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MayMai2011VOLUME25www.arttribalnews.comNYCTRIBALARTWEEKMarketINSIGHTmarktInsightcuturaffairsrviwsgaFrontintrviwsobjctsadsArtTribalNewsletterLLC2011AllinformationandimagesincludedarepropertyofArtTribalNewsletterLLCandshallnotbereproducedorusedinanywaywithouttheproperexpressedwrittenconsent.Phone1888832-9285MAJORAUCTIONSATTRACTCOlleCTORSTONYFORTRIBAlARTWeeKUnlessyouhavebeenlivingunderarockyouknowthatMayisthebusiesttimeofyearforTribalArtinNewYorkCity.SpringweatherauctionsgalleryexhibitionsandeventsdrawthebiggestcollectorsanddealerstoNewYorklikeamagnet.Sothebysishopingforacontinuationofsalesrecordslikethoseof2010.LastyearwasasensationalyearforSothebyswhorakedinover33.8millionforAfricanandOceanicArtSalesalone.SothebysInternationalAfricanOceanicArtsalesaccountfornearly85ofthemarket.OnFridaythe13ofMayat1000AMSothebyswillcommencesession1ofatwopartsale.TheRobertRubinCollectionofAfricanArtisoneofthemostimportantcollectionsofAfricanarttoappearontheinternationalmarketinrecentyears.Mr.Rubin1934-2009wasalifetimetrusteeoftheMuseumforAfricanArtinNewYorkandamajorfigureinthefield.Therelativelysmallcollectionof50worksreflectshisextraordinarytasteanddiscernmentandhisquestforthefinestexamplesfromeachregionandstyle.AmongthemanyhighlightsisaBauleMaleAncestorFigurefromIvoryCoastestimated600000-900000whichisknownasthebestofitstype.ItwascreatedbyamastercarverwhoseattentiontodetailisunsurpassedinAfricanart.Theunusuallylarge24insculptureisofexceptionallyhighquality.ItboastsimpressiveprovenanceandhasalsobeenwidelypublishedincludingintheprestigiousLArtNegrbyPierreMeauzin1967.AnothermajorhighlightfromthesaleisaDogonNduleriMaleAncestorFigureestimated200000-300000whichistheName-PieceoftheMasteroftheSlantedEyesandthecompaniontoafemalefigureinthecollectionoftheMuseduLouvreinParis.InadditionASongyeMalePowerFigureestimated150000-250000whichwaswidelyexhibitedandpublishedinworkssuchasWilliamRubinsPrimitivismin20thCenturyArtAffinityoftheTribalandtheModernNewYork1984volIp.159.At200PMSothebyswillstartthesecondpartofthesaleTheMayauctionofAfricanOceanicandPre-ColumbianArtwhichoffersarichselectionofexceptionalartfromthetraditionalculturesofsub-SaharanAfricathePacificIslandsandIndonesiaaswellasCentralandSouthAmerica.TheinspirationmodernEuropeanartistsdrewfromthesetraditionalculturesinthefirstdecadesofthe20thcenturyisparticularlyevidentinaselectionofsculpturefromthecollectionofrenownedModernartdealerPierreMatisselots167-202.ThesonofthepainterHenriMatisseopenedhisgalleryinNewYorkin1931andlaunchedsomeoftheearliestexhibitionsoftheArtsofAfricaOceaniaandtheAmericasintheUnitedStates.RepresentedinthegroupareabeautifulFangReliquaryFigureastrikingKanakRoofSpireandasublimeTeotihuacanGreenstoneMask.Pre-ColumbianartiswellrepresentedfromvariousprivatecollectionsincludinganimportantgroupofAndeantextilesandceramicsfromthecollectionofRolandHartmannSwitzerlandfineMayaceramicsCentralAmericangoldandanOlmecjadespoonpendantofextraordinaryemeraldgreencolorfromaNorthAmericanprivatecollection.AlargeChinescoSeatedMaleFigureTypeAisamongtheevocativeWestMexicanceramicfiguresfromvariousAmericancollections.ThesalefeaturesastrongselectionofAfricanartincludinganimportantPunuMaskfromGabonwhichwaspublishedinCarlEinsteinsinfluential1915bookNegerplastik.AmagnificentYorubaFemaleFigureofawomanofferingaramleadsagroupofWestAfricanartfromthecollectionofNancyandRichardBloch.ArareandimportantLuba-SongyekifwebeMaskisofthetypethatprobablyinspiredoneofPabloPicassosmostdynamicperiods1907-1908whenhepaintedLesDemoisellesdAvignon.SelectionsofNewGuineaartfromtheJOLIKAcollectionofMarciaandJohnFriedeincludeanimportantAdjirabReliquaryFigurefromthePoraporaRiverRegionararepairofElemaBarkclothMasksfromthePapuanGulfandanintricateMaleAncestorFigurefromasacredfluteoftheChambriLakeregion.HighlightsfromPolynesiaincludeanEasterIslandFigureoneofthefinestearlyexamplesoftheraremoaitangatatypereminiscentoftheislandsfamousmassivestoneheadsandanelegantearly19thcenturyFijiyaquonakavabowlintheformofaseaturtle.Images-CourtesySothebys. MuseumHAPPENINGSONNOWTheAndeAnTunic400Bce1800ceThROuGhSepTemBeR182011ThemichAelc.ROckefelleRWinG1STflOORThemeTROpOliTAnmuSeumOfARTneWyORkRecOnfiGuRinGAnAfRicAnicOnOdeSTOThemASkBymOdeRnAndcOnTempORARyARTiSTSfROmThReecOnTinenTSThROuGhJune112011ThemeTROpOliTAnmuSeumOfARTneWyORkpOWeRincARnATeAllAnSTOneScOllecTiOnOfSculpTuRefROmThecOnGOmAy142011SepTemBeR42011TheBRucemuSeumGReenWichcTcenTRAlniGeRiAunmASkedARTSOfTheBenueRiveRvAlleyThROuGhJuly242011fOWleRmuSeumuclABehindTheSceneSTheReAlSTORyOfTheQuileuTeWOlveSThROuGhAuGuST142011SeATTleARTmuSeumlAfRicAdellemeRAviGlie.ARTiAfRicAnenellecOlleziOniiTAliAneThROuGhJune52011pAlAzzOducAleGenOvAiTAlydynASTyAnddiviniTyifeARTinAncienTniGeRiAThROuGhmAy222011viRGiniAmuSeumOffineARTSdOGOnApRil5-July242011muSeduQuAiBRAnly.pARiSfRAnceThemAkinGOfimAGeSThROuGhJuly172011muSeduQuAiBRAnlypARiSfRAnceARTOfTheAmeRicAnindiAnSTheThAWcOllecTiOnApRil24-SepTemBeR242011dAllASmuSeumOfARTpicASSOGuiTARS19121914feBRuARy13June62011ThiRdflOORmOmAneWyORkRichardorMoBahnmanEmailrichmojoeshaw.caByappointmentPhone604-589-8162Cell604-313-7553RichmojoegalleRy.comFnNrtwstcsteskartHaidaMountainGoatHornSpoonMid19thCenturyLength1034 MayAUCTIONSBONhAMSNeWYORKfineAfRicAnOceAnicAndpRe-cOlumBiAnARTmAy1220111pmSOTheBYSNeWYORKTheROBeRTRuBincOllecTiOnOfAfRicAnARTmAy13201110AmAfRicAnOceAnicAndpRe-cOlumBiAnARTincludinGpROpeRTyfROmThepieRReAndTAnAmATiSSefOundATiOnmAy1320112pmArtepriMitivoTRiBAlpRe-cOlumBiAnARTclASSicAleGypTiAnASiAnAnTiQuiTieSmAy232011ZeMANeK-MUNSTeR65ThTRiBAlARTAucTiOnmAy282011ThehORSeRIdeRINAFRICANARTBYGeORGeCheMeCheSpcialBooksigningvntattSotbysCocktailPartyMay112011.horssarvrrarAra.TwtobowstoSarotasotSaaraaSaowtotrgsottroaorstsbogtotgtwarroratootabrsos.dtotstottroaraorstatatstsorstrtbrsoorsssrvv.AtrraotstrsarooaogtdogodjBaaaSoatyorbao.TAa-AsatooGaaatkotooocaroagooaosaastgbrassabrozstrs.Sootartstsobarvavagtagsoaors.TsvsastgboorstsawatoAraarttgtorsatsrravartogssroeaassayorbavatostodogostrsaSoarvgs.imatBaaaBosoaSoootgrosstbrattstvasottasqra.Taatrotsboosattotartatotsstvaswarstavaw.itsottabtotAraartsttorovttastattsorswortsqratvaaar-sargvsoosototwttatosWstrotrart.itsartostattattArawotogotatWstrartstorotrbtsarsartotsagoorart.TribalPUBLICATIONScasseraARTSPREMIERSNeWYORKCITY40W25THSTGALLERY16212-873-1937PUGeTSOUNdISLANDGALLERYBYAPPOINTMENT310-801-9324www.assraartsrrs.oassra.ga.o