIGURE USED BY A TRAINED PRIEST. FIGURE EMBODIED SPIRITS TO HEAL, GIVE LIFE OR SOMETIMES INFLICT HARM, DIEASE OR DEATH. EACH FIGURE CONTAINED ITS OWN POWERS. FIGURES HELD IN AWE BY THE COMMUNITY. EACH TIME A BLADE OR NAIL WAS INSERTED INTO THE FIGURE IT PRODDED THE FIGURE. THEMES SCALE AND ITS IMPORTANCE NATURALISM

  12. Figure 34-9 Seated couple, Dogon, Mali, ca. 1800–1850. Wood, 2’ 4” high. Metropolitan Museum of Art, New York, (gift of Lester Wunderman). SHOWS GENDER ROLES. BABY ON MOTHER’S BACK, QUIVER ON MAN’S BACK. MALE’S HAND PLACEMENT SHOWS SEXUALITY AND OWNERSHIP. THEMES GENDER SEXUALITY COUPLES NEGATIVE SPACE

  13. Figure 34-10 Male and female figures, probably bush spirits (asye usu), Baule, Côte d’Ivoire, late 19th or early 20th century. Wood, beads, and kaolin, male 1’ 9 3/4” high, woman 1’ 8 5/8” high. Metropolitan Museum of Art, New York (Michael C. Rockefeller Memorial Collection, gift of Nelson A. Rockefeller). BUSH SPIRITS- BAULE PEOPLE BELIEVED THESE SPIRITS WERE UGLY BUT DEPICTED THEME AS BEAUTIFUL, IDEALIZED AS NOT O FFEND. DIVINERS-USED FIGURES TO CURE PROBLEMS AND SICKNESS. THEMES IDEALIZED FIGURES FREE STANDING SCULPTURES

  14. Figure 34-11 Royal ancestral altar of Benin King Eweka II, in the palace in Benin City, Nigeria, photographed in 1970. Clay, copper alloy, wood, and ivory. ROYAL ANCESTOR ALTAR. ANNUAL ANIMAL SACRIFICE CARVED ELEPHANT TUSKS COMMEMORATE IMPORTANT EVENTS AND PERSONAGES IN BENIN HISTORY. COPPER ALLOY REPELS EVIL. THEMES ROYALTY ALTARS RELIEF CARVING

  15. Figure 34-12 OSEI BONSU, Akua’ba (Akua’s child), Asante, Ghana, ca. 1935. Wood, beads, and pigment, 10 ¼” high. Private collection. KNOWN ARTIST-OSEI BONSU ARTISTS OFTEN LIVED WITH THEIR PATRONS. FIGURE HELD BY MOTHER IN HOPE CONCEIVING A CHILD. FLATTENED FACE TYPICAL OF AKAN PEOPLE. THEMES CHILDREN WOMEN IN ART PORTRAITS

  16. Figure 34-13 OSEI BONSU, linguist’s staff of two men sitting at a table of food, Asante, Ghana, mid-20th century. Wood and gold leaf, section shown approx. 10” high. Collection of the paramount Chief of Offinso, Asante. LINGUIST’S STAFF -USED BY CARRIER TO SPEAK FOR KING OR CHIEF. MEETINGS MAY BE WITH PEOPLE WHO CONTEST THE KING. SCULPTURE DEPICTS PROVERB “FOOD IS ITS RIGHTFUL OWNER, NOT FOR THE ONE WHO HAPPENS TO HUNGRY”. THEME KING’S POWER PROVERBS GOLD LEAF

  17. Figure 34-14 OLOWE OF ISE, veranda post, from Akure, Yoruba, Nigeria, 1920s. Wood and pigment, 14’ 6” high. Denver Art Museum, Denver. KNOWN ARTIST-OLOWE OF ISE EQUESTRAIN WARRIOR LARGE SCALE POLE SCULPTURE. THEME TALL SCULPTUE, POLE, POST EQUESTRAIN FAMOUS SCULPTOR

  18. Figure 34-15 Senufo masquerader, Cote d’Ivoire, photographed ca. 1980-1990. MASKING INCLUDES-MEN’S ASSOCIATION FOR SOCIALIZATION AND INITIATION, FUNERALS AND PUBLIC SPECTACLES. COMPOSITE CREATURE-ANTELOPE, CROCODILE, WARTHOG, HUMANS, ETC. MASKS ACT AS PROTECTORS FROM EVIL, A JUDGE AND MEDIATORS. THEMES ANIMALS IN ART MEN, MEN’S GROUPS PUBLIC ART FUNERALS

  19. Figure 34-16 “Beautiful Lady” dance mask, Senufo, Côte d’Ivoire, late 20th century. Wood, ca. 1’ 1/2” high. Musée Barbier-Mueller, Geneva. FEMALE MASKS WORN BY MEN. MEN ACT OUT AS “WIVES” OF TERRORIZING MASCULINE MASKS. THEMES WOMEN IN ART COSTUMES CROSS-DRESSING

  20. Figure 34-17 Satimbe masquerader, Dogon, Mali, mid- to late 20th century. DOGON MASKS DRAMATIZE CREATION LEGENDS. SATIMBE- “SISTER ON THE HEAD”-WOMEN WERE THE ORIGINAL SPIRIT MASKERS. DAMA CEREMONY- MASKED SPIRIT CHARACTER ESCORT DEAD SOULS AWAY FROM THE VILLAGE. THEMES AFTERLIFE WOMEN IN ART

