| african arts SPRING 2022 VOL. 55, NO. 1 Doran Ross was arguably the leading scholar of Akan art and visual culture, who, over the course of a very productive forty-five-year career, published eight books, over forty articles and book chapters, and countless shorter pieces dealing with the arts of the Akan and, on occasion, other parts of Ghana. References to his scholarship abound in the works of many scholars who have been writing about Akan art over the last half century, including the two of us. Rather than simply enumerate the contributions that Doran has made to Akan visual studies, we decided to present an edited transcription of a conversation we had in April 2021 that provided us the opportunity to reflect upon both our personal memories of Doran as well as the impact his writing and curatorial projects have had on the field of African art history. For those readers who might be interested, we have provided, at the end of this reflection, a list of Doran’s publications that deal with the arts of Ghana, particularly Akan societies.
{"title":"Doran Ross: The Scholar of Akan Art","authors":"N. Quarcoopome, Raymond A. Silverman","doi":"10.1162/afar_a_00627","DOIUrl":"https://doi.org/10.1162/afar_a_00627","url":null,"abstract":"| african arts SPRING 2022 VOL. 55, NO. 1 Doran Ross was arguably the leading scholar of Akan art and visual culture, who, over the course of a very productive forty-five-year career, published eight books, over forty articles and book chapters, and countless shorter pieces dealing with the arts of the Akan and, on occasion, other parts of Ghana. References to his scholarship abound in the works of many scholars who have been writing about Akan art over the last half century, including the two of us. Rather than simply enumerate the contributions that Doran has made to Akan visual studies, we decided to present an edited transcription of a conversation we had in April 2021 that provided us the opportunity to reflect upon both our personal memories of Doran as well as the impact his writing and curatorial projects have had on the field of African art history. For those readers who might be interested, we have provided, at the end of this reflection, a list of Doran’s publications that deal with the arts of Ghana, particularly Akan societies.","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":" ","pages":"20-25"},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46684545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pour les Africians, le corps, et plus particulierement la tete, possede une force symbolique. La coiffe masculine et feminine traduit l'etat (social, psychique, etc.) de celui qui la porte. Certaines formes ont ete adaptees aux sensibilites et a l'esthetique locales. Divers materiaux, techniques et formes caracterisent ces coiffes qui allient l'esthetique et le pratique dans la vie quotidienne. Des chapeaux spectaculaires existent pour les occasions speciales. Les personnes ayant une activite particuliere (chasseur, guerrier, devin, chef) portent des coiffes distinctes, symboles du rang et du titre detenu. Les vetements « kente » et « bogolanfini » sont desormais associes a l'identite africaine meme chez les Afro-americains : les influences transatlantiques se multiplient
{"title":"Crowning Achievements: African Arts of Dressing the Head","authors":"M. J. Arnoldi, C. M. Kreamer","doi":"10.2307/3337248","DOIUrl":"https://doi.org/10.2307/3337248","url":null,"abstract":"Pour les Africians, le corps, et plus particulierement la tete, possede une force symbolique. La coiffe masculine et feminine traduit l'etat (social, psychique, etc.) de celui qui la porte. Certaines formes ont ete adaptees aux sensibilites et a l'esthetique locales. Divers materiaux, techniques et formes caracterisent ces coiffes qui allient l'esthetique et le pratique dans la vie quotidienne. Des chapeaux spectaculaires existent pour les occasions speciales. Les personnes