Collections: Arts of Africa

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Figure of a Girl Holding a Drum

The barrel-shaped drum may have been introduced to Egypt from the south. Egyptian images often show such drums being played by Nubian or Sud...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Ointment Flask which Has Papyrus Plants Upon It

    Vessels such as this contained small amounts of oil or perfume used for cosmetic purposes. The primary decoration—papyrus plants risin...

     

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    Chiefs ChairFemale Figure with Medicinal Charge (Musinju)Water PipeFigure of Mother and Child (Phemba)Power Figure (Nkisi Nkondi)Mwaash aMbooy MaskMaskLipiko MaskGrave Marker (Tumba)Elephant Tusk Carved with Figures in ReliefPower Figure (Nkishi)Reliquary Guardian Figure (Eyema-o-Byeri)MaskNdop Portrait of King Mishe miShyaang maMbulKoma Ba MaskLikishi Dance Costume Shirt and Head Cover with Pwo MaskPower Figure (Nkisi Nkondi)Fragment of a HeadFigure of a Monkey, possibly for MbraCeremonial Staff (Kibango)Ceremonial Staff (Kibango)Mask (Nganga Diphombe)Kabwelulu Gourd FigurePower Figure (Nkishi)Likishi Dance Costume LeggingsMother with Child (Lupingu lwa Cibola)Pendant CrossPendant CrossPendant CrossGelede MaskMudpack Coiffure (Emedot)Palm Wine Cup (Mbwoongntey)Double Bell (Egogo)Komo Society MaskWaist Pendant with Oba and Two AttendantsPower Figure (Nkishi)Elu Mask with Hinged JawSoul Container (Eraminhô)Pendant Cross with Ear Cleaner ExtensionCeremonial HoeWig (Likishi Dance Costume Accessory)Skirt (Likishi Dance Costume Accessory)Pair of Rattles (Likishi Dance Costume Accessory)Pair of Rattles (Likishi Dance Costume Accessory)Welcome in Our Peace WorldQur’anic Writing BoardHair OrnamentHair OrnamentSnuff Container (Tesa Ya Ma Kanya)PendantSpoon (Kalukili)PendantPalm Wine Cup (Mbwoongntey)HairpinBracelet

    Collection – Showing objects 1 - 55 of 3849

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    A Recent Donation from Camille and Luther Clark

    The Brooklyn Museum Library collection has recently been enriched with the donation of several rare items of African American art given by Camille and Luther Clark. This donation is one of many in response to the Museum’s collecting initiative that began in 2010 to focus on collecting art by African American artists who worked between the mid-nineteenth century and pre-contemporary times. To parallel the growth of the art collection, the Museum Library has tried to increase its holdings on African American artists and this recent donation is an excellent addition to the research collection.

    Fifty books, periodical articles and other primary documents have been received from this major donation and several items are now featured in the Library Display Cases at the entrance of the Museum Library. On display are rare books such as the catalog for the seminal exhibition entitled The Negro artist comes of age; a national survey of contemporary American artists which was held at the Brooklyn Museum in 1945. According to the Brooklyn Museum Bulletin (November 1945, No. 2), the exhibition consisted of fifty-three paintings and nine sculptures “by the leading young Negro artists of the United States. A few of these, such as Jacob Lawrence and Horace Pippin, have been widely shown but the work of the large majority is only now beginning to be recognized as an integral segment of our native art.”

    Negro Artist Comes of Age

    This was an influential exhibition and led the way in how the Museum’s collection developed in later years. For example, the Museum acquired a work of art by Eldzier Cortor that was included in the 1945 exhibition.

    Survey Graphic

    Many of these items are illustrated essays found in periodicals such as the very rare periodical entitled Survey Graphic. The March 1925 issue showcased Harlem with a beautifully illustrated cover bearing the title Harlem: Mecca of the new Negro. The entire issue contains many interesting articles such as “The Making of Harlem” by James W. Johnson and is illustrated by several artists, including Winold Reiss. This and other journals in the Clark donation are not only of great interest textually, but also visually.