  21. Figure 34-18 Female mask, Mende, Sierra Leone, 20th century. Wood and pigment, 1’ 2 1/2” high. Fowler Museum of Cultural History, University of California, Los Angeles (gift of the Wellcome Trust). WOMEN CONTROL AND DANCE THE MASKS IN MENDE SOCIETY. BROAD FOREHEAD SIGNIFIES WISDOM AND SUCCESS. MOUTH AND DOWNCAST EYES INDICATE SERIOUS DEMEANOR. WOMEN EMERGED FROM WATER AS ANCESTORAL MYTHS. THEMES CREATION STORIES DEPICTION OF WOMEN IN ART

  22. Figure 34-19 Bwoom masquerader, Kuba, Democratic Republic of Congo, photographed ca. 1950. BWOOM MASK PART OF CREATION MYTHS. THEMES CREATION ROYALTY PATTERN FAMILY

  23. Figure 34-20 Ngady Amwaash mask, Kuba, Democratic Republic of Congo, late 19th or early 20th century. Peabody Museum, Harvard University, Cambridge. NGADY MASK TEARS ARE REPRESENTED BY BEADS ON CHEEKS. NGADY TEARS ARE FROM GIVING BIRTH TO HER FATHER’S CHILD. THEMES CREATION ROYALTY PATTERN FAMILY

  24. Figure 34-21 Kuba King Kot a-Mbweeky III during a display for photographer and filmmaker Eliot Elisofon in 1970, Mushenge, Democratic Republic of Congo. KUBA KING IS A COLLAGE, ASSEMBLAGE. PERSON IS A WORK OF ART. THEME COLLAGE, ASSEMBLAGE ROYALTY GEOMETRIC DESIGN

  25. Figure 34-22 Samburu men and women dancing, northern Kenya, photographed in 1973. EMBELLISHMENT OF BODIES DRESS IS RAISED TO THE LEVEL OF ART. YOUNG UNMARRIED PEOPLE USE FASHION AS A CODE TO READ BY THEIR PEERS. THEMES CLOTHING FASHION GENDER ROLES

  26. Figure 34-23 Ala and Amadioha, painted clay sculptures in an mbari, Igbo, Umugote Orishaeze, Nigeria, photographed in 1966. MBARI HOUSE- COMMUNITY BUILDSHOUSE EVERY 50 YEARS AS A SACRIFICETO THE MAJOR GODS, INCLUDING ALA (GODDESS OF EARTH). MBARI HOUSE IS IN SECRECY AND IT IS MADE OF MUD BRICKS.HOUSE IS NOT REPAIRED BUT DISINTERGRATES INTO THE EARTH. HOUSE CONTAINS MANY CLAY SCULPTURES AND PAINTINGS. THEMES ARCHITECTUE SACRED SPACES ALTARS

  27. Contemporary African Art

  28. Figure 34-24 Toguna (men’s “house of words”), Dogon, Mali, photographed in 1989. Wood and pigment. TOGU NA- MEN’S HOUSE OF WORDS. MIXTURE OF TRADITIONAL AND MODERNISM. POSTS ARE BUILT OVER TIME-COLORED ONES ARE MODERN. HOUSE IS USED BY MEN TO DECIDE COMMUNITY MATTERS. THEMES ART MADE BY SEVERAL ARTISTS. POSTS, COLUMNS OLD VS NEW ARCHITECTURE

  29. Figure 34-25 TRIGO PIULA, Ta Tele, Democratic Republic of Congo, 1988. Oil on canvas, 3’ 3 3/8” X 3’ 4 3/8”. National Museum of African Art, Washington, D.C. WESTERN TRAINED ARTIST-TRIGO PIULA OIL ON CANVAS DEPICTS A TRADITIONAL KONGO POWER FIGURE (slide # 11) AS A VICTIM OF MODERN WESTERN INFLUENCES. SOCIAL COMMENTARY ON CHANGING AFRICA AND THE POWER OF THE WEST AND TELEVISION. THEMES SOCIAL COMMENTARY OLD VS NEW MASS MEDIA NARRATIVE ART

  30. Figure 34-26 WILLIE BESTER, Homage to Steve Biko, South Africa, 1992. Mixed media, 3’7 5/6”X3’7 5/6”. Collection of the artist. TELLS THE STORY OF STEVE BIKO- THE LEADER OF THE BLACK LIBERATION MOVEMENT OF SOUTH AFRICA. HE WOULD BECOME A MARTYR FOR THE FIGHT AGAINST APARTHEID. REFERENCES INJUSTICE DURING APARTHEID. THEMES SOCIAL, POLITICAL COMMENTARY ON INJUSTICE. ASSEMBLAGE (FOUND OBJECTS) NARRATIVE ART

  31. Figure 34-27 PAA JOE, Airplane and cow coffins in the artist’s showroom in Teshi, Ga, Ghana, 2000. KANE KWEI-TRAINED AS A CARPENTER. KWEI CREATES FIGURATIVE COFFINS THAT REFLECT THE DECEASED LIFE. COFFINS ARE ON DISPLAY-MORE SCULPTURAL THAN FUNCTIONAL. THEMES DEATH SACROPHAGUS POP ART SCULPTURE

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