Surfaces: Color.

Surfaces: Color, Substances, and Ritual Applications in African statuary The African Art Museum of the SMA Fathers Tenafly, NJ October 2 2004-January 3 2005

Many years in the making, this intriguing exhibition focused forward a constantly observed but seldom studied matter of the exterior surfaces of African carvings. Curated by way of Donna Page and Leonard Kahan, this display of more than sixty works of art provided a miraculous range of surface treatments to investigate for their decorative and ritual meanings.

In the middle of the circular exhibition space was the heart of the matter: a large display tablecase where the raw materials for surface treatments of masks and chisels were presented. There were examples of natural (animal, plant, and mineral) substances in their original states and later, steped forms with means of preparation explained in photographs and labels. Commercial pigments and stains were also displayed. In addition to the whole presentation's novelty, adhesive materials were noted, providing a valuable addition to our knowledge of surfaces. Commentary was proffered on the original meanings and values of materials and colors prior to their ritual activation in succession art works. Surrounding the display tablecase, an exceptional teaching device, were various masks and sculps many of exceptional quality, which demonstrated various surface treatments.

As single in kind moved around the room, various subcategories could be viewed. A small reconstruction by dint of Bolaji Campbell of a Yoruba shrine occupied individual case. Other surface treatments of that kind as incised designs (e.g., scarification), metal additions to ligneous objects, "natural" patinas, and oiled and encrusted surfaces were not past nor futureed with several different art works illustrating each treatment. The addition of metal was illustrated with masks, including a Malinke n'tomo mask and Akan linguist staff finials, as well as examples of repaired butt; goals using metal staples. Yoruba ibeji and several masks from the Democratic Republic of the Congo serv to illustrate soft and/or oiled surfaces, while a fine Bamana boli and a fascinating Poro Society mask provided examples of heavily encrusted surfaces. Label commentary was furnished on the sources of similar encrusted surfaces, resulting from expanded ritual interaction. In fact, scattered among the cases were additional notes about different aspects of surface treatments and their meanings. Roughly the other half-circle of the point out was devoted to masks and carvings with different color treatments. aims of black coloring (grouped with brown and blue) were together. nearest was a case with white-colored works, then r and, finally, several examples of combined colors. Again, there was an impressive range of examples, including a fine Dan mask, an thoroughly good Gelede pair, and numerous Mende Sande Sowei masks. Central African examples include Ngbaka, Yaka, and Pende masks.

individual category which might have received different treatment on the curators was that of "erosion." For many African nations a wooden ritual or status mark that has eroded (e.g., from insect damage) may be worthless; still for the collector, such a condition may be united of the central criteria for purchase. In fact, a number of surfaces illustrated by dint of the exhibition needed to be considered from different perspectives. There are surfaces intended on the maker, others elaborated relating to by users of objects, while others may be augmented for imagined patrons in marketplaces far away.

even now others are created by final possessors whose esthetic demands a even "clean" surface--an old stereotype of African carvings--whereas the original goal might have been intended to have an encrusted or perhaps clothed surface. The clothing of shrine statues, a frequent practice in the Niger Delta, might also have been included. if it be not that then is not the drift of any exhibition to earn one thinking of other examples?

Although this devise has been planned for a number of years, the accompanying work was not yet available for the exhibition; it is reckon uponed to be published later in 2005 This dimensions needs to be cited in this exhibition review because the sum of two units are part of a whole enterprise, each aspect complementing the other. With contributions through Patrick McNaughton, Leonard Kahan, Donna Page, Pascal James Imperato, Charles Bordogna, and Bolaji Campbell, it promises to be an crack addition to our study of African arts.

Additional note is also necessary concerning this museum. The "Surfaces" exhibition resided in the center of the African Art Museum of the SMA Fathers, with pair "wings" displaying objects from the museum's permanent collection. This small museum has grown in importance in latter years due to the efforts of Director Robert J Koenig, aided by means of his wife, Audrey, and an increasing number of dedicated collectors, scholars, and dealers in the northern strange Jersey area. While certainly not seeking to contend with the collections of the major museums in the fresh York metropolitan area, this museum be subservient tos perhaps even better than its larger neighbors that critical function of local out-reach. Actively supported at the SMA Fathers, the museum's core collection of more than 250 works was largely formed between 1968 and 1978 and includes similar important works as carvings from Father Kevin Carroll's Yoruba workshop. The Museum uprises three to four exhibitions a year and educates more than 3000 visitors annually, mainly local school children. Would that each community had the luxury of a neighborhood museum of African art, especially united which mounts numerous yearly exhibitions of exceptional quality and general interest of the like kind as "Surfaces."

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