    Negro in Art Week

    Other illustrated covers of periodicals are on display such as The Black Scholar, Opportunity: Journal of Negro Life, and The Negro in Art Week exhibition catalog with its visual reference to Egyptian culture.

    Portraits of a People

    In addition to these historical materials, the donation includes key recent works such as Portraits of a People: Picturing African Americans in the Nineteenth Century and Artists and writers of the Harlem Renaissance.

    The Camille and Luther Clark donation has greatly enhanced the Brooklyn Museum Library’s documentation on African American art and we are honored to have these important research materials here.

     

    Author profile

    About Deirdre Lawrence

    Deirdre Lawrence has been the Principal Librarian at the Brooklyn Museum since late 1983. Before coming to the Brooklyn Museum, she was Associate Librarian at the Museum of Fine Arts in Boston. She received her M. L. S. from Pratt Institute in 1979 and has studied art history on the graduate level. At the Brooklyn Museum she has established the Museum Archives and implemented many projects to preserve and make accessible the research collections. Deirdre has overseen a major renovation project, implementation of an online catalog and several collaborative projects with other libraries. She has written articles on the collections and lectured frequently on the research collections held in the Libraries and Archives as well as Brooklyn Museum history. Deirdre has curated several exhibitions at the Brooklyn Museum and elsewhere. She is a visiting professor at Pratt’s School of Information and Library Science and serves as a board member at the Center for Book Arts in New York.
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    African Innovations Now Open!

    After many months of object review, checklist creation, cross-departmental consultation, budgeting, conservation, design, research, writing, photography, editing, construction, painting, installation, and lighting, I am pleased to report that African Innovations is now open to the public. Our ace Technology team has put together the following short video introduction, with footage of the installation in progress.

    To conclude our series, I would like to share one final work. Red Escape II, by Viyé Diba, a Senegalese artist who lives and works in Dakar, is a brand-new acquisition, making its debut in African Innovations. The work was purchased as a joint acquisition by Eugenie and me, on behalf of both the African and Contemporary collections. Thus, it may also find its way into a Contemporary collection rotation at some point in the future.

    Red Escape II

    Viyé Diba (Senegalese, born 1954). Red Escape II, 1999. Cotton strip cloth, paint, sand, wood, metal , 67 x 55 in. (170.2 x 139.7 cm). Brooklyn Museum, Gift of Elliot Picket, by exchange and Alfred T. White Fund, 2011.30. © artist or artist's estate. Photo by Bonnie Morrison.

    The painting itself is composed entirely of materials Diba found in Dakar, making the accumulated hands that previously touched these materials part of the work’s story. The piece of painted yellow wood, projecting between the seams of this woven canvas, and the abstract forms that suggest fleeing figures at the top, all evoke the possibility of liberation—from the plane of the canvas, from the strictures of either painting or sculpture or, perhaps, from the history of Dakar itself, a former minor way station in the odious historical trade in human captives.

    While currently the only significant abstract contemporary work in the African collection, in its materials and surfaces Red Escape II evokes the centuries of more figurative creative expression that came before it. With its themes of community and freedom, it offers a fitting coda to African Innovations.

    Author profile

    About Kevin D. Dumouchelle

    Kevin D. Dumouchelle joined the Brooklyn Museum in 2007. He was promoted to Associate Curator for the Arts of Africa and the Pacific Islands in 2012, having served as Assistant Curator since 2008. In 2011 he conceived and curated African Innovations, the Museum’s first chronological and contextual installation of its African collection. He has also curated a number of exhibitions, and contributed to the writing and editing of a major catalogue of works in the African collection, African Art: A Century at the Brooklyn Museum, published by the Brooklyn Museum in association with DelMonico Books • Prestel in fall 2009. Dumouchelle has published on a range of topics, from architecture and canonical African sculpture to contemporary photography, and he has received numerous fellowships and awards. Dumouchelle earned an M.A. and M.Phil. in Art History and Archaeology from Columbia University, where he taught art history and is completing his Ph.D. He has pursued research in Morocco, Mali, and Ghana, and is the recipient of a first-class Master’s degree in history from Oxford University and a B.S. in Foreign Service from Georgetown University.
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    Elvis is in the building

    Elvis is at the Brooklyn Museum and not where you’d expect to find him—in the new installation of the Museum’s African galleries, African Innovations.

