African & African Diaspora Costumed performer in sound suit by Nick Cave

Sylvester Ogbechie Ph.D. Festival of the Arts Art History Lecturer 2012 “Art Collections, Museums, and Preservation of Cultural Heritage in Africa” Saturday, April 21, 1pm in Mariposa 1000 Reception hosted by the Art History Senior Seminar students following the lecture in Mariposa Hall

Africa & African Diaspora Composite photograph – Museum of the African Diaspora, San Francisco Original photo by Chester Higgins, interactive collage by Robert Silvers and Runaway Technology, 2005http://

Kehinde Wiley (b. 1977, Los Angeles), Ice T, 2005, oil on canvas, 96 x 72 in.

ns/388 ns/388 Kerry James Marshall (b Birmingham, Alabama, grew up in South Central LA) Visible Means of Support: Mount Vernon, ; acrylic latex on canvas

Kerry James Marshall, Souvenir II, 1997, acrylic, paper, collage, and glitter on unstretched canvas, 108 x 120 inches

Jacob Lawrence (US, ) Migration of the Negro # 3 (left), #17 (right), #58 (below) Heritage of the Harlem Renaissance, 1920s & ‘30s

Elizabeth Catlett (US born Mexican, 1915 – April 2, 2012), The Black Woman Speaks, 1960, and (right) Sharecropper, 1952, printed 1970, color linoleum cut on cream Japanese paper. Extended woodcut series on black women Mother and Child, 1939

Elizabeth Catlett, In Harriet Tubman I Helped Hundreds to Freedom, woodcut, 1946

Romare Bearden (US, 1912 – 1988) in his New York library 1970s Romare Bearden in his Long Island City studio c with a photograph of his paternal great-grandparents.

Bearden (second from right in hat) in Paris, 1950 Duke Ellington, 1943

(left) Harlem row houses 1943; (right) Romare Bearden, Black Manhattan, 1969, collage of paper and synthetic polymer paint on composition board, 25 x 21”

(right) Romare Bearden, Rocket to the Moon, 1971 Hannah Hoch, Dada Ernst, collage, 1920 George Grosz Gray Day, o/c, Dada/ Neue Sachlichkeit

Stuart Davis, Swing Landscape, 1938, oil on canvas, 86 3/4 x 172 7/8 in.

(left) Georges Braque, Still Life, Cubist collage (papier collé) and graphite, 1913 (right) Picasso, Three Musicians, o/c, Synthetic Cubism, 1921

"The more I played around with visual notions as if I were improvising like a jazz musician, the more I realized what I wanted to do as a painter, and how I wanted to do it." Bearden Three Folk Musicians, 1967 Jazz, 1974

"I think the artist has to be something like a whale, swimming with his mouth wide open, absorbing everything until he has what he really needs. When he finds that, he can start to make limitations. And then he really begins to grow.” Romare Bearden

Paul Gauguin (French Post-Impressionist Painter, ) Spirit of the Dead Watching, 1892 compared with Bearden, Patchwork Quilt, c Primitivism or Identity?

Robert Colescott (b. Oakland, California, 1925) Demoiselles D’Alabama, 1985 compare with Picasso, Demoiselles D’Avignon, 1907

Betye Saar (US, b. 1926), The Liberation of Aunt Jemima, 1972

Faith Ringgold, Whose Bad? 1988 (left) African-American story quilt, c. 1860

David Hammons (US, b. 1943) photo of artist in Zurich, 2002

David Hammons, Higher Goals, 1986, basketball hoops, telephone poles and decorative detritus such as bottle caps, Cadman Plaza, Brooklyn, NY. "Those who know, don't show" - David Hammons

David Hammons, Champ, 1989, rubber (inner tube) and mixed media

Hammons, How Do Ya Like Me Now? Washington DC, 1989

Hammons, How Do Ya Like Me Now? With sledgehammers and flag, Washington DC, 1989; literalization of a stereotype

Glenn Ligon (U.S. b.1960) season-6-of-art-in-the-twenty-first-century (right) Untitled (I'm Turning Into a Specter Before Your Very Eyes and I'm Going to Haunt You) 1992, Oil stick and gesso on canvas. The Philadelphia Museum of Art (below) Malcolm X (version 1) #1. Flashe paint and silkscreen on primed canvas " x 72 season-6-of-art-in-the-twenty-first-century

JrAxxgo JrAxxgo Tyree Guyton (US b. 1955) Heidelberg Project, Detroit present

Fred Wilson (US, 1954) 2003, artist ><curator “I get everything that satisfies my soul from bringing together objects that are in the world, manipulating them, working with spatial arrangements, and having things presented in the way I want to see them.” Fred Wilson In the archive, Museum of World Culture in Sweden

Fred Wilson, Mining the Museum, 1992

Fred Wilson, Road to Victory, online project for MoMA NYC, 1999

Fred Wilson, Museum Guards, 1997

Fred Wilson, Pangaea, 1999, Townsend Harris High School 149th Street and Melbourne Avenue, Queens, (fence & gate)

Fred Wilson, American Pavilion, Venice Biennale, 2003, black glass chandelier

Fred Wilson, from Speak of Me as I Am, Venice Biennale 2003 installation

Kara Walker (US b. 1969), No Mere Words can Adequately reflect the Remorse this Negress feels at having been Cast into such a lowly state by her former Masters and so it is with a Humble Heart that She Brings about Their Physical Ruin and Earthly Demise, Installation view at the California College of Arts and Crafts, Oakland, California. Cut paper and adhesive on painted wall, 10 x 65 feet. SFMoMA collection

Kara Walker, Darkytown Rebellion, 2001, Installationview at Brent Sikkema, New York, Projection, cut paper and adhesive on wall, 14 x 37 1/2 feet

Kara Walker at the Met: After the Deluge, NYC Metropolitan Museum installation, Artist as curator combined her own work with pieces of African American art from the museum’s collection.

