Nigerian art has long been sought after by art collectors in France. Accompanying an important exhibition, Arts of Nigeria in French Private Collections explores Nigeria’s rich artistic production through a collection of beautiful works, including many arresting figurative pieces, in a wide variety of media. Internationally known experts provide texts that introduce Nigeria, its peoples, and its assorted cultures. The superb photographs of the works add to the value of this sumptuous volume.
Collection Thinking is a volume of essays that thinks across and beyond critical frameworks from library, archival, and museum studies to understand the meaning of "collection" as an entity and as an act. It offers new models for understanding how collections have been imagined and defined, assembled, created, and used as cultural phenomena. Featuring over 70 illustrations and 21 original chapters that explore cases from a wide range of fields, including library and archival studies, literary studies, art history, media studies, sound studies, folklore studies, game studies, and education, Collection Thinking builds on the important scholarly works produced on the topic of the archive over the past two decades and contributes to ongoing debates on the historical status of memory institutions. The volume illustrates how the concept of "collection" bridges these institutional and structural categories, and generates discussions of cultural activities involving artifactual arrangement, preservation, curation, and circulation in both the private and the public spheres. Edited and introduced collaboratively by three senior scholars with expertise in the fields of literature, art history, archives, and museums, Collection Thinking is designed to stimulate interdisciplinary reflection and conversation. This book will be of interest to scholars and practitioners interested in how we organize materials for research across disciplines of the humanities and social sciences. With case studies that range from collecting Barbie dolls to medieval embroideries, and with contributions from practitioners on record collecting, the creation of sub-culture archives, and collection as artistic practice, this volume will appeal to anyone who has ever wondered about why and how collections are made.
The Barbier-Mueller Museum invited the anthropologist Nigel Barley, a former curator at the British Museum, to take a look at the museum's Nigerian collection, which came into being over more than a hundred years, thanks to the personal and informed "eye" of the collectors Josef Mueller and Jean Paul Barbier-Mueller. Without aspiring to cover exhaustively the cultural production of Nigeria across the two millennia of its history, the Barbier-Mueller collection is very rich in several respects. Faithful to chronological continuity, it provides a sample of the production of the major cultural centers of Nigeria, shedding light on archaeological pieces from Nok, Katsina, and Sokoto, works from Ife and the kingdom of Benin, and Yoruba, Ijo, and Igbo objects, as well as items from the Cross River and the Benue Valley. By virtue of their rarity, certain pieces in the collection constitute "monuments" of African art. Others, by their emblematic force, are among its great "classics." The exhibition sets out to present these objects, including several displayed here for the first time, highlighting their aesthetic quality even while explaining, by means of the catalogue, the ethnographic context of their production and use. Nigel Barley provides new angles of approach for considering, understanding, and perhaps even better appreciating the art of Nigeria.
This book demonstrates that copper-alloy casting was widespread in southern Nigeria and has been practiced for at least a millennium. Philip M. Peek’s research provides a critical context for the better-known casting traditions of Igbo-Ukwu, Ife, and Benin. Both the necessary ores and casting skills were widely available, contrary to previous scholarly assumptions. The majority of the Lower Niger Bronzes, which we know number in the thousands, are of subjects not found elsewhere, such as leopard skull replicas, grotesque bell heads, ritual objects, and humanoid figures. Important puzzle pieces are now in place to permit a more complete reconstruction of southern Nigerian history. The book will be of interest to scholars working in art history, African studies, African history, and anthropology.
African Art invites you to explore the dynamic origins of the vast artistic expressions arising from the exotic and mystifying African continent. Since the discovery of African art at the end of the nineteenth century during the colonial expositions it has been a limitless source of inspiration for artists who, over time, have perpetually recreated these artworks. The power of Sub-Saharan African art lies within its visual diversity, demonstrating the creativity of the artists who are continuing to conceptualize new stylistic forms. From Mauritania to South Africa and from the Ivory Coast to Somalia, statues, masks, jewelry, pottery and tapestries compose a variety of daily and ritual objects springing from these richly varied societies.
Catalog of an African-owned collection of African artworks, including sculpture of Yoruba, Igbo, Urhobo, Cross River, Benin, and Benue River Valley origins.
Focusing on the theme of warriorhood, Sidney Littlefield Kasfir weaves a complex history of how colonial influence forever changed artistic practice, objects, and their meaning. Looking at two widely diverse cultures, the Idoma in Nigeria and the Samburu in Kenya, Kasfir makes a bold statement about the links between colonialism, the Europeans' image of Africans, Africans' changing self representation, and the impact of global trade on cultural artifacts and the making of art. This intriguing history of the interaction between peoples, aesthetics, morals, artistic objects and practices, and the global trade in African art challenges current ideas about artistic production and representation.
