All that Glitters...

Where: Museum of African Art

When: closing on September 29, 2019

The "golden arts" of Senegal are less well known than those of their neighbors, but the country has been a hub of fashion for many years, and continues to be one today.  This show focuses on jewelry, which in Senegalese culture (and in most countries, probably) is a signifier of power and prestige.  If you can afford to wear lots of gold jewelry, you obviously have money beyond what's needed for basic subsistence.

Marion Ashby Johnson was a collector and scholar of jewelry, and she donated her collection to the Smithsonian.  Most of what's on display here is from her gift.  Although many works in the museum's collection are very old, jewelry dating before the middle of the 20th century is actually quite rare.  The oldest item on display is from the early 20th century.  Usually, older pieces were melted down to create new, more fashionable pieces.  I suppose that's similar to people having a family ring reset.

There is a word used in Senegal, sanse, which comes from the French word changer (to change).  It has a variety of meanings,  but generally refers to dressing for success, a sign of money, status and importance.  It's different from and more complex than fashion, as it also involves ethical choices, as well as outer appearance.  Jewelry is a big part of sanse.

I confess, it was difficult for me to relate to this idea, as I don't really care that much about fashion or style.  I own jewelry and buy it from time to time, but it's mostly pendants that I switch out on a few chains.  I don't even have pierced ears, let alone anything else.  Fancy clothes are something I've arranged my life to avoid. Not that some of the pieces weren't lovely.  I saw a butterfly necklace and bracelet set that I liked very much, for example.

Verdict: If you're fascinated by fashion, give this a look.

You Are There

Where: Museum of African Art

When: through January 31, 2017

I don't believe I'd ever been to an exhibit of "sound art" before, but I'm quite happy to hear more.  The Museum of African Art specifically commissioned this piece, which features sounds from a market in Lagos, Nigeria (over 5,000 miles away), played in a small room.  You feel surrounded by the sounds of people buying and selling, and since I experienced it (hard to say I saw it, since there's nothing to see) right after going to the Turquoise Mountain show in the International Gallery, I had no problem imagining the scene.

Verdict: Great fun, and very easy to add on to another show.

More Benin History than Photography

Where: Museum of African Art

When: through September 13, 2015

It's been a while since I've been to the African Art Museum; I think that's because they don't have as much space for rotating exhibits as the Sackler does.  Of course, much of the available space at present is taken up with the Cosby Collection show.  A pity that what should have been an interesting display has been overshadowed by the disturbing news concerning Bill Cosby.  I still intend to go see the show - it's not the art's fault that (if the stories are true) he's a predator.

But enough of that, let's focus our attention on the exhibit at hand, which deals with Benin and its photography.  I knew very little about Benin before I came to this show, and didn't think I'd learn so much about this part of the world by seeing it.  In fact, the show is far more about the history and art of Benin than it is about Chief S. O. Alonge, one of Benin's early photographers.

Alonge became the official court photographer and produced the first official photographs of the royal court.  Many of the photographs included in the show come from the Eliot Elisofon photographic archives, which called to mind the show I saw a while back about that collection.

Benin is a region in what is now Nigeria, and the king rules from Benin City.  The British were involved in the area for many years, not always happily, either for themselves or the people of Benin.  Perhaps my favorite historical photograph in the collection is one of Queen Elizabeth II on a visit to the area in 1956 greeting Oba Akenzua II (the ruler at the time), who is in full regalia.  The Queen looks like she could have stepped out of a London garden party, so the juxtaposition does provoke a smile.

Alonge also had his own photography studio and was a successful wedding and portrait photographer.  The photograph shown above is quite arresting - the reproduction really doesn't do it justice.  The young woman pictured is very pretty and her expression is quite charming and friendly.

Of the art on display, I was very much impressed with an enormous elephant tusk with quite elaborate carving.  I felt guilty about admiring it: the craftsmanship is amazing, but the poor elephant!

Verdict: An intriguing show of interest both to those who like photography and 20th century African history.

Lines, Marks, and Drawings: Through the Lens of Roger Ballen

Where: Museum of African Art

When: through February 9, 2014

First of all, hale and hallelujah that the shutdown has ended, and the Smithsonian is open again! As you can imagine, it was a long and horrible 17 days, with no exhibits to see.  I could feel my brain cells shrinking due to lack of intellectual stimulation.

I went to the Mall several times over the last few weeks to gaze at the buildings and pout.  Happily, the Haupt Garden