Carrie Mae Weems (US b. 1953) publicity photo for film, Conjure Women (available in CSUS library)

Carrie Mae Weems, Untitled, from The Kitchen Table Series, 1990

Carrie Mae Weems, The Capitol Building, from The Jefferson Suite, 1999

Weems, Enactment of the Jefferson-Hemmings Affair, The Jefferson Suite, 1999 digitally printed photograph on muslin

Ghada Amer (Egypt, b. 1963), And the Beast, 2004, acrylic, embroidery, gel medium on canvas, 66 x 79 inches

Sonia Boyce (British, b. 1966) From Tarzan to Rambo: English Born `Native' Considers her Relationship to the Constructed/Self Image and her Roots in Reconstruction 1987, photograph and mixed media on paper x 3590 mm (c. 4 X 12 ft) 2007 audio interview:

Sonia Boyce, Do You Want to Touch? (detail from display of small-scale intricate hairpieces), 1993

Chris Ofili (UK, 1968) The Virgin Mary, paper collage, oil, glitter, polyester resin, elephant dung on linen, 1999 Sensation show at the Brooklyn Museum of Art : controversy over exhibition of the Charles Saatchi collection of Young British Artists (YBAs). NYC Mayor Giuliani: “[There is] nothing in the First Amendment that supports horrible and disgusting projects."

Yinka Shonibare (British, b.1962 to Nigerian parents, raised in Lagos) Dressing Down, wax printed cotton textile, crinoline display stand, “Afro-Victorian” headless mannequins dressed in Dutch wax prints: hybrid colonial fabric. Dutch-Indonesian prints manufactured in England and sold in Africa and considered “African” because of their long popularity there. Example of trans-textuality of contemporary global artists

Yinka Shonibare, MBE, Reverend on Ice, 2005, exhibited with the Gainsboroughs and Reynolds at the National Victoria Gallery, Melbourne, Australia Member of the Most Excellent Order of the British Empire (MBE)

Yinka Shonibare, Reverend on Ice, 2005, fiberglass, cotton (Dutch wax), leather, wood and steel, National Gallery of Victoria Sir Henry Raeburn, Portrait of The Reverend Robert Walker Skating, 1784, oil on canvas, National Gallery of Scotland (Shonibare’s inspiration)

Yinka Shonibare, Diary of a Victorian Gentleman, 21 Hours, photographic series, 1998 compare (right) William Hogarth (English, ) ) Marriage-A-La-Mode: The Toilette, 1735

Yinka Shonibare, Diary of a Victorian Gentleman, 14 Hours, photographic series, 1998 (right) Poster in London Underground, 1998

Steve McQueen (England, b. 1969, lives in Amsterdam, winner of the Turner Prize in 1999), 2 stills from video, Western Deep, 2002, Documenta 11. Taken in the deepest gold mine in the world, the Tautona mines near Johannesburg in South Africa.

El Anatsui (Ghana, b. 1944), Sasa, 2003, Aluminum (bottle caps and commercial metal detritus), copper wire, 640 x 840 cm Africa ReMix exhibition Beaubourg, Paris 2005 Detail showing bottle caps etc.

Hover, 2002Flag for a New World, 2004 Ghanaian Kente cloth – a source (El Anatsui is the second artist in this episode, so move the cursor about 1/3 over from the start.)

El Anatsui, Sasa

El Anatsui, Versatility, 2006 Venice Biennale

El Anatsui on view in a Chelsea art gallery, NYC, February, 2010

Nelson Mandela and F.W. De Klerk were international symbols of apartheid. As a leader of the African National Congress and a participant in the struggle to overthrow apartheid, Mandela spent more than 25 years as a political prisoner. When De Klerk assumed the presidency of South Africa in September 1989, he began to change the system of apartheid and abolish discriminatory laws. On February 11, 1990, De Klerk released Mandela from prison. F.W. De Klerk and Nelson Mandela

William Kentridge (South Africa,1955), Felix in Exile, 1994, video with sound, 00:08:43, Edition of 10, dimensions vary with installation Hand-drawn animated films that focus on apartheid- and post-apartheid South Africa through two fictive white characters, the pensive Felix Teitlebaum and the aggressive industrialist Soho Eckstein, the artist’s alter egos

Kentridge, History of the Main Complaint, 1996, drawing in chalk and charcoal, still from video with sound, 00:05:50, edition of 10, dimensions vary with installation

Kentridge, Drawing for Stereoscope, "Untitled," , charcoal, pastel, and colored pencil on paper, 47 1/4 x 63"

William Kentridge (South African, born 1955), Casspirs Full of Love, 1989–2000, drypoint; 65 1/2 x 38 3/8 in. The Casspir, a landmine protected personal vehicle, was ubiquitous during the days of apartheid in South Africa. It was commonly used in the townships for crowd and riot control.

Dumas, Marlene Dumas (South African, 1953), The Painter, 1994, oil on canvas, 79 in. H “I treat all colors as equally strange."

Marlene Dumas, Mixed Blood, 1996, ink, gouache, and synthetic polymer paint on paper Beaubourg, Paris

Dumas, Chlorosis (Love sick), 1994, ink, gouache, and synthetic polymer paint on paper, each sheet 26 x 19 ½,“ MoMA NYC

Dumas, Blindfolded, 2005, ink on paper, Africa ReMix Exhibition, Paris

Dumas, Passion, 1994, gouache and ink on paper, 61 x 49cm

Dumas, Head Rest, watercolor on paper, 2004 compare: Egon Schiele (Austrian, ), Girl with Black Hair, 1911, watercolor and pencil on paper, 22 1/8 x 14 1/2"