POWeRINCARNATeAllANSTONeSCOlleCTIONOFSCUlPTUReFROMTheCONGOMAY142011SePTeMBeR42011ATTheBRUCeMUSeUMGReeNWIChCTTheBruceMuseuminGreenwichConnecticutpresentsitsnewestexhibitionPowerIncarnateAllanStonesCollectionofSculpturefromtheCongoopeningonSaturdayMay142011andonviewthroughSeptember42011.TheworksaredrawnfromTheAllanStoneCollection.AllanStonewasthenotedartdealergalleryownerandcollectorwhodiedin2006attheageof74.PerhapsbestknownforhisexpertiseinAbstractExpressionismMr.StonescollectionofAfricanartisanextraordinaryassemblageinitsownrightadecidedlypersonalcollectionandamonumenttoaparticularartisticvision.GuestcuratorfortheexhibitionisKevinD.DumouchelleAssistantCuratorfortheArtsofAfricaandthePacificIslandsattheBrooklynMuseum.TheexhibitionissupportedbytheCharlesM.andDeborahG.RoyceExhibitionFund.TheprevailingregionrepresentedintheexhibitionistheCongoandaparticulartypethepowerfigurearethelargestgroupamongthesesculptures.FoundintheKongoandSongyeculturesbothofwhichhistoricallyproducedfiguresintendedtoprotecttheircommunitiesthesepowerfiguresoftencallednkisiornkishialongwithotherconceptuallyrelatedsculpturesfromtheCongobasinarethefocusoftheexhibition.Theworksbelongtoaseriesofhighlycomplexchargedandsubtlepoliticalandcosmologicalinstitutionsbroadlydatingfromthelatenineteenthandearlytwentiethcenturies.Smalldifferentiatedsocialsegmentsblacksmithcarversanddivinersorngangasthatspecializedininterveninginwildernessonbehalfofcivilizationcreatedandusedthesesculpturestoharnessspiritualforcestoaidthecommunity.Tothatendtheseworksarevehiclesforhumanityscontrolofnaturenotthereverse.Thesculpturesarenottoolsorrepresentationsofspiritualforcesassociatedwiththeancestralrealmbutthroughtheinformedselectiveapplicationofadditionalmaterialstotheirsurfaceslayeredovertimethesesculpturesbecomepowerincarnate.PowersculpturefromtheCongohasalongstandingcross-culturalformalappealwhichledtoitsproliferationinearlytwentieth-centuryWesterncollections.AtthatearlymomentcollectorsappreciatedAfricansculpturenarrowlyasformalsolutionstoissuesinmodernistfiguralsculptureandoftenremovedtheaccumulatedlayersofpowermaterialswhichtheyregardedasimpedimentstoaestheticappreciation.Westernaudiencesnowappreciatethatthevariedsurfacesoftheseworksnotonlyoffertracesofthehistoryoftheirusebuttheaccumulatedevidenceoftheiroriginalintentionasvesselsforanimatingspirits.Powersculpturesserveasindicesnotonlyofthesespiritsbutalsooftheagencyoftheiroriginalartistsandpractitioners.ThedenselayersofappliedmaterialscreatewhattheKongoreferredtoasngitukuluorastonishment.Asvesselsofpowerthesesculpturescontinuetoactonustoday.Theseartworksmaintainaclosevisualandintellectualrelationshiptotwentieth-centuryartfromthewildstrokesofWillemdeKooningandFranzKlinetotheassemblagesofJosephCornellonwhichAllanStonemadehisnamesaidKevinDumouchelletheexhibitionsguestcurator.IndeedtheStonecollectionsfiguresfromtheCongoshareavisualandintellectualrelationshipwiththeassemblagesculpturethatStonechampioned.WhileWesternsculpturetookitsforcefromitsvisualorconceptualimpacttheCongoleseworksaddakeyingredient-activepoweritself.TheBruceMuseumislocatedat1MuseumDriveinGreenwichConnecticutUSA.Generaladmissionis7foradults6forseniorsandstudentsandfreeforchildrenunderfiveandBruceMuseummembers.FreeadmissiontoallonTuesdays.TheMuseumislocatednearInterstate-95Exit3andashortwalkfromtheGreenwichCTtrainstation.MuseumhoursareTuesdaythroughSaturday10a.m.to5p.m.Sunday1p.m.to5p.m.andclosedMondaysandmajorholidays.Groupsofeightormorerequireadvancereservations.MuseumexhibitiontoursareheldFridaysat1230p.m.Freeon-siteparkingisavailable.TheBruceMuseumisaccessibletoindividualswithdisabilities.ForinformationcalltheBruceMuseumat203869-0376orvisittheBruceMuseumwebsiteatwww.brucemuseum.org.IMAGeS1.KongoFigurPowerFigureNkisi.DemocraticRepublicoftheCongoorAngola.Woodglasstextilefiberspigmentorganicmaterials.11x512x512inches.2.KongoFigurPowerFigureNkisi.DemocraticRepublicoftheCongoorAngola.Woodglasstextilefiberspigmentresinorganicmaterials.7x3x212inches.3.KongoFigurPowerFigureNkisi.DemocraticRepublicoftheCongoorAngola.Woodmetalglassfibersraffiapigmentorganicmaterials.1514x6x4inches.4.SongyFigurPowerFigureNkishiwithBishishiMetalStuds.Woodmetalfiberanimalhidefeatherssnakeskin.35x13x15inches.5.SongyFigurPowerFigureNkishiwithMambeleCowrieShells.Woodmetalcowrieshellsfiberbeadsanimalhideorganicmaterials.21x6x512inches.6.SongyFigurPowerFigureNkishiwithBishishiHoeBlade.Woodmetalfiberanimalhidefeathersbeadsorganicmaterials.3612x12x15inches. 23456 SACRedARTOFTheeASTBYRAhUlPATelOBJeTSdARTAuThORScOllecTiOneXcluSivephOTOGRAphyBymAuReenclARkSpciaFEATURETheartofantiquityinAfricaartinEuropeandspeciallyAsianarthasbeenreveredbycommonpeopleineverydaylife.Whentheartupliftsthemassesandhealsitbecomessacredart.IndeedAsianartisatourdeforceoflifewhichhasthepowertoheal.InmyjourneyforthelastthreedecadesIhavewitnessedadoredandcollectedsomeofthesemostraresacredartobjectsfromtheEast.InJapanBuddhisminspiredZen.ArtbyZenmastersandmonksawakenedandenlightenedpeopleanditbecameZENGAARTThisvisualartmeditationthroughcalligraphyhaspowerbeyondwordstotransformlives.OneofsuchlivingmastersofZenandswordwasYamaokaTesshu1836-1888.TesshucalligraphedthemostZenartintheworldonemillionartpieceswhichearnedmillionsofdollarstobenefittemplesandshrinesnevercollectedasingleyenforhimself.HissignaturepiecetorepresenthismasterywasMUcalligraphywhichmeansNOTHING.ItistheessenceofZen.Bybeingjustemptywecanliveourtruenature.Itisahealingsutraoflife.Ihavediscoveredthatthissacredartbecomesmedicineinotherparts.InBorneoIndonesiaDayakculturetheshamanenergizessmallcharmsandamuletstoweararoundhisnecktoheal.Thesetinyprotectiveamuletsalsoarehungoncradlestokeepbabiessafe.ThesecondartobjectinthisarticlewascollectedbyIrwinHerseywhopopularizedIndonesianartintheWest.TheseDayakcarvingsarealsobelievedtopossesscurativepowers.Incuringceremoniesthesewoodenfigurinesareshavedforhealingritualstobeconsumedbypatientsasevidencedbythethirdartpieceinthisarticle.FarawayinthesnowkingdomoftheEastTibetthefolkBuddhistdeitycalledJAMBHALAisabelovedguardianwhohonorsmanycommonhomealtars.ItisaTibetanmanifestationoftheIndiandeityKubera.JambhalabringswealthprosperitylongevityandprotectionamongTibetanNepaliChineseIndianandinmanyAsianculturalbeliefs.ItisraretofindawoodenJambhalafromaboutthe15-16thcenturywhichwasusedforritualisticTibetanaltar.Natisaspiritaratherlittle-knownprotectivemedicinalamuletfromMyanmarBurma.Itisbelievedthatthereare37NATSspiritsamongthefollowersinMyanmar.Natsarealsousedbyshavingoffwhennecessarytomixinbeveragestodrinkforcurativepowers.Asmyresearchincross-culturalstudyofsacredartitisthesourceoftheirELAN.ThesacredartbecomesthelifeforcelikePolynesianscallitMANASiouxIndianscallitWAKANDAHinduscallitDEVAandLegainCongocallthisKALAMO.ItistrulyatransformationofartwhereartbecomesinfactmedicinetohealforhighestgoodandIamtrulyinawedealingwiththisgenreoftribalart.IMAGeS1.DayaktribalcharmshavedfromJamesWillisprovenance.2.DayakprotectivecharmfromThomasMurrayprovenanceexIrwinHerseycollection.3.NATspiritTonyAnninosprovenance.4.WoodenJambhalacirca15-16thcent.RobertBrundageprovenance.5.YamaokaTesshufromJohnStevensprovenanceRobynBuntinofHonolulucollection.21 345 TheTribalArtWorldmournsthelossDr.WernerMuensterbergerwhodiedMarch62011athishomeinNewYorkCity.Hewasninety-sevenyearsold.Dr.MuensterbergerwasapsychoanalystarthistorianauthorexpertandcollectorofAfricanart.WernerwasborninWestfaliaonApril13th1913toawealthyfamily.HewasfirstexposedtoAfricanModernandChineseartbyBaronEduardvonderHeydttowhomhededicatedhis1955bookSculptureofPrimitiveMan.MuensterbergerwasexposedtogreatmodernandtribalartcollectorsandscholarsatayoungageandpurchasedhisfirstpieceofAfricanArtasateenageraYorubaBronzeHorseRiderfromAmsterdamsjodenmarket.HespentsummersinvonderHeydtsSwissMonteVeritretreatinAsconawhereherehebefriendedCharlesRattonthelegendaryParisiantribalartdealerwhoseParisgallerywasagatheringplacefortheSurrealistsandEckartvonSydowprofessorofPrimitiveKunstandapsychoanalystinBerlin.Duringthemid1930sMuensterbergerdiscoveredtheMuseumfurVolkerkundeinBerlinwhereheexaminedoutstandingpiecesoftribalart.DuringthattimehewasastudentattheBerlinPsychoanalyticInstitutewhilealsostudyingarthistory.HealsovisitedWestAfricaduringthistimeandhisloveforAfricanArtwidened.SydowconvincedhimtopursueethnologyandpsychoanalysisstudiesinBerlinbuthewasforcedtofleefromtheNazis.HecontinuedhisstudiesattheUniversityofLeydenandtheUniversityofBaselwritingadissertationonIndonesianmythologyandanotherinarthistoryontheinfluenceofItalianartontheSchoolofUtrechtpaintersduringthe17thcentury.DuringthewarinAmsterdamhespentmuchofthetimeinhidingatthehouseofhisthengirlfriendDutchactressElisabethAndersen..In1947MuensterbergeremigratedtotheUnitedStateswithlittlecashandtwoworksofart.OnepieceaBeninIvorythatfounditshomeintheMetropolitanMuseumofArt.HetookajobasaprofessorofethopsychiatryatColumbiaUniversityuntil1951andthentaughtthesamesubjectattheStateUniversityofNewYork.Heretiredin1974andmovedtoLondonwithhisthirdwife.Thenin1985hemovedbacktoNewYorkandopenedaprivatepractice.SomeofMuensterbergerspatientsincludedLaurenceOlivierJamesDeanandMarlonBrando.Hisnear-century-longlifeincludedexchangeswithpersonalitieslikeThomasMannMaryWigmanPabloPicassoSigmundFreudConstantinBrancusiWaltDisneyAlbertEinsteinandRobertRosenblum.His1994MuensterbergerwrotethebooktitledCollectinganUnrulyPassionwhichpsychoanalyzesartcollectorsandisastaplepublicationinanygreattribalartlibrary.Thebookexploreswhatmotivatescollectorsexploringdeepchildhoodexperienceswhichcontributetoneuroticbehaviorsuchasusingcollectingasacrutchtodealwithstressandanxiety.DuringthelastyearsofhislifeMuensterbergerwaswritingabookonthepsychologyofartforgerytobetitledForgersontheCouchinwhichhepsychoanalyzedhistoricalandmodernforgers.Mostforgershesaiddontjustcheattheoriginalartiststheyareforgingbutalsotheexperttheidealfatherfigure.DuringaninterviewbyGeorgeNelsonPrestonMuensterbergerwasaskedtogiveonereasonwhyhecollectedandhesimplyanswereddR.WeRNeRMUeNSTeRBeRGeRBydaviCassrainMEMORY formeitisadialoguewiththeartisteventhoughIhavenotmethimpersonally...indeeditremindsmeofmytalkswithBrancusiwhomIhadmetthroughTristanTsara.IfyoueverhadtheopportunitytovisitDr.MuensterbergersapartmentinNewYorkasIdidonmanyoccasionyoumayagreetheonepiecethatundoubtedlygrabbedyourattentionwastheBeneLuluaHelmetMask.MuensterbergersaidIsawthismaskatMertonSimpsonsgalleryaround1965.IwalkedintookonelookatthemaskandknewIwantedit.ItoldSimpsonIlltakeit.HowmuchisitNotaverycommercialapproach...Thisspontaneousandvigorousapproachtocollectingandlifeissomethingveryspecial.AlthoughhewillbemissedMuensterbergerslegacywillliveonthroughhispublicationsinspiringandguidingthenewgenerationsforyearstocome..1913-2011IMAGeSRightoppositeGuardianPost.Ethiopia.AboveHelmetMask.BeneLuluaDRCongo.ExMertonSimpsonNYCenterRightFiguralDrumfinialorarchitecturalelement.MbembesouthernNigeria.ExHenriKamerNYFarRightFangHead.ValleyofNtemSouthCameroon.LouisPerroisnamedthecryoftheancestorLecridelanctre.PublishedbyPerroisinArtsdAfriqueNoire113Spring2000. ThROUGhTheeYeSOFOURANCeSTORSAFRICANARTFROMTheJAMeSANdMARJORIel.WIlSONCOlleCTIONMAY192011JUNe2011ATTheQCCARTGAlleRYQUeeNSNYThisexhibitionplacestheartofvariousAfricanculturesnearertoitsoriginalcontextwheresculptureisonlypartofalargerensemblethatcreatesacompletecharacteranancestororaspiritualentity.Withoutallitscomponentsthatentitycouldnotexist.Africanartwastraditionallymadewithinastrictandcomplexsocialcontext.Workshopsandcarverswereoftensecludedastheyrenderedspirituallyresonantobjectsandcontinuedtraditionsoftenwithsurprisingchangesinformordetailtokeepupwithdemandsofchangingsocieties.Withineachculturesecretsocietiesandorroyalcourtsdecidedwhenwhereandhowanobjectwasmade.CurrentlyinAfricanculturesmanypeoplecontributetothecreationofamasqueradeensemblewhetherincurrencyorinkind.Aceremonialmaskorfigureiscommissionedfromacarverandthemaskconsecratedwithinputfromafetisheurwhoempowersitandcostumemakerswhohelpcreateitsidentity.Ultimatelyoveritslifetimeamaskorensembleundergoeschangewhetherthrougherosionrepairorrefurbishment.Additionssuchastextilesmetalmedicineamuletsandpigmentsaffectboththewoodandthecostume.AndthatofcourserevealsthehistoryoftheobjecttopeoplewithinthesocietyandtoWesterncollectorsaswellseeSurfaceseditedbyDonnaPageLeonardKahanandPascalImperato.IntheWestourrecognitionofdifferentcomponentswithinAfricanarthasevolvedovertime.ContemporaryartintheWesthasmovedbeyondtheabstractstageandisnowinapolymorphicphasewhichopensustootheraspectsofAfricanartisticproduction.MovingthroughCubismtoAbstractionandthroughMinimalismtoConceptualismrequiresacceptanceofchangeinourownviews.Thesearttrendschangedassocietalvaluestechnologytradeandcontactschangedanddeveloped.Whatwasrecentlyacceptedasexcitingratherquicklybecomesdoctrinaireandantiquatedasnewtechniquesimagesandvaluestaketheirplace.WerenotsuggestingthatallthesefastchangestookplaceinAfricanculturesalteringtheirartdrasticallyfromonegenerationtothenextthoughchangeoccurredtheretoo.RatherweresuggestingthatwearepredisposedtoseeandacceptourowncurrentperceptionswithinAfricanartandcanpullfromitsnumerousstylesandexpressionsthosethatappealtousmostgivenourcurrentwayofseeingandthinking.NeitherisAfricanartconstant.Therearemanytypesofexpressionrepresentingavarietyofinstitutionstraditionsanddeities.WeoftenpickthatwhichwethinkrepresentsAfricanartaccordingtothestateofourowncurrentknowledge.ThenwheredowestartBeforeandduringthe19thcenturywithonlyfewexceptionsEuropeansseeingthroughthelensofcolonialismracismandhierarchicalcomparisonsofculturesselectedartifactsthatbestexpressedtheirvisionoftheso-calledprimitivemanAlternativelytheyadmiredobjectssuchascarvedivorieswhichfittheirdefinitionofart.ThatlimitedvisionexpandedasmoreattentionwasgiventoexaminingtheplasticvaluesofAfricansculptureandknowinglocalhistoriesoftheobjects.AndeventuallyCubismwasoneofthemainyardsticksbywhichonecouldseeandappreciatesomeoftheintenttechniqueandprofoundvaluesystemsinAfricanart.ThereductionofrepresentationalformtoitsbasicswasappealingtoEuropeanartistsandeventuallytocollectorsaswell.InpastgalleryexhibitionsandpublicationswehavepersonallyexaminedotheraspectsofAfricanartsuchasminimalism---theabilitytoreduceformtoitsmostessentialwithanefficiencyandpurityofformandlinecomparabletothatfoundincontemporaryWesternart.InotherpublicationsweinvestigatedAfricanartfromthestandpointofgesturescolorsurfacesandmetamorphosis---thecombiningofhumanandanimalimagesonartifacts.AswecontinuedinvestigatingartfromtheAfricancontinentwefoundmoreandmoreparallelsinAmericanarthistory.Asonewouldfindinanyartoflongstandingthatofbothcontinentsservedtheneedsofonegenerationafteranotherhelpingeachsocietycarryandpreservethemessageshistoryandvaluesoftheirpeoplesandinstitutions.TodayintheWesttherehasbeenatendencytocollectAfricanartbyfocusingonsuchqualitiesasraritycreativitycubisticformalstructureperfectionofformandawell-developedpatinathatshowssocietalusageandthusreverencefortheobject.TheageofanypiecethoughnotnecessarilyacriterionforgoodartdoesallowustoknowthatthesculpturewascreatedgenerationsagowithfewerWesterninfluencesorcommercialism.Suchanobjecthasanunderlyingrarityasobviouslyfewersuchobjectscannowbefound.12 OnceaworkofAfricanarthasbeenremovedfromitsoriginalcontextitisgivenadifferentsignificancereflectingtheaestheticsofthecollectorortheexhibitinginstitutionandremovingitfromtheoriginalintentoftheculturethatmadeandusedit.TheobjectmaybemovedfromonedisplaytoanotherfromaprivatecollectiontoamuseumexhibitioneachwithitsownwayofinterpretingAfricanart.ForinstanceinarecentQCCexhibitionoftheMarshallandCarolineMountcollectionofCameroonobjectsweacceptedthehypothesisthatallcategoriesofsculptureandcraftinallmaterialsandmodesofusageshouldbeconsideredAfricanart.YesJimandMargeWilsoncouldhavecollectedAfricanartfromtheaestheticviewpointofpureformofinternalsculpturalrelationshipsandbeautyoflinevolumeandproportion.Perhapsinthebeginningoftheircollectinginthe1970stheydid.ButJimwhohadaninteriordesignbusinessHouseofEbonysawmoreinAfricanartthanpureform.InhisownbackgroundhehasbothIgboandAsanteancestors.Heunderstoodthattheexcitementofceremonydanceandcelebrationdemandednotonlysculpturebutakaleidoscopeofformscolorspatinaandmaterials.Hisultimatestrengthasacollectorlayinhisappreciationoftheentireartifactwithitshistoryintact.Hesawtherelationshipamongthemanyobjectsusedwithinthesameceremonyoreventinsupportofoneanother.Whileherecognizedsculptureinitspurestate---lineshapevolumeplaneandproportion---hewasalsodrawntothetotalpresentation.Theseincludetheaccoutrementscolorstexturespatinasandvariousrawmaterialsthatcreatetheentityconceivedbytheoriginalsocietyanditsmasqueraders.Theseextraneousmaterialshaveoftenbeendiscardedoromittedbydealerscollectorsandmuseumsthatpreferredthearttobeseeninitspurestate.JimWilsonwaslessinterestedinthatpurestateandmoreinthetraditionsreflectedbythetotalensembleincludingthedanceitsagetherefurbishmentsadditionsandchanges.Thisentireculturalartifactisapreserveroftraditionatransmitteroftheaestheticsandvaluesofitspeople.InchoosingtheseselectionsfromJimscollectionwehopetohaveencapsulatedtheveryessenceofhisvision.JimWilsonhasbroughttothecollectingofAfricanartalargerstatementwhichheperceivesasthetrueaesthetic.Thisapproachintegratesaspectsoftimecolormaterialsmusicandmotion.Alongwithanobjectsfineandsometimesprofoundsculpturalvalueshehascollectedtheentirecostumewhichrequiresonlyanimationtoreviveitsoriginalappearance.Hewantstofeelthespitonthepiecetohearthesecretswhisperedintothewood.WehopethisexhibitionconveysthatspiritthatitexpressesabitmorethanoneexpectstoseeinashowofAfricanart.Wehopeitwillcommunicatetheexcitementofthefulltraditionreflectedthroughthevarietyofmaterialtextilescolorsandformsthatitwillconveythesoundsofthemusicthemotionofthedanceandthefeelingofthefestivalorcourt.Hewantsustoseethewholeandunderstandthatsculpturalformisjustapartofsomethingmuchlarger.Itwasworkandfunputtingthisexhibitiontogether.Weexplorednewterritory.IthadmanysurprisesandturnedusawayfromconventionalthinkingmoretowardJimWilsonsvision.ThroughtheEyesofOurAncestorshasopenedoureyesabitmoreontothecomplexitiesofAfricanartandwhatmakesitsocaptivating.Ourexplorationofitsmeaningsandaestheticshasbeenandstillremainsanongoingprocess.LeonardKahanandDonnaPageIMAGeS1.JollyMasquradhadpicTemneSierraLeoneWoodfabricmirrors2812inches2.FmalMaskensmblDan-IvoryCoastLiberiaWoodkaolintextilesbrassbellsbeadsbasketrycowriesmask11inchestotallength63inches3.RobHausaNigeriaCotton40x56inches3 MuseuMofArtAndoriginsPPrRrvademeuRehistoRiqueinhaRlemshistoRicsugaRhill430W162srnYc10032byapptfx2127409999efy. galleryjatadmatthewscheinerhoustontexasbyappointment713.498.0137