    Elvis Mask for Nyau Society

    Elvis Mask for Nyau Society, ca. 1977. Wood, paint, fiber, cloth, Brooklyn Museum, Gift of Mr. and Mrs. J. Gordon Douglas III, Frederick E. Ossorio, and Elliot Picket, by exchange and Designated Purchase Fund, 2010.41

    Brooklyn’s Elvis is a ceremonial mask of the Nyau Society of the Chewa peoples, who reside primarily in central Malawi.  The Nyau is a secret society that creates these masks for inclusion in ritualistic dances as part of initiation ceremonies, chief coronations and funerals. The masks often represent revered ancestral and animal spirits.  They also have satirical themes and occasionally depict famous foreigners as a means to provide education on social and cultural values. This unique incarnation of a western cultural icon highlights a fascinating interaction between western and non-western societies.

    The mask is hand carved from a single piece of wood with the eyes, mouth and nostrils pierced through. The face is painted with a thick application of pink paint. Synthetic hair defines Elvis’ characteristic pompadour hairstyle and sideburns as well as the eyes and eyebrows.  Various textiles and burlap are attached around the neck.

    Acquired by the Museum in 2010, Elvis wasn’t quite ready for the spotlight.  The hair had been infested with insects, painted areas were dirty and flaking, and the textiles, believed to be original to the mask, were in tatters.

    Upon its arrival in the conservation lab, the mask was monitored to determine that live insects were not present, and then it was thoroughly groomed to remove old insect casings and debris. Painted surfaces were lightly cleaned and stabilized.  The textiles around the neck were reconstructed and secured around the bottom edge of the mask by stitching the original textile to a support backing of nylon netting—the same netting textile conservators use to stabilize our mummy collection.  The netting provides support for the original fabric without altering the appearance.

    Elvis Mask Before Treatment

    Before treatment the mask was too fragile for exhibition.

    Elvis detail netting

    During treatment nylon netting was attached behind the original textile for support.

    The conservation of Elvis highlights how conservators approach the treatment of many ethnographic objects.  The mask was not restored to what it may have looked like when it was first made.  Instead, it was conserved to reflect the history of its use and to make it stable enough to be exhibited safely without further deterioration.

    Elvis will be a featured in African Innovations opening August 12th—just in time for the 34th anniversary of the Elvis’ death.  So if you can’t make it to Graceland this year, stop by the Brooklyn Museum.

    Author profile

    About Kerith Koss

    Kerith Koss is the Andrew W. Mellon Fellow in Objects Conservation at the Brooklyn Museum. She received her Master's Degree in Art History and Conservation from the Conservation Center of the Institute of Fine Arts at New York University. Before joining the Brooklyn Museum in 2008, she was a Smithsonian Post-Graduate Fellow at the Freer Gallery of Art in Washington, DC. Over the course of her conservation training, she has completed internships at the Metropolitan Museum of Art, the Field Museum in Chicago and the Shelburne Museum in Vermont and has assisted in hurricane recovery efforts at several local museums on the Gulf Coast of Mississippi.
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    Please Touch

    Textiles are a crucial element to the story I wanted to tell in African Innovations. Immensely varied in media, form, content and use, textile arts are found in every corner of the continent. They have played important roles in the circulation of wealth, power, ideas and artistic styles, and would remain a central part of the narrative of the gallery focusing on “Arts of the Self.” Brooklyn has a number of standout African textiles from a range of cultures, particularly from the Kuba of central Congo.

