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From: RPearsonpe@aol.com [African_Arts] <African_Arts@yahoogroups.com>
Date: Mon, Jan 5, 2015 at 6:32 AM
Subject: [African_Arts] Book: Making History: African Collectors and the Canon of African Art
To: African_Arts@yahoogroups.com
From: RPearsonpe@aol.com [African_Arts] <African_Arts@yahoogroups.com>
Date: Mon, Jan 5, 2015 at 6:32 AM
Subject: [African_Arts] Book: Making History: African Collectors and the Canon of African Art
To: African_Arts@yahoogroups.com
Making History: African Collectors and the Canon of African Art Hardcover – April 1, 2012 Amazon $ 74.88
T This sumptuous book presents important artworks from Africa, of Yourba , IIIgbo, Urhobo, Cross River, Benin, and Benue River Valley origins. Scsulptures from throughout Nigeria as well as Edo/Benin bronze and brass sculptures are featured, all from a major African-owned collection of African art. The analysis of this unique collection provides significant insight into an unexplored aspect of African art and the role and relevance of African collectors in shaping discourse on the subject.
AAuthor
Sylvester Okwunodu Ogbechie is an associate professor of Art History, University of California Santa Barbara, and is the director of Aachron Knowledge Systems.
Femi Akinsanya calls for more "black" African participation in collection, documentation and sale of indigenous African art. "Black" Africans need to tell their own story rather than remain silent (or reticent), not speaking freely in spite of the fakes and discourse concerning authenticity. African collectors of "black" African art face a major problem of expert/erudite validation because their collections circulate outside of Western systems of dissemination. Their works are typically suspected as fakes, contemporary reproductions or otherwise poor examples of known archetypes. Western scholarship operates without regard for the historical fact of African collecting.
MAKING HISTORY uses the Femi Akinsanya African Art Collection to form an official process for evaluation, acceptance and interpreting an African-owned collection. There is also an emphasis on how such collections could be incorporated into a context of African art studies which are unseen, or unable to be seen. This book features quality and discerning traditional art pieces from the Niger Delta, Eastern and Western Nigeria, the Benue River Valley and Benin, photographed by a Nigerian (Kelechi Amadi-Obi).
Fact 1: Many artworks in African-owned collections in Lagos surpassed the quality of similar examples seen abroad, and few were extraordinary examples.
Fact 2: [Western] Scholarly consensus denies the possibility that significant examples of African art can be found out-side of their established criterion... especially if in African-owned collections. Hence, the "justified" paper-trail including documentation, photos, authentication, intensive research published in extreme and compacted formats; a.k.a "provenance.
MAKING HISTORY uses the Femi Akinsanya African Art Collection to form an official process for evaluation, acceptance and interpreting an African-owned collection. There is also an emphasis on how such collections could be incorporated into a context of African art studies which are unseen, or unable to be seen. This book features quality and discerning traditional art pieces from the Niger Delta, Eastern and Western Nigeria, the Benue River Valley and Benin, photographed by a Nigerian (Kelechi Amadi-Obi).
Fact 1: Many artworks in African-owned collections in Lagos surpassed the quality of similar examples seen abroad, and few were extraordinary examples.
Fact 2: [Western] Scholarly consensus denies the possibility that significant examples of African art can be found out-side of their established criterion... especially if in African-owned collections. Hence, the "justified" paper-trail including documentation, photos, authentication, intensive research published in extreme and compacted formats; a.k.a "provenance.
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