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MayMai2011VOLUME25www.arttribalnews.comNYCTRIBALARTWEEKMarketINSIGHTmarktInsightcuturaffairsrviwsgaFrontintrviwsobjctsadsArtTribalNewsletterLLC2011AllinformationandimagesincludedarepropertyofArtTribalNewsletterLLCandshallnotbereproducedorusedinanywaywithouttheproperexpressedwrittenconsent.Phone1888832-9285MAJORAUCTIONSATTRACTCOlleCTORSTONYFORTRIBAlARTWeeKUnlessyouhavebeenlivingunderarockyouknowthatMayisthebusiesttimeofyearforTribalArtinNewYorkCity.SpringweatherauctionsgalleryexhibitionsandeventsdrawthebiggestcollectorsanddealerstoNewYorklikeamagnet.Sothebysishopingforacontinuationofsalesrecordslikethoseof2010.LastyearwasasensationalyearforSothebyswhorakedinover33.8millionforAfricanandOceanicArtSalesalone.SothebysInternationalAfricanOceanicArtsalesaccountfornearly85ofthemarket.OnFridaythe13ofMayat1000AMSothebyswillcommencesession1ofatwopartsale.TheRobertRubinCollectionofAfricanArtisoneofthemostimportantcollectionsofAfricanarttoappearontheinternationalmarketinrecentyears.Mr.Rubin1934-2009wasalifetimetrusteeoftheMuseumforAfricanArtinNewYorkandamajorfigureinthefield.Therelativelysmallcollectionof50worksreflectshisextraordinarytasteanddiscernmentandhisquestforthefinestexamplesfromeachregionandstyle.AmongthemanyhighlightsisaBauleMaleAncestorFigurefromIvoryCoastestimated600000-900000whichisknownasthebestofitstype.ItwascreatedbyamastercarverwhoseattentiontodetailisunsurpassedinAfricanart.Theunusuallylarge24insculptureisofexceptionallyhighquality.ItboastsimpressiveprovenanceandhasalsobeenwidelypublishedincludingintheprestigiousLArtNegrbyPierreMeauzin1967.AnothermajorhighlightfromthesaleisaDogonNduleriMaleAncestorFigureestimated200000-300000whichistheName-PieceoftheMasteroftheSlantedEyesandthecompaniontoafemalefigureinthecollectionoftheMuseduLouvreinParis.InadditionASongyeMalePowerFigureestimated150000-250000whichwaswidelyexhibitedandpublishedinworkssuchasWilliamRubinsPrimitivismin20thCenturyArtAffinityoftheTribalandtheModernNewYork1984volIp.159.At200PMSothebyswillstartthesecondpartofthesaleTheMayauctionofAfricanOceanicandPre-ColumbianArtwhichoffersarichselectionofexceptionalartfromthetraditionalculturesofsub-SaharanAfricathePacificIslandsandIndonesiaaswellasCentralandSouthAmerica.TheinspirationmodernEuropeanartistsdrewfromthesetraditionalculturesinthefirstdecadesofthe20thcenturyisparticularlyevidentinaselectionofsculpturefromthecollectionofrenownedModernartdealerPierreMatisselots167-202.ThesonofthepainterHenriMatisseopenedhisgalleryinNewYorkin1931andlaunchedsomeoftheearliestexhibitionsoftheArtsofAfricaOceaniaandtheAmericasintheUnitedStates.RepresentedinthegroupareabeautifulFangReliquaryFigureastrikingKanakRoofSpireandasublimeTeotihuacanGreenstoneMask.Pre-ColumbianartiswellrepresentedfromvariousprivatecollectionsincludinganimportantgroupofAndeantextilesandceramicsfromthecollectionofRolandHartmannSwitzerlandfineMayaceramicsCentralAmericangoldandanOlmecjadespoonpendantofextraordinaryemeraldgreencolorfromaNorthAmericanprivatecollection.AlargeChinescoSeatedMaleFigureTypeAisamongtheevocativeWestMexicanceramicfiguresfromvariousAmericancollections.ThesalefeaturesastrongselectionofAfricanartincludinganimportantPunuMaskfromGabonwhichwaspublishedinCarlEinsteinsinfluential1915bookNegerplastik.AmagnificentYorubaFemaleFigureofawomanofferingaramleadsagroupofWestAfricanartfromthecollectionofNancyandRichardBloch.ArareandimportantLuba-SongyekifwebeMaskisofthetypethatprobablyinspiredoneofPabloPicassosmostdynamicperiods1907-1908whenhepaintedLesDemoisellesdAvignon.SelectionsofNewGuineaartfromtheJOLIKAcollectionofMarciaandJohnFriedeincludeanimportantAdjirabReliquaryFigurefromthePoraporaRiverRegionararepairofElemaBarkclothMasksfromthePapuanGulfandanintricateMaleAncestorFigurefromasacredfluteoftheChambriLakeregion.HighlightsfromPolynesiaincludeanEasterIslandFigureoneofthefinestearlyexamplesoftheraremoaitangatatypereminiscentoftheislandsfamousmassivestoneheadsandanelegantearly19thcenturyFijiyaquonakavabowlintheformofaseaturtle.Images-CourtesySothebys. MuseumHAPPENINGSONNOWTheAndeAnTunic400Bce1800ceThROuGhSepTemBeR182011ThemichAelc.ROckefelleRWinG1STflOORThemeTROpOliTAnmuSeumOfARTneWyORkRecOnfiGuRinGAnAfRicAnicOnOdeSTOThemASkBymOdeRnAndcOnTempORARyARTiSTSfROmThReecOnTinenTSThROuGhJune112011ThemeTROpOliTAnmuSeumOfARTneWyORkpOWeRincARnATeAllAnSTOneScOllecTiOnOfSculpTuRefROmThecOnGOmAy142011SepTemBeR42011TheBRucemuSeumGReenWichcTcenTRAlniGeRiAunmASkedARTSOfTheBenueRiveRvAlleyThROuGhJuly242011fOWleRmuSeumuclABehindTheSceneSTheReAlSTORyOfTheQuileuTeWOlveSThROuGhAuGuST142011SeATTleARTmuSeumlAfRicAdellemeRAviGlie.ARTiAfRicAnenellecOlleziOniiTAliAneThROuGhJune52011pAlAzzOducAleGenOvAiTAlydynASTyAnddiviniTyifeARTinAncienTniGeRiAThROuGhmAy222011viRGiniAmuSeumOffineARTSdOGOnApRil5-July242011muSeduQuAiBRAnly.pARiSfRAnceThemAkinGOfimAGeSThROuGhJuly172011muSeduQuAiBRAnlypARiSfRAnceARTOfTheAmeRicAnindiAnSTheThAWcOllecTiOnApRil24-SepTemBeR242011dAllASmuSeumOfARTpicASSOGuiTARS19121914feBRuARy13June62011ThiRdflOORmOmAneWyORkRichardorMoBahnmanEmailrichmojoeshaw.caByappointmentPhone604-589-8162Cell604-313-7553RichmojoegalleRy.comFnNrtwstcsteskartHaidaMountainGoatHornSpoonMid19thCenturyLength1034 MayAUCTIONSBONhAMSNeWYORKfineAfRicAnOceAnicAndpRe-cOlumBiAnARTmAy1220111pmSOTheBYSNeWYORKTheROBeRTRuBincOllecTiOnOfAfRicAnARTmAy13201110AmAfRicAnOceAnicAndpRe-cOlumBiAnARTincludinGpROpeRTyfROmThepieRReAndTAnAmATiSSefOundATiOnmAy1320112pmArtepriMitivoTRiBAlpRe-cOlumBiAnARTclASSicAleGypTiAnASiAnAnTiQuiTieSmAy232011ZeMANeK-MUNSTeR65ThTRiBAlARTAucTiOnmAy282011ThehORSeRIdeRINAFRICANARTBYGeORGeCheMeCheSpcialBooksigningvntattSotbysCocktailPartyMay112011.horssarvrrarAra.TwtobowstoSarotasotSaaraaSaowtotrgsottroaorstsbogtotgtwarroratootabrsos.dtotstottroaraorstatatstsorstrtbrsoorsssrvv.AtrraotstrsarooaogtdogodjBaaaSoatyorbao.TAa-AsatooGaaatkotooocaroagooaosaastgbrassabrozstrs.Sootartstsobarvavagtagsoaors.TsvsastgboorstsawatoAraarttgtorsatsrravartogssroeaassayorbavatostodogostrsaSoarvgs.imatBaaaBosoaSoootgrosstbrattstvasottasqra.Taatrotsboosattotartatotsstvaswarstavaw.itsottabtotAraartsttorovttastattsorswortsqratvaaar-sargvsoosototwttatosWstrotrart.itsartostattattArawotogotatWstrartstorotrbtsarsartotsagoorart.TribalPUBLICATIONScasseraARTSPREMIERSNeWYORKCITY40W25THSTGALLERY16212-873-1937PUGeTSOUNdISLANDGALLERYBYAPPOINTMENT310-801-9324www.assraartsrrs.oassra.ga.o