ayant une activite particuliere (chasseur, guerrier, devin, chef) portent des coiffes distinctes, symboles du rang et du titre detenu. Les vetements « kente » et « bogolanfini » sont desormais associes a l'identite africaine meme chez les Afro-americains : les influences transatlantiques se multiplient","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"45-47"},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/3337248","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44992668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Doran H. Ross","authors":"Marla C. Berns, B. D. Quick","doi":"10.1162/afar_a_00624","DOIUrl":"https://doi.org/10.1162/afar_a_00624","url":null,"abstract":"","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"8-14"},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45448175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sahel:Art and Empires on the Shores of the Sahara","authors":"P. Imperato","doi":"10.1162/afar_r_00641","DOIUrl":"https://doi.org/10.1162/afar_r_00641","url":null,"abstract":"","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"83-85"},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44924299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
| african arts SPRING 2022 VOL. 55, NO. 1 As many of the contributors to this issue have amply demonstrated, Doran Ross was a man of broad and diverse interests and intense loyalties. While he spent many decades researching the arts of Ghana, with a particular focus on the arts of the Akan-speaking peoples, he undoubtedly had a particular soft spot for the egalitarian and community-based art forms associated with the asafo companies of the Fante peoples of Southern Ghana. Asafo companies existed among all Akan groups, where they functioned as both army and police in precolonial times. However, among the Fante they became structured groups of particular importance, defined by a range of kinetic, performative, and monumental art forms that had been largely ignored by African art scholars. Always interested in multilayered and unconventional topics, Doran set off to study asafo flags in the mid 1970s when, as a graduate student at UCSB under the supervision of Professor Herbert M. Cole, he ventured to Ghana for the first time. The results of his early research were published in The Arts of Ghana, which he coauthored with Cole in 1977, and in the short but seminal pamphlet Fighting with Art: Appliquéd Flags of the Fante Asafo that accompanied a 1979 Fowler Museum exhibition. Quite fittingly, asafo flags were also the topic of Doran’s last major publication, a book he and I coauthored to accompany the exhibition Art, Honor, and Ridicule: Asafo Flags from Southern Ghana at the Royal Ontario Museum in 2016 (Forni and Ross 2017). At the time of his passing, we were in the process of expanding the exhibition for the Fowler Museum; it is now scheduled for the fall of 2022. Colorful, performative, semantically layered, historical yet always current, infinitely reproducible, and often ironic, asafo flags constituted a very fitting subject for Doran’s detail-oriented and irreverently inquisitive mind. His earlier publication Fighting with Art outlined the complex setting of these art works, establishing their historical significance and social relevance while also identifying key individuals and families active in the main flag-making workshops of the Central Region at the time of his research. The scope of this first publication established the foundation for the research Doran carried out over the course of his life by regularly attending festivals and performances, visiting flag-making workshops, documenting shrines, paying respects to company leaders, and also keeping the pulse of the art market through frequent engagements with dealers and collectors.1 With his camera around his neck, he was a towering presence in large and small gatherings, perfectly at ease moving through the crowds recording official and unofficial displays of artistry and creativity in the ever-moving flow of asafo performances (Fig 1). As Doran’s research and publications have taught us, asafo flags are the rich and complex insignia of Fante military companies. These patrilinear org
