BNG Winter Exhibitions 2008 African Affinities Inuit Art A Tribute to BylleE Lang A Virtual Tour: African Affinities

African Affinities The purpose of this exhibit is to challenge comparative thinking. Your task: compare & contrast traditional african art with contemporary western art Some definitions to be aware of: a) An affinity is a similarity, a close relationship, or parallel b) contemporary describes work being made in the last 20 years

Looking at African Art When researching the history of African art, what becomes increasingly remarkable, is that the art appears so modern and contemporary. In a series of Dan masks, for example, each unique shape of wood depicts individual figures that appear at once tribal and modern. How can such a form exist in the sensibilities of artists so far removed from western modern culture? To be more specific, how might the shape of a robot figure into the design of an ancient Dan mask? Dan Masks from Ivory Coast or Liberia

Find similarities: African & Modern Western Art Above: Painted fabric (detail). Mangbetu (?). Zaire, painted bark cloth. Paul Klee. Poster for Comedians, 1938, coloured paste.

Find similarities: African & Modern Western Art Right: Alberto Giacometti. Tall Figure, 1949, painted bronze. Figure. Nyamwezi. Tanzania, wood.

Affinities OR Influences: what’s the difference? Comparing and contrasting one thing with its relevant counterpart may be natural cognitive reaction. We do this especially with things that we see. However, when it comes to examining parallels between works of art one must be scholarly accurate; simply because one piece of art looks like another does not necessarily mean that one was informed by the other. For example, just because Paul Klee’s work looks like a painted cloth from Zaire does not mean that his art was actually informed by the African traditions of painting fabric.

Going deep: collective consciousness This comparative thinking across vast time and cultures, is reminiscent of the research of Carl Jung, Swiss psychiatrist. Jung posited that mental activity, like dreams and delusions, were informed by the ancient myths and legends of people and cultures long dead. But the images live on in our imaginations, recurring as patterns, archetypes of impressions that are imbedded in our psyches without our conscious knowing. This idea of parallelisms within individual minds, or the idea of collective consciousness, however difficult to accept may well account for parallels between works of art separated by vast time and cultures. Maybe if I go to sleep I’ll get a really great idea from another culture or another time...

African vs. Modern?: 1. Unpack the similarities & Differences 2. Decide which is African and which is Modern Left: Mask. Tusyan. Upper Volta, wood, fiber, and seeds. Right: Max Ernst. Bird-Head, 1934-35, bronze. Left: Mask. Grebo. Ivory Coast or Liberia, painted wood and fiber. Right: Pablo Picasso. Guitar, 1912, sheet metal and wire.

testimonials from the Artists Here’s one scholarly approach: IF you can see an affinity between art styles you could ask the artist if they were influenced by someone else’s ideas Gather testimonials from: A. Interviews B. Letters C. Artist’s Journals

African vs. Contemporary/ Bermudian Art Left: Kente Cloth, Asante Peoples, Ghana. Right: Kevin Morris, Bermudian, Orange Mask on Green, 2007, oil on canvas. Testimonial from the Artist, Kevin Morris: More recently, I have been interested in the colours, motifs and patterns used in ancient cultures... The masks are similar to [African] warrior masks, armoured and providing protection. Each piece is typical of my artwork, consisting of multiple layers of paint and intricate brushstrokes. Sample Testimonials from Artists As a predominantly abstract artist, much of my art reflects my instinctive interest in colour, pattern and design. My pieces are not intended to convey deep, philosophical meaning, but rather, an innate response to the world around us. Kevin Morris

African vs. Contemporary/ Bermudian Art Left:Detail of Graham Foster, Bermudian, Multiple Personalities, 2003, acrylic on wood Right: Reliquary Figure, Kota Peoples, Gabon, wood, copper and ivory. Testimonial from the Artist, Graham Foster: “Once I'd finished 21st century Fetish Family I began to be more influenced by masks-some from the Pacific Rim but most from Africa. I have a small collection of masks and began a series of mask inspired paintings where I would take different characteristics from various masks and then combine them together to come up with a new mask.”

Come to the BNG & see African Affinities Come & Explore your National Gallery

to book a tour contact 295-9428 education@bng.bm