    Overskirt

    Overskirt. Unidentified Kuba artist, late 19th or early 20th century. West Kasai province, Democratic Republic of the Congo. Raffia, pigment. Purchased with funds given by Frieda and Milton F. Rosenthal, 1991. 72

    However, textiles also present considerable challenges from the point of view of design and conservation. They tend to require a considerable amount of space (at a premium in this installation), and can only be exposed to light for a limited period of time before needing to be rotated out and returned to storage. For a number of reasons, showing the strengths of Brooklyn’s African textile collection was not in the cards, this time around.

    Constraints (to mangle a phrase) can sometimes be the mother of invention, however, and we’ve come up with a new means of presenting the variety of African textile design to our visitors, without sacrificing space or museum objects. African Innovations will instead contain a wall of “touch textiles.” These are mid-to-late 20th century examples of textile genres from around the continent, generously donated by a handful of local collectors, which will be installed in a manner that will permit visitors to feel, as well as see, the variety and ingenuity of African fabric work.

    This was a really fun portion of the installation on which to work, as this idea allowed us more flexibility than would be otherwise possible in working with museum objects. I was fortunate to have a wide variety of fabrics from which to select.

    We ultimately decided to show 16 different examples of “touch textiles”—ranging from machine-printed kangas from East Africa to bark cloth from the Congolese forests and bogolan (mud cloth) from Mali—in a grid pattern, on one wall of the “Arts of the Self” section. Once I had selected our final 16, Matthew contacted a neighborhood tailor to cut and hem the samples to size.

    African Textiles

    “Touch textile” samples swarm the African conference room.

    African Textiles

    “Touch textile” samples swarm the African conference room.

    African Textiles

    An early mock-up of the “touch textile” wall.

    Tailor Shop

    Indigo cloth being prepared at the tailor’s shop.

    I hope you’ll have a chance to come and enjoy some (limited) museum rule-breaking and “please, touch!” our textile wall, once African Innovations opens at the end of next week.

    Author profile

    About Kevin D. Dumouchelle

    Kevin D. Dumouchelle joined the Brooklyn Museum in 2007. He was promoted to Associate Curator for the Arts of Africa and the Pacific Islands in 2012, having served as Assistant Curator since 2008. In 2011 he conceived and curated African Innovations, the Museum’s first chronological and contextual installation of its African collection. He has also curated a number of exhibitions, and contributed to the writing and editing of a major catalogue of works in the African collection, African Art: A Century at the Brooklyn Museum, published by the Brooklyn Museum in association with DelMonico Books • Prestel in fall 2009. Dumouchelle has published on a range of topics, from architecture and canonical African sculpture to contemporary photography, and he has received numerous fellowships and awards. Dumouchelle earned an M.A. and M.Phil. in Art History and Archaeology from Columbia University, where he taught art history and is completing his Ph.D. He has pursued research in Morocco, Mali, and Ghana, and is the recipient of a first-class Master’s degree in history from Oxford University and a B.S. in Foreign Service from Georgetown University.
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    Installation in Progress

    One of the many adaptations that moving the African collection into the South Gallery on the First Floor has required has been adjusting to a space that is both smaller and considerably more open than the old Arts of Africa galleries.

    Installation in Progress

    Installation in progress.

    Through a series of discussions and plans with Matthew, our Chief Designer, I have come to see that openness as one of the most exciting features of the new layout (instead of a problem to be overcome). The African Innovations galleries will be visible from many different angles within the Great Hall, and will allow visitors to move between the two spaces with ease, while still creating a number of separate galleries within the new installation.

    Case Layout

    Case layout for portion of opening segments of African Innovations

    Carpentry plan

    Carpentry plan for portion of opening segments of African Innovations.

    Paint Plan

    Paint plan for portion of opening segments of African Innovations.

    The design cleverly use of a series of diagonal walls, aligned with the existing architecture of the building, to create seven distinct spaces within the installation, for each of the exhibition’s themes. These mini-galleries have the benefit of organizing related works in close proximity, while still drawing upon the openness of the original space.

    If you’ve been to the museum in the last month, you have been able to watch this process play out in the open, at least in part. In that same spirit, here are a few “behind-the-scenes” shots to fill you in on parts of the construction and re-installation process that have been less visible.