|《非洲艺术之春2022》第55卷第1期正如本期的许多撰稿人所充分证明的那样，多兰·罗斯是一个拥有广泛而多样的兴趣和强烈忠诚的人。尽管他花了几十年的时间研究加纳的艺术，特别关注讲阿坎语的民族的艺术，但毫无疑问，他对与加纳南部范特人的阿萨福公司相关的平等主义和社区艺术形式有着特殊的好感。阿萨福公司存在于所有阿干集团中，在殖民前，它们既是军队又是警察。然而，在范特人中，他们成为了具有特殊重要性的结构化群体，由一系列动态、表演和纪念性的艺术形式定义，而这些艺术形式在很大程度上被非洲艺术学者所忽视。多兰一直对多层次和非传统的主题感兴趣，他于20世纪70年代中期开始研究阿萨福旗，当时他还是加州大学旧金山分校的研究生，在赫伯特·M·科尔教授的指导下，第一次冒险前往加纳。他的早期研究结果发表在1977年他与科尔合著的《加纳艺术》上，以及1979年福勒博物馆展览附带的一本简短但具有开创性意义的小册子《与艺术抗争：狂热者的旗帜》中。恰如其分的是，阿萨佛旗也是多兰最后一本主要出版物的主题，这本书是他和我合著的，与2016年在安大略皇家博物馆举办的展览《艺术、荣誉和嘲笑：来自加纳南部的阿萨佛旗帜》（Forni and Ross 2017）配套。在他去世时，我们正在为福勒博物馆扩大展览；现在计划在2022年秋季举行。色彩丰富、表演性强、语义层次分明、历史性但始终是最新的、无限可复制且经常具有讽刺意味的阿萨佛旗帜构成了多兰注重细节和不敬的好奇心的一个非常合适的主题。他早期出版的《与艺术抗争》概述了这些艺术作品的复杂背景，确立了它们的历史意义和社会相关性，同时也确定了他研究时活跃在中部地区主要旗帜制作工作室的关键个人和家庭。这第一份出版物的范围为多兰一生的研究奠定了基础，他定期参加节日和演出，参观旗帜制作车间，记录神殿，向公司领导人致敬，通过与经销商和收藏家的频繁接触，他也保持着艺术市场的脉搏。1他脖子上挂着相机，在大大小小的聚会上都是一个引人注目的人物，在人群中穿行时非常自如，在不断变化的asafo表演中记录官方和非官方的艺术和创造力展示（图1）。正如多兰的研究和出版物告诉我们的那样，阿萨佛旗是范特军事公司丰富而复杂的徽章。这些父系组织控制着范特城邦的不同地区，在那里他们履行着多项军事和宗教职责，并负责社区的安全和福祉。每个范特村都有2到14个关于加纳艺术的asafo奖学金
{"title":"An Unwavering Passion: Doran Ross's Scholarship on Asafo Flags","authors":"Silvia Forni","doi":"10.1162/afar_a_00628","DOIUrl":"https://doi.org/10.1162/afar_a_00628","url":null,"abstract":"| african arts SPRING 2022 VOL. 55, NO. 1 As many of the contributors to this issue have amply demonstrated, Doran Ross was a man of broad and diverse interests and intense loyalties. While he spent many decades researching the arts of Ghana, with a particular focus on the arts of the Akan-speaking peoples, he undoubtedly had a particular soft spot for the egalitarian and community-based art forms associated with the asafo companies of the Fante peoples of Southern Ghana. Asafo companies existed among all Akan groups, where they functioned as both army and police in precolonial times. However, among the Fante they became structured groups of particular importance, defined by a range of kinetic, performative, and monumental art forms that had been largely ignored by African art scholars. Always interested in multilayered and unconventional topics, Doran set off to study asafo flags in the mid 1970s when, as a graduate student at UCSB under the supervision of Professor Herbert M. Cole, he ventured to Ghana for the first time. The results of his early research were published in The Arts of Ghana, which he coauthored with Cole in 1977, and in the short but seminal pamphlet Fighting with Art: Appliquéd Flags of the Fante Asafo that accompanied a 1979 Fowler Museum exhibition. Quite fittingly, asafo flags were also the topic of Doran’s last major publication, a book he and I coauthored to accompany the exhibition Art, Honor, and Ridicule: Asafo Flags from Southern Ghana at the Royal Ontario Museum in 2016 (Forni and Ross 2017). At the time of his passing, we were in the process of expanding the exhibition for the Fowler Museum; it is now scheduled for the fall of 2022. Colorful, performative, semantically layered, historical yet always current, infinitely reproducible, and often ironic, asafo flags constituted a very fitting subject for Doran’s detail-oriented and irreverently inquisitive mind. His earlier publication Fighting with Art outlined the complex setting of these art works, establishing their historical significance and social relevance while also identifying key individuals and families active in the main flag-making workshops of the Central Region at the time of his research. The scope of this first publication established the foundation for the research Doran carried out over the course of his life by regularly attending festivals and performances, visiting flag-making workshops, documenting shrines, paying respects to company leaders, and also