My recent visit to view the expansive art collections at Brooklyn Museum, located in the Prospect Park area of New York City, provided an interesting opportunity to peruse and critique a series of complex and engaging artistic and curatorial juxtapositions. On every level of this five storey building the vast collections of exhibits and their interpretation narratives were assembled to encourage dialogues between historical artefacts and contemporary artworks, established and experimental museographic techniques, and also conventional versus innovative perspectives on curation, all coupled together within close proximity throughout the display spaces.
The African Collections on Level 1
Nowhere were these artistic and curatorial binaries more starkly evidenced than in the furthest corner of the Level 1 galleries where two, black walled rooms presented the Museum’s permanent holdings of African art objects as the temporary installation “Double Take: African Innovations.”
Whilst it was wonderful browsing these two, tightly filled galleries, packed almost to bursting point with a diverse array of artworks sourced from several African nations, the thematic nature of curator Kevin Dumouchelle’s presentation – contrasting historical sculptural pieces with a range of more recent, multi-media contemporary art exhibits – was actually rendered quite problematic by the Museum’s decision to retain the old-fashioned convention of showcasing African collections within dimly lit, darkly painted interior settings, designed to communicate (wittingly, or unwittingly) the tired 19th century tropes about Africa being perceived in the West as a culturally mysterious ‘Dark Continent’ (see, for example, Hutcheon 1995: 11-13 and Elliott 2007: 32). Continue reading Curatorial traditions and experimental innovations at the Brooklyn Museum, New York
If you would like to propose a research paper, show a portfolio of work, or suggest an alternative multi-media presentation for consideration, please draft a 250-word abstract in response to the following overview:
Session:Western Museumscapes and the Political Aesthetics of Decolonisation: African and Diasporan Arts Activists Agitating for Change
High-profile museums and galleries in the West – such as the British Museum in London, the Pompidou in Paris, and the MoMA in New York – are continuously revising and developing new strategic plans to ensure that their collections, cultural programmes and exhibiting practices are engaging increasingly diverse global audiences. At the heart of these developments are complex issues about the changing nature of acquisitioning, curation, display and interpretation of artworks and cultural objects described as permanent holdings. The policies and practices implemented by these institutions serve as catalysts for generating and sustaining a rich discourse that invites artists, researchers, curators, archivists, educators, scholar activists and other creative practitioners to question their own roles and responsibilities within such dynamic museumscapes.
On Wednesday 2 November 2016 Brighton Museum and Art Gallery will be hosting a one-day conference – “Creating African Fashion Histories” – in partnership with the Royal Pavilion and Museums, Sussex Africa Centre, the University of Sussex and the University of Brighton.
Coinciding with the first major UK exhibition dedicated to contemporary African fashion – “Fashion Cities Africa” curated by Helen Mears, Martin Pel and Harriet Hughes (on display at Brighton Museum and Art Gallery until 8 January 2017) – this conference will explore the possibilities and limitations of dress and fashion history within the wider context of current and past narratives about African fashion.
Presentations and panel discussions will focus on the construction of African fashion histories; the transmission and translation of African fashion identities; new directions in collecting and curating African fashion and the evolution of new platforms for the dissemination of African fashion.
Confirmed speakers include: Victoria Rovine(author, African Fashion, Global Style), Carol Tulloch (author, The Birth of Cool: Style Narratives of the African Diaspora), Christopher Richards (curator, Kabas and Couture: Contemporary Ghanaian Fashion), Erica de Greef, Angela Jansen (author, Moroccan Fashion, Design, Culture and Tradition), Heather Akou (author, The Politics of Dress in Somali Culture), Jody Benjamin, Hannah Pool(author, Fashion Cities Africa, curator, Africa Utopia) Helen Jennings (author, New African Fashion) and others. Continue reading Creating African Fashion Histories – Conference at The Old Courtroom, Brighton, UK (November 2016)
I was fortunate to visit the William Morris Gallery in Walthamstow (east London) this weekend to view a beautiful art installation by British ceramicist Claire Twomey before this temporary exhibition closed to the general public on 18 September 2016.
The one-room installation –“Claire Twomey: Time Present and Time Past“ (William Morris Gallery, 18 June – 18 September 2016) – was initially inspired by William Morris’s working drawing Chrysanthemum (1877) and took the form of a series of 150 ceramic tiles, each measuring 30 x 30 cm, placed on a large table covering the entire ground floor temporary exhibition gallery next to the museum’s café/restaurant
The enlargement and transformation of Morris’s 19th century floral design into a vast 21st century ceramic installation by Claire Twomey was a visual reflection of a poignant statement about temporality and the importance of tangible, inter-generational acts of cultural remembrance that William Morris wrote more than 120 years ago:
“The past is not dead, but is living in us, and will be alive in the future which we are now helping to make.” William Morris (1893) – quotation taken from the preface to “Medieval Love,” by Bartholomew Anglicus
Rather than painting all the individual tiles independently, the ingenuity of Claire Twomey’s artistic intervention was to make the new installation an entirely collaborative process – from the commissioning of digital technicians and expert tile makers from Stoke-on-Trent in the Potteries to assist with the initial digital transfer techniques onto blank white tiles, right through to extending an open invitation to local artists to volunteer as “apprentices” to help paint each individual tile periodically throughout the duration of the exhibition (over c.100 days) using a combination of regular enamel paints with muted colour tones of sage green, ochre, rusts and greys, and also over-layering thin coats of 22-carat gold enamel paint to create a subtly intricate floral mosaic with a spectacular, shimmering surface lustre. Continue reading Walthamstow, Women and William Morris: Claire Twomey’s “Living Installation” in East London
“Senses of Time” is a series of films and video-based contemporary artworks by six artists from the global African diasporas. In each case the contributors invite their audiences to consider the various tensions, contradictions and ambiguities that can exist between personal and political time, ritual and technological time, and corporeal and mechanical temporalities.
The following six film and video-based installations feature as part of a new touring exhibition, organised by the Los Angeles County Museum of Art (LACMA) and the Smithsonian National Museum of African Art, Washington DC:
Sammy Baloji‘s project “Mémoire” [“Memory”] examines the themes of memory and forgetting and is set within the socio-political context of postcolonial de-industrialisation. For much of the film, a dancer (the renowned Congolese dancer-choreographer Faustin Linyekula) can be seen dancing amongst ruins. Baloji states that the 5-minute film is meant to symbolise:
“…the story of politicians and the working classes…of those in power and the work of those who are governed. It is also the story of a body that moves among the ruins of what was once the heart of the DR Congo.”
– Sammy Baloji (cited by Milbourne et. al. 2015: 78)
Theo Eshetu‘s film features a kaleidoscopic art installation that examines the convergence of space and time in relation to the past, present and future.
Moataz Nasr’s work “The Water” focuses on identities distorted by the march of time.
Berni Searle‘s artistic ccontribution features ancestral family portraits being blown about in the wind as a way of representing the “slippages and fragility of time” aligned with issues of identity.
The film “Un Ballo in Maschera” by Yinka Shonibare MBE (RA) features a lavish and ornately decorative ballroom scene with masked dancers dressed in the signature ‘Dutch-wax’ patterned fabrics that have become a major feature of his conceptual and performance-based art installations over several decades.
Sue Williamson‘s artwork – a 36-minute video projection, titled “There’s Something I Must Tell You ” – considers inter-generational dialogues.