    Installation

    Arts of the Dan case in Arts of Africa during de-installation with Collections Management notes explaining the mounts and movement locations of the respective objects in the case.

    Installation

    Objects in the Arts of Africa galleries were moved to temporary storage and notes indicate which cases will be re-used and re-painted for African Innovations.

    Installation

    The Arts of Africa galleries became a temporary work-space, in which cases were painted and dried, and new linen was sewn onto the backs of case boards.

    Installation

    Vitrines in the Arts of Africa galleries/work-space are covered during case painting and board preparation.

    Installation

    African Innovations’ new signature work, our Three-Headed Figure (Sakimatwemtwe) by an unidentified 19th century Lega artist, sits in temporary storage with his mount and mount sheet, awaiting his star turn.

    Installation

    In temporary storage, old favorites can be seen in (surprising!) new angles.

    Installation

    In the African Innovations galleries, the walls went up earlier in the month.

    Installation

    Now painted, the color scheme has begun to emerge...as has the eventual flow between the Great Hall and the new installation.

    Installation

    Looking through the African Innovations galleries, from near the eastern wall, upon the completion of painting.

    Author profile

    About Kevin D. Dumouchelle

    Kevin D. Dumouchelle joined the Brooklyn Museum in 2007. He was promoted to Associate Curator for the Arts of Africa and the Pacific Islands in 2012, having served as Assistant Curator since 2008. In 2011 he conceived and curated African Innovations, the Museum’s first chronological and contextual installation of its African collection. He has also curated a number of exhibitions, and contributed to the writing and editing of a major catalogue of works in the African collection, African Art: A Century at the Brooklyn Museum, published by the Brooklyn Museum in association with DelMonico Books • Prestel in fall 2009. Dumouchelle has published on a range of topics, from architecture and canonical African sculpture to contemporary photography, and he has received numerous fellowships and awards. Dumouchelle earned an M.A. and M.Phil. in Art History and Archaeology from Columbia University, where he taught art history and is completing his Ph.D. He has pursued research in Morocco, Mali, and Ghana, and is the recipient of a first-class Master’s degree in history from Oxford University and a B.S. in Foreign Service from Georgetown University.
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    Recent Blog Posts

    A Recent Donation from Camille and Luther Clark
    The Brooklyn Museum Library collection has recently been enriched with the donation of several rare items of African American art given by Camille... read more.

    African Innovations Now Open!
    After many months of object review, checklist creation, cross-departmental consultation, budgeting, conservation, design, research, writing... read more.

    Elvis is in the building
    Elvis is at the Brooklyn Museum and not where you’d expect to find him—in the new installation of the Museum’s African galleries, African... read more.

    Please Touch
    Textiles are a crucial element to the story I wanted to tell in African Innovations. Immensely varied in media, form, content and use, textile... read more.

    Installation in Progress
    One of the many adaptations that moving the African collection into the South Gallery on the First Floor has required has been adjusting... read more.

    Read all Arts of Africa blog posts

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    Recent Comments

    "by the overriding power of the crocodile may all evils crawl away by the reputation of the beast of the river may all enemies on land be cast down with weakness by the strength of the crocodile tail may all ill spirits disperse like smoke in the air may all power and strength be ours; may all of ill-intent be as living flesh caught between the crocodile’s jaws "
    By RajArumugam

    "LUPINGU LUA LUIMPE I am a Lulua woman here a mediator between worlds: O make me fertile give me a child make my child live long and well so that you shall smile on me with such gifts as I ask of you I shall place one figure in my home and one I shall carry with me so that you shall allow these things I ask of you I shall be mindful each day; and I shall pour oil on the figure and wipe red clay and this I shall do everyday I am a Lulua woman here a mediator between worlds: O make me fertile give me a child make my child live long and well "
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    "Thanks to this mask with supporting comments, I've been able to identify the origins of one ours. They appear to be somewhat rare. Thanks again. Larry "
    By Larry W. Harms

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