POWeRINCARNATeAllANSTONeSCOlleCTIONOFSCUlPTUReFROMTheCONGOMAY142011SePTeMBeR42011ATTheBRUCeMUSeUMGReeNWIChCTTheBruceMuseuminGreenwichConnecticutpresentsitsnewestexhibitionPowerIncarnateAllanStonesCollectionofSculpturefromtheCongoopeningonSaturdayMay142011andonviewthroughSeptember42011.TheworksaredrawnfromTheAllanStoneCollection.AllanStonewasthenotedartdealergalleryownerandcollectorwhodiedin2006attheageof74.PerhapsbestknownforhisexpertiseinAbstractExpressionismMr.StonescollectionofAfricanartisanextraordinaryassemblageinitsownrightadecidedlypersonalcollectionandamonumenttoaparticularartisticvision.GuestcuratorfortheexhibitionisKevinD.DumouchelleAssistantCuratorfortheArtsofAfricaandthePacificIslandsattheBrooklynMuseum.TheexhibitionissupportedbytheCharlesM.andDeborahG.RoyceExhibitionFund.TheprevailingregionrepresentedintheexhibitionistheCongoandaparticulartypethepowerfigurearethelargestgroupamongthesesculptures.FoundintheKongoandSongyeculturesbothofwhichhistoricallyproducedfiguresintendedtoprotecttheircommunitiesthesepowerfiguresoftencallednkisiornkishialongwithotherconceptuallyrelatedsculpturesfromtheCongobasinarethefocusoftheexhibition.Theworksbelongtoaseriesofhighlycomplexchargedandsubtlepoliticalandcosmologicalinstitutionsbroadlydatingfromthelatenineteenthandearlytwentiethcenturies.Smalldifferentiatedsocialsegmentsblacksmithcarversanddivinersorngangasthatspecializedininterveninginwildernessonbehalfofcivilizationcreatedandusedthesesculpturestoharnessspiritualforcestoaidthecommunity.Tothatendtheseworksarevehiclesforhumanityscontrolofnaturenotthereverse.Thesculpturesarenottoolsorrepresentationsofspiritualforcesassociatedwiththeancestralrealmbutthroughtheinformedselectiveapplicationofadditionalmaterialstotheirsurfaceslayeredovertimethesesculpturesbecomepowerincarnate.PowersculpturefromtheCongohasalongstandingcross-culturalformalappealwhichledtoitsproliferationinearlytwentieth-centuryWesterncollections.AtthatearlymomentcollectorsappreciatedAfricansculpturenarrowlyasformalsolutionstoissuesinmodernistfiguralsculptureandoftenremovedtheaccumulatedlayersofpowermaterialswhichtheyregardedasimpedimentstoaestheticappreciation.Westernaudiencesnowappreciatethatthevariedsurfacesoftheseworksnotonlyoffertracesofthehistoryoftheirusebuttheaccumulatedevidenceoftheiroriginalintentionasvesselsforanimatingspirits.Powersculpturesserveasindicesnotonlyofthesespiritsbutalsooftheagencyoftheiroriginalartistsandpractitioners.ThedenselayersofappliedmaterialscreatewhattheKongoreferredtoasngitukuluorastonishment.Asvesselsofpowerthesesculpturescontinuetoactonustoday.Theseartworksmaintainaclosevisualandintellectualrelationshiptotwentieth-centuryartfromthewildstrokesofWillemdeKooningandFranzKlinetotheassemblagesofJosephCornellonwhichAllanStonemadehisnamesaidKevinDumouchelletheexhibitionsguestcurator.IndeedtheStonecollectionsfiguresfromtheCongoshareavisualandintellectualrelationshipwiththeassemblagesculpturethatStonechampioned.WhileWesternsculpturetookitsforcefromitsvisualorconceptualimpacttheCongoleseworksaddakeyingredient-activepoweritself.TheBruceMuseumislocatedat1MuseumDriveinGreenwichConnecticutUSA.Generaladmissionis7foradults6forseniorsandstudentsandfreeforchildrenunderfiveandBruceMuseummembers.FreeadmissiontoallonTuesdays.TheMuseumislocatednearInterstate-95Exit3andashortwalkfromtheGreenwichCTtrainstation.MuseumhoursareTuesdaythroughSaturday10a.m.to5p.m.Sunday1p.m.to5p.m.andclosedMondaysandmajorholidays.Groupsofeightormorerequireadvancereservations.MuseumexhibitiontoursareheldFridaysat1230p.m.Freeon-siteparkingisavailable.TheBruceMuseumisaccessibletoindividualswithdisabilities.ForinformationcalltheBruceMuseumat203869-0376orvisittheBruceMuseumwebsiteatwww.brucemuseum.org.IMAGeS1.KongoFigurPowerFigureNkisi.DemocraticRepublicoftheCongoorAngola.Woodglasstextilefiberspigmentorganicmaterials.11x512x512inches.2.KongoFigurPowerFigureNkisi.DemocraticRepublicoftheCongoorAngola.Woodglasstextilefiberspigmentresinorganicmaterials.7x3x212inches.3.KongoFigurPowerFigureNkisi.DemocraticRepublicoftheCongoorAngola.Woodmetalglassfibersraffiapigmentorganicmaterials.1514x6x4inches.4.SongyFigurPowerFigureNkishiwithBishishiMetalStuds.Woodmetalfiberanimalhidefeatherssnakeskin.35x13x15inches.5.SongyFigurPowerFigureNkishiwithMambeleCowrieShells.Woodmetalcowrieshellsfiberbeadsanimalhideorganicmaterials.21x6x512inches.6.SongyFigurPowerFigureNkishiwithBishishiHoeBlade.Woodmetalfiberanimalhidefeathersbeadsorganicmaterials.3612x12x15inches. 23456 SACRedARTOFTheeASTBYRAhUlPATelOBJeTSdARTAuThORScOllecTiOneXcluSivephOTOGRAphyBymAuReenclARkSpciaFEATURETheartofantiquityinAfricaartinEuropeandspeciallyAsianarthasbeenreveredbycommonpeopleineverydaylife.Whentheartupliftsthemassesandhealsitbecomessacredart.IndeedAsianartisatourdeforceoflifewhichhasthepowertoheal.InmyjourneyforthelastthreedecadesIhavewitnessedadoredandcollectedsomeofthesemostraresacredartobjectsfromtheEast.InJapanBuddhisminspiredZen.ArtbyZenmastersandmonksawakenedandenlightenedpeopleanditbecameZENGAARTThisvisualartmeditationthroughcalligraphyhaspowerbeyondwordstotransformlives.OneofsuchlivingmastersofZenandswordwasYamaokaTesshu1836-1888.TesshucalligraphedthemostZenartintheworldonemillionartpieceswhichearnedmillionsofdollarstobenefittemplesandshrinesnevercollectedasingleyenforhimself.HissignaturepiecetorepresenthismasterywasMUcalligraphywhichmeansNOTHING.ItistheessenceofZen.Bybeingjustemptywecanliveourtruenature.Itisahealingsutraoflife.Ihavediscoveredthatthissacredartbecomesmedicineinotherparts.InBorneoIndonesiaDayakculturetheshamanenergizessmallcharmsandamuletstoweararoundhisnecktoheal.Thesetinyprotectiveamuletsalsoarehungoncradlestokeepbabiessafe.ThesecondartobjectinthisarticlewascollectedbyIrwinHerseywhopopularizedIndonesianartintheWest.TheseDayakcarvingsarealsobelievedtopossesscurativepowers.Incuringceremoniesthesewoodenfigurinesareshavedforhealingritualstobeconsumedbypatientsasevidencedbythethirdartpieceinthisarticle.FarawayinthesnowkingdomoftheEastTibetthefolkBuddhistdeitycalledJAMBHALAisabelovedguardianwhohonorsmanycommonhomealtars.ItisaTibetanmanifestationoftheIndiandeityKubera.JambhalabringswealthprosperitylongevityandprotectionamongTibetanNepaliChineseIndianandinmanyAsianculturalbeliefs.ItisraretofindawoodenJambhalafromaboutthe15-16thcenturywhichwasusedforritualisticTibetanaltar.Natisaspiritaratherlittle-knownprotectivemedicinalamuletfromMyanmarBurma.Itisbelievedthatthereare37NATSspiritsamongthefollowersinMyanmar.Natsarealsousedbyshavingoffwhennecessarytomixinbeveragestodrinkforcurativepowers.Asmyresearchincross-culturalstudyofsacredartitisthesourceoftheirELAN.ThesacredartbecomesthelifeforcelikePolynesianscallitMANASiouxIndianscallitWAKANDAHinduscallitDEVAandLegainCongocallthisKALAMO.ItistrulyatransformationofartwhereartbecomesinfactmedicinetohealforhighestgoodandIamtrulyinawedealingwiththisgenreoftribalart.IMAGeS1.DayaktribalcharmshavedfromJamesWillisprovenance.2.DayakprotectivecharmfromThomasMurrayprovenanceexIrwinHerseycollection.3.NATspiritTonyAnninosprovenance.4.WoodenJambhalacirca15-16thcent.RobertBrundageprovenance.5.YamaokaTesshufromJohnStevensprovenanceRobynBuntinofHonolulucollection.21 345 TheTribalArtWorldmournsthelossDr.WernerMuensterbergerwhodiedMarch62011athishomeinNewYorkCity.Hewasninety-sevenyearsold.Dr.MuensterbergerwasapsychoanalystarthistorianauthorexpertandcollectorofAfricanart.WernerwasborninWestfaliaonApril13th1913toawealthyfamily.HewasfirstexposedtoAfricanModernandChineseartbyBaronEduardvonderHeydttowhomhededicatedhis1955bookSculptureofPrimitiveMan.MuensterbergerwasexposedtogreatmodernandtribalartcollectorsandscholarsatayoungageandpurchasedhisfirstpieceofAfricanArtasateenageraYorubaBronzeHorseRiderfromAmsterdamsjodenmarket.HespentsummersinvonderHeydtsSwissMonteVeritretreatinAsconawhereherehebefriendedCharlesRattonthelegendaryParisiantribalartdealerwhoseParisgallerywasagatheringplacefortheSurrealistsandEckartvonSydowprofessorofPrimitiveKunstandapsychoanalystinBerlin.Duringthemid1930sMuensterbergerdiscoveredtheMuseumfurVolkerkundeinBerlinwhereheexaminedoutstandingpiecesoftribalart.DuringthattimehewasastudentattheBerlinPsychoanalyticInstitutewhilealsostudyingarthistory.HealsovisitedWestAfricaduringthistimeandhisloveforAfricanArtwidened.SydowconvincedhimtopursueethnologyandpsychoanalysisstudiesinBerlinbuthewasforcedtofleefromtheNazis.HecontinuedhisstudiesattheUniversityofLeydenandtheUniversityofBaselwritingadissertationonIndonesianmythologyandanotherinarthistoryontheinfluenceofItalianartontheSchoolofUtrechtpaintersduringthe17thcentury.DuringthewarinAmsterdamhespentmuchofthetimeinhidingatthehouseofhisthengirlfriendDutchactressElisabethAndersen..In1947MuensterbergeremigratedtotheUnitedStateswithlittlecashandtwoworksofart.OnepieceaBeninIvorythatfounditshomeintheMetropolitanMuseumofArt.HetookajobasaprofessorofethopsychiatryatColumbiaUniversityuntil1951andthentaughtthesamesubjectattheStateUniversityofNewYork.Heretiredin1974andmovedtoLondonwithhisthirdwife.Thenin1985hemovedbacktoNewYorkandopenedaprivatepractice.SomeofMuensterbergerspatientsincludedLaurenceOlivierJamesDeanandMarlonBrando.Hisnear-century-longlifeincludedexchangeswithpersonalitieslikeThomasMannMaryWigmanPabloPicassoSigmundFreudConstantinBrancusiWaltDisneyAlbertEinsteinandRobertRosenblum.His1994MuensterbergerwrotethebooktitledCollectinganUnrulyPassionwhichpsychoanalyzesartcollectorsandisastaplepublicationinanygreattribalartlibrary.Thebookexploreswhatmotivatescollectorsexploringdeepchildhoodexperienceswhichcontributetoneuroticbehaviorsuchasusingcollectingasacrutchtodealwithstressandanxiety.DuringthelastyearsofhislifeMuensterbergerwaswritingabookonthepsychologyofartforgerytobetitledForgersontheCouchinwhichhepsychoanalyzedhistoricalandmodernforgers.Mostforgershesaiddontjustcheattheoriginalartiststheyareforgingbutalsotheexperttheidealfatherfigure.DuringaninterviewbyGeorgeNelsonPrestonMuensterbergerwasaskedtogiveonereasonwhyhecollectedandhesimplyanswereddR.WeRNeRMUeNSTeRBeRGeRBydaviCassrainMEMORY formeitisadialoguewiththeartisteventhoughIhavenotmethimpersonally...indeeditremindsmeofmytalkswithBrancusiwhomIhadmetthroughTristanTsara.IfyoueverhadtheopportunitytovisitDr.MuensterbergersapartmentinNewYorkasIdidonmanyoccasionyoumayagreetheonepiecethatundoubtedlygrabbedyourattentionwastheBeneLuluaHelmetMask.MuensterbergersaidIsawthismaskatMertonSimpsonsgalleryaround1965.IwalkedintookonelookatthemaskandknewIwantedit.ItoldSimpsonIlltakeit.HowmuchisitNotaverycommercialapproach...Thisspontaneousandvigorousapproachtocollectingandlifeissomethingveryspecial.AlthoughhewillbemissedMuensterbergerslegacywillliveonthroughhispublicationsinspiringandguidingthenewgenerationsforyearstocome..1913-2011IMAGeSRightoppositeGuardianPost.Ethiopia.AboveHelmetMask.BeneLuluaDRCongo.ExMertonSimpsonNYCenterRightFiguralDrumfinialorarchitecturalelement.MbembesouthernNigeria.ExHenriKamerNYFarRightFangHead.ValleyofNtemSouthCameroon.LouisPerroisnamedthecryoftheancestorLecridelanctre.PublishedbyPerroisinArtsdAfriqueNoire113Spring2000. ThROUGhTheeYeSOFOURANCeSTORSAFRICANARTFROMTheJAMeSANdMARJORIel.WIlSONCOlleCTIONMAY192011JUNe2011ATTheQCCARTGAlleRYQUeeNSNYThisexhibitionplacestheartofvariousAfricanculturesnearertoitsoriginalcontextwheresculptureisonlypartofalargerensemblethatcreatesacompletecharacteranancestororaspiritualentity.Withoutallitscomponentsthatentitycouldnotexist.Africanartwastraditionallymadewithinastrictandcomplexsocialcontext.Workshopsandcarverswereoftensecludedastheyrenderedspirituallyresonantobjectsandcontinuedtraditionsoftenwithsurprisingchangesinformordetailtokeepupwithdemandsofchangingsocieties.Withineachculturesecretsocietiesandorroyalcourtsdecidedwhenwhereandhowanobjectwasmade.CurrentlyinAfricanculturesmanypeoplecontributetothecreationofamasqueradeensemblewhetherincurrencyorinkind.Aceremonialmaskorfigureiscommissionedfromacarverandthemaskconsecratedwithinputfromafetisheurwhoempowersitandcostumemakerswhohelpcreateitsidentity.Ultimatelyoveritslifetimeamaskorensembleundergoeschangewhetherthrougherosionrepairorrefurbishment.Additionssuchastextilesmetalmedicineamuletsandpigmentsaffectboththewoodandthecostume.AndthatofcourserevealsthehistoryoftheobjecttopeoplewithinthesocietyandtoWesterncollectorsaswellseeSurfaceseditedbyDonnaPageLeonardKahanandPascalImperato.IntheWestourrecognitionofdifferentcomponentswithinAfricanarthasevolvedovertime.ContemporaryartintheWesthasmovedbeyondtheabstractstageandisnowinapolymorphicphasewhichopensustootheraspectsofAfricanartisticproduction.MovingthroughCubismtoAbstractionandthroughMinimalismtoConceptualismrequiresacceptanceofchangeinourownviews.Thesearttrendschangedassocietalvaluestechnologytradeandcontactschangedanddeveloped.Whatwasrecentlyacceptedasexcitingratherquicklybecomesdoctrinaireandantiquatedasnewtechniquesimagesandvaluestaketheirplace.WerenotsuggestingthatallthesefastchangestookplaceinAfricanculturesalteringtheirartdrasticallyfromonegenerationtothenextthoughchangeoccurredtheretoo.RatherweresuggestingthatwearepredisposedtoseeandacceptourowncurrentperceptionswithinAfricanartandcanpullfromitsnumerousstylesandexpressionsthosethatappealtousmostgivenourcurrentwayofseeingandthinking.NeitherisAfricanartconstant.Therearemanytypesofexpressionrepresentingavarietyofinstitutionstraditionsanddeities.WeoftenpickthatwhichwethinkrepresentsAfricanartaccordingtothestateofourowncurrentknowledge.ThenwheredowestartBeforeandduringthe19thcenturywithonlyfewexceptionsEuropeansseeingthroughthelensofcolonialismracismandhierarchicalcomparisonsofculturesselectedartifactsthatbestexpressedtheirvisionoftheso-calledprimitivemanAlternativelytheyadmiredobjectssuchascarvedivorieswhichfittheirdefinitionofart.ThatlimitedvisionexpandedasmoreattentionwasgiventoexaminingtheplasticvaluesofAfricansculptureandknowinglocalhistoriesoftheobjects.AndeventuallyCubismwasoneofthemainyardsticksbywhichonecouldseeandappreciatesomeoftheintenttechniqueandprofoundvaluesystemsinAfricanart.ThereductionofrepresentationalformtoitsbasicswasappealingtoEuropeanartistsandeventuallytocollectorsaswell.InpastgalleryexhibitionsandpublicationswehavepersonallyexaminedotheraspectsofAfricanartsuchasminimalism---theabilitytoreduceformtoitsmostessentialwithanefficiencyandpurityofformandlinecomparabletothatfoundincontemporaryWesternart.InotherpublicationsweinvestigatedAfricanartfromthestandpointofgesturescolorsurfacesandmetamorphosis---thecombiningofhumanandanimalimagesonartifacts.AswecontinuedinvestigatingartfromtheAfricancontinentwefoundmoreandmoreparallelsinAmericanarthistory.Asonewouldfindinanyartoflongstandingthatofbothcontinentsservedtheneedsofonegenerationafteranotherhelpingeachsocietycarryandpreservethemessageshistoryandvaluesoftheirpeoplesandinstitutions.TodayintheWesttherehasbeenatendencytocollectAfricanartbyfocusingonsuchqualitiesasraritycreativitycubisticformalstructureperfectionofformandawell-developedpatinathatshowssocietalusageandthusreverencefortheobject.TheageofanypiecethoughnotnecessarilyacriterionforgoodartdoesallowustoknowthatthesculpturewascreatedgenerationsagowithfewerWesterninfluencesorcommercialism.Suchanobjecthasanunderlyingrarityasobviouslyfewersuchobjectscannowbefound.12 OnceaworkofAfricanarthasbeenremovedfromitsoriginalcontextitisgivenadifferentsignificancereflectingtheaestheticsofthecollectorortheexhibitinginstitutionandremovingitfromtheoriginalintentoftheculturethatmadeandusedit.TheobjectmaybemovedfromonedisplaytoanotherfromaprivatecollectiontoamuseumexhibitioneachwithitsownwayofinterpretingAfricanart.ForinstanceinarecentQCCexhibitionoftheMarshallandCarolineMountcollectionofCameroonobjectsweacceptedthehypothesisthatallcategoriesofsculptureandcraftinallmaterialsandmodesofusageshouldbeconsideredAfricanart.YesJimandMargeWilsoncouldhavecollectedAfricanartfromtheaestheticviewpointofpureformofinternalsculpturalrelationshipsandbeautyoflinevolumeandproportion.Perhapsinthebeginningoftheircollectinginthe1970stheydid.ButJimwhohadaninteriordesignbusinessHouseofEbonysawmoreinAfricanartthanpureform.InhisownbackgroundhehasbothIgboandAsanteancestors.Heunderstoodthattheexcitementofceremonydanceandcelebrationdemandednotonlysculpturebutakaleidoscopeofformscolorspatinaandmaterials.Hisultimatestrengthasacollectorlayinhisappreciationoftheentireartifactwithitshistoryintact.Hesawtherelationshipamongthemanyobjectsusedwithinthesameceremonyoreventinsupportofoneanother.Whileherecognizedsculptureinitspurestate---lineshapevolumeplaneandproportion---hewasalsodrawntothetotalpresentation.Theseincludetheaccoutrementscolorstexturespatinasandvariousrawmaterialsthatcreatetheentityconceivedbytheoriginalsocietyanditsmasqueraders.Theseextraneousmaterialshaveoftenbeendiscardedoromittedbydealerscollectorsandmuseumsthatpreferredthearttobeseeninitspurestate.JimWilsonwaslessinterestedinthatpurestateandmoreinthetraditionsreflectedbythetotalensembleincludingthedanceitsagetherefurbishmentsadditionsandchanges.Thisentireculturalartifactisapreserveroftraditionatransmitteroftheaestheticsandvaluesofitspeople.InchoosingtheseselectionsfromJimscollectionwehopetohaveencapsulatedtheveryessenceofhisvision.JimWilsonhasbroughttothecollectingofAfricanartalargerstatementwhichheperceivesasthetrueaesthetic.Thisapproachintegratesaspectsoftimecolormaterialsmusicandmotion.Alongwithanobjectsfineandsometimesprofoundsculpturalvalueshehascollectedtheentirecostumewhichrequiresonlyanimationtoreviveitsoriginalappearance.Hewantstofeelthespitonthepiecetohearthesecretswhisperedintothewood.WehopethisexhibitionconveysthatspiritthatitexpressesabitmorethanoneexpectstoseeinashowofAfricanart.Wehopeitwillcommunicatetheexcitementofthefulltraditionreflectedthroughthevarietyofmaterialtextilescolorsandformsthatitwillconveythesoundsofthemusicthemotionofthedanceandthefeelingofthefestivalorcourt.Hewantsustoseethewholeandunderstandthatsculpturalformisjustapartofsomethingmuchlarger.Itwasworkandfunputtingthisexhibitiontogether.Weexplorednewterritory.IthadmanysurprisesandturnedusawayfromconventionalthinkingmoretowardJimWilsonsvision.ThroughtheEyesofOurAncestorshasopenedoureyesabitmoreontothecomplexitiesofAfricanartandwhatmakesitsocaptivating.Ourexplorationofitsmeaningsandaestheticshasbeenandstillremainsanongoingprocess.LeonardKahanandDonnaPageIMAGeS1.JollyMasquradhadpicTemneSierraLeoneWoodfabricmirrors2812inches2.FmalMaskensmblDan-IvoryCoastLiberiaWoodkaolintextilesbrassbellsbeadsbasketrycowriesmask11inchestotallength63inches3.RobHausaNigeriaCotton40x56inches3 MuseuMofArtAndoriginsPPrRrvademeuRehistoRiqueinhaRlemshistoRicsugaRhill430W162srnYc10032byapptfx2127409999efy. galleryjatadmatthewscheinerhoustontexasbyappointment713.498.0137