keeping the pulse of the art market through frequent engagements with dealers and collectors.1 With his camera around his neck, he was a towering presence in large and small gatherings, perfectly at ease moving through the crowds recording official and unofficial displays of artistry and creativity in the ever-moving flow of asafo performances (Fig 1). As Doran’s research and publications have taught us, asafo flags are the rich and complex insignia of Fante military companies. These patrilinear org","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"26-28"},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48908577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Elisabeth L. Cameron, C. Clarke, Courtnay Micots, Scott M. Edmondson
{"title":"Doran Ross, Our Mentor and Friend","authors":"Elisabeth L. Cameron, C. Clarke, Courtnay Micots, Scott M. Edmondson","doi":"10.1162/afar_a_00637","DOIUrl":"https://doi.org/10.1162/afar_a_00637","url":null,"abstract":"","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"64-67"},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45729601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How does a late nineteenth or early twentieth century Kuba mask from the Democratic Republic of the Congo relate to Gilbert Stuart’s 1796 portrait of George Washington? What ensues when we place vessels from twentieth and twenty-first century ceramicists working in Seoul, Nairobi, and Lagos in dialogue? African Arts—Global Conversations endeavored to answer these innovative queries. The exhibition cultivated a deeper understanding of African art through a global lens. While contemporary African art tends to be curated with transnational histories in mind, there has been less focus on situating classical and modern African art within a global canon. Kristen Windmuller-Luna, at the time the Sills Family Consulting Curator, African Arts, at the Brooklyn Museum, placed key works from the longue durée of African art history in other departments—American, European, Asian, Ancient Egyptian—as part of a multifloor installation. Global Conversations is a title apropos to the dialogue encouraged by experimental thematic groupings, which avoided presenting a teleological and periodized history of art. The exhibition was transparent about its art historical inheritance and, accordingly, about the political and intellectual impetus behind the curatorial decisions. The first-floor gallery of the exhibition was a visual and textual introduction to important themes in an international context, such as modernism, feminism, and architecture. A Freetown, Sierra Leone Mask for the Ordehlay (mid-twentieth century) was on display beside an ancient Greek statue, Serapis (30 bce–395 ce), under the theme of transculturalism (Fig. 1). Ordehlay association masks contain iconographic influences from Chinese cinema, Yoruba masquerade, and the water spirit Mami Wata. Like the transcultural Ordehlay mask, Serapis was a god created by Egypt’s Ptolemaic rulers for the purpose of Greeks and Egyptians worshipping the same deity together. On the topic of multiple modernities, a painting by Ghanaian artist Atta Kwami (b. 1956), Another Time, Ɣebubuɣi (2011) (Fig. 2) was placed in dialogue with Study for Homage to the Square “High Tenor” (1959) by American artist Josef Albers (1888–1976). Eschewing a singular Euro-American narrative, this pairing illustrates how abstraction crafts multiple modernisms. In addition to a wide range of artworks, there were art history textbooks on display in a vitrine: a range from the 1930s to 1970s, including examples like Hendrik Willem van Loon and Grace Castagnetta’s The Arts (1937) and H.W. Janson’s History of Art (1970). These books, opened at distinct pages with highlighted paragraphs as archetypal examples, 1 Global Conversations installation view, Mask for the Ordehlay (Ode-Lay) or Jollay Society (mid-20th century) on the left and Serapis on the right.
