- Bob, I m glad you ll be able to make it. I m not familiar with the ad you mention, but would be interested in seeing it if you ever find the citation or comeMessage 1 of 40 , Aug 3, 2007View SourceBob,
I'm glad you'll be able to make it. I'm not familiar with the ad you mention, but would be
interested in seeing it if you ever find the citation or come across it again.
--- In African_Arts@yahoogroups.com, Bob Ibold <bob.ibold@...> wrote:
> Living as I do in Lancaster, PA, I get to the city occasionally and
> would love to see the show. I will look forward to hearing more about it.
> Still on the subject of Makonde art, a year or so ago I noticed a
> beautiful ad in Architectural Digest (or a similar pub) that showed
> an office interior with a wall covered entirely with shelving on
> which a great collection of Lipikos were displayed. I believe the
> office was someplace in NYC. Do you know anything about that?
> Thanks, Bob Ibold
> At 12:42 PM 8/1/2007, you wrote:
> >Hi Ed,
> >Makonde artists definitely use graphite (although admittedly far
> >less frequently than they use ground charcoal) - I saw three
> >examples of graphite-pigmented masks in performance when I was doing
> >my fieldwork in Cabo Delgado.
> >There will be a separate post about this in early September with
> >more info, but a show I am curating on Mozambican Makonde sculpture
> >and performance at the Wallach Gallery at Columbia University, which
> >opens on Sept. 18 and runs through Dec. 7, will have two masks
> >colored with graphite. For those curious about Makonde masquerade
> >who live in the area, please come, and for all others, there will be
> >a 72-page full-color catalogue with a catalogue essay written by yours truly.
> >Ed Jones <bucit@...> wrote:
> >Maybe I am wrong, but the use of "graphite" pigmentation(s) very
> >well might be charcoal or clay (e.g: mud --- particularly
> >fermentied, as with the use of textiles) ...
> >Lee Rubinstein <LeeRubinstein@...> wrote:
> >I did find some references in which the use of termite and/or ant
> >mound materials are used to produce either ochre-like or yellow
> >pigmentation -- but in an Australian context. The substance used
> >from the mounds seems to be composed of limonite oxide (which
> >suggest that the predominant color produced may be yellow) but my
> >knowledge and understanding of the origins and uses of this
> >substance is minute (i.e., slim to none). I haven't been able to
> >locate any specific references to the use of graphite as a pigment
> >but would classify it among other applied pigmentation from earthen
> >sources such as kaolin which is widely used for mask pigmentation in
> >various part of Africa (for instance, Gabon and Eastern Zaire come
> >to mind). There are indeed significant deposits of graphite in the
> >Mozambican province of Cabo Delgado, the most northeastern province
> >of the country so it seems plausible and likely that graphite would
> >be a resource that would find its way into the art and culture of
> >the Makonde and others who live in the province.
> >The answer to your question about graphite use in pigmentation of
> >masks might possibly be found in the as-yet unpublished manuscript
> >that was meant to accompany and/or follow the 2004-2005 exhibition,
> >"Surfaces: Color, Substances, and Ritual Applications in African
> >Sculpture." at the African Art Museum of the SMA Fathers in Tenafly,
> >NJ. This very interesting exhibition was briefly reviewed by Philip
> >M. Peek in African Arts. The review can be viewed at this link (among others):
> >Unfortunately, as I mentioned, the accompanying book has not yet ben
> >published, although it does have an ISBN that comes up through book
> >search engines which I think is erroneous. The presentation of
> >materials and substances from the "Surfaces..." exhibition was also
> >presented in complement to the exhibition,
> >and Patrons in Traditional African Cultures: African Sculpture from
> >the Gary Schulze Collection" at Queensborough Community College
> >later in 2005. Hopefully, the intended "Surfaces" manuscript will
> >become accessible and the "Artists and Patrons..." exhibition will
> >be viewable -- perhaps with the "Surfaces" material display, again... soon.
> >Although the use of graphite among the Makonde, unfortunately but
> >understandably, is not specifically treated in this particular text,
> >there is a fantastic survey article by Herman Burssens entitled
> >"Sculpting in Wood, Ivory and Stone." The article discusses many of
> >the materials used in the creation of African sculptural works --
> >including a brief (but not overly so as confined by the limitations
> >of a general survey) listing of primary woods used for various
> >traditional carvings from specific groups in certain regions
> >including descriptions of the specific uses and properties of the
> >woods discussed. The article appears in the book/catalogue from the
> >Material Differences: Art and Identity in Africa edited by Frank
> >Herreman (New York/Gent: Museum for African Art and Snoeck-Ducaju
> >and Zoon. 2003).
> >Building a website is a piece of cake.
> >Yahoo! Small Business gives you
> >the tools to get online.
> >Be a better Heartthrob.
> >better relationship answers from someone who knows.
> >Yahoo! Answers - Check it out.
> >Yahoo! oneSearch: Finally,
> >search that gives answers, not web links.
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> >7/30/2007 5:02 PM
- Revisiting an earlier conversation... Although this particular example does not display the characteristics associated with Makonde sculpture, I came acrossMessage 40 of 40 , Sep 8, 2007View SourceRevisiting an earlier conversation...Although this particular example does not display the characteristics associated with Makonde sculpture, I came across this brief description on the British Museum site which locates the origin of 20th century Kenyan and Tanzanian soldier carvings -- of which Ed provided an example [http://ph.groups.yahoo.com/group/African_Arts/photos/view/d47a?b=8] in our discussion regarding the Makonde. Here is a link to a more Kamba-styled example of this modern tradition originated by the Kenyan carver Mutsiya Munge:http://www.thebritishmuseum.ac.uk/explore/online_tours/africa/views_from_africa/carvings_of_soldiers.aspxOnly a small, small fraction of the vast British Museum collection is accessible on-line but... while on the site, why not peruse the African?Access "Highlights"...or....-The Africa Garden: contemporary sculptures by Sokari Douglas Camp, El Anatsui, Adam Madebe, Kester*, Cristovao Canhavato*, Hilario Nhatugueja*, Fiel dos Santos*, Adelino Serafim Maté*, Juginder Lamba, Emmanuel Taiwo Jegede, David Davidson, Daniel and Petra Carstens and Rachid Koraichi.* Also see sculptural works by these and other Mozambican artists transforming "Arms Into Art" -- creating sculpture composed of decommissioned weapons from the Mozambican Civil War which were exchanged for agricultural, domestic and construction tools -- at http://www.africaserver.nl/nucleo/ and Kester's "Throne of Weapons".On this side of the Atlantic...As a reminder and/or for the benefit of new group members, the exhibition "Revolutions: A Century of Makonde Masquerade in Mozambique" -- curated by group participant Alexander Borotolot -- opens on September 19 at the Wallach Art Gallery of Columbia University in New York with a curator's gallery talk on October 25 at 6:30pm. See the attached or http://www.columbia.edu/cu/wallach/htm/exhibitions.html for further details.Also in New York, the exhibition "Visual Griots of Mali: An Exhibition of African Youth Photography" opened yesterday and runs through November 25 at the Courtyard Gallery in the World Financial Center.Lee