来自刚果民主共和国的十九世纪末或二十世纪初的库巴面具与吉尔伯特·斯图尔特1796年的乔治·华盛顿肖像有何联系？当我们让在首尔、内罗毕和拉各斯工作的20世纪和21世纪陶艺家的船只进行对话时，会发生什么？非洲艺术——全球对话努力回答这些创新的问题。展览通过全球视角加深了对非洲艺术的理解。虽然当代非洲艺术的策划往往考虑到跨国历史，但人们较少关注将古典和现代非洲艺术置于全球经典中。时任布鲁克林博物馆Sills Family Consulting非洲艺术策展人的Kristen Windmuller Luna将非洲艺术史上的关键作品放在了其他部门——美国、欧洲、亚洲、古埃及——作为多层装置的一部分。《全球对话》是实验性主题小组鼓励的对话的恰当标题，该小组避免呈现目的论和分期的艺术史。展览对其艺术历史传承以及策展决策背后的政治和智力动力都是透明的。展览的一楼画廊是对现代主义、女权主义和建筑等国际背景下重要主题的视觉和文本介绍。弗里敦为奥德莱（二十世纪中期）设计的塞拉利昂面具在古希腊雕像塞拉皮斯（公元前30年-公元前395年）旁边展出，主题是跨文化主义（图1）。奥德莱协会面具包含了来自中国电影、约鲁巴化妆舞会和水精灵玛米·瓦塔的图像影响。与跨文化的奥德莱面具一样，塞拉皮斯是埃及托勒密统治者创造的神，目的是让希腊人和埃及人一起崇拜同一位神。关于多重现代化的主题，加纳艺术家阿塔·夸米（生于1956年）的一幅画作《另一个时代》（2011年）（图2）与美国艺术家约瑟夫·阿尔伯斯（1888-1976）的《向广场致敬的研究》（1959年）对话。避开了单一的欧美叙事，这对搭档展示了抽象是如何塑造多重现代主义的。除了种类繁多的艺术品外，还有陈列在橱窗里的艺术史教科书：从20世纪30年代到70年代，包括亨德里克·威廉·范龙和格蕾丝·卡斯塔涅塔的《艺术》（1937年）和H.W.简森的《艺术史》（1970年）。这些书以不同的页面打开，突出显示的段落作为原型示例，1 Global Conversations装置视图，左边是《奥德莱的面具》（Ode Lay）或《乔莱社会》（20世纪中期），右边是《塞拉皮斯》。
{"title":"African Arts — Global Conversations","authors":"Alexandra M. Thomas","doi":"10.1162/afar_r_00642","DOIUrl":"https://doi.org/10.1162/afar_r_00642","url":null,"abstract":"How does a late nineteenth or early twentieth century Kuba mask from the Democratic Republic of the Congo relate to Gilbert Stuart’s 1796 portrait of George Washington? What ensues when we place vessels from twentieth and twenty-first century ceramicists working in Seoul, Nairobi, and Lagos in dialogue? African Arts—Global Conversations endeavored to answer these innovative queries. The exhibition cultivated a deeper understanding of African art through a global lens. While contemporary African art tends to be curated with transnational histories in mind, there has been less focus on situating classical and modern African art within a global canon. Kristen Windmuller-Luna, at the time the Sills Family Consulting Curator, African Arts, at the Brooklyn Museum, placed key works from the longue durée of African art history in other departments—American, European, Asian, Ancient Egyptian—as part of a multifloor installation. Global Conversations is a title apropos to the dialogue encouraged by experimental thematic groupings, which avoided presenting a teleological and periodized history of art. The exhibition was transparent about its art historical inheritance and, accordingly, about the political and intellectual impetus behind the curatorial decisions. The first-floor gallery of the exhibition was a visual and textual introduction to important themes in an international context, such as modernism, feminism, and architecture. A Freetown, Sierra Leone Mask for the Ordehlay (mid-twentieth century) was on display beside an ancient Greek statue, Serapis (30 bce–395 ce), under the theme of transculturalism (Fig. 1). Ordehlay association masks contain iconographic influences from Chinese cinema, Yoruba masquerade, and the water spirit Mami Wata. Like the transcultural Ordehlay mask, Serapis was a god created by Egypt’s Ptolemaic rulers for the purpose of Greeks and Egyptians worshipping the same deity together. On the topic of multiple modernities, a painting by Ghanaian artist Atta Kwami (b. 1956), Another Time, Ɣebubuɣi (2011) (Fig. 2) was placed in dialogue with Study for Homage to the Square “High Tenor” (1959) by American artist Josef Albers (1888–1976). Eschewing a singular Euro-American narrative, this pairing illustrates how abstraction crafts multiple modernisms. In addition to a wide range of artworks, there were art history textbooks on display in a vitrine: a range from the 1930s to 1970s, including examples like Hendrik Willem van Loon and Grace Castagnetta’s The Arts (1937) and H.W. Janson’s History of Art (1970). These books, opened at distinct pages with highlighted paragraphs as archetypal examples, 1 Global Conversations installation view, Mask for the Ordehlay (Ode-Lay) or Jollay Society (mid-20th century) on the left and Serapis on the right.","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"86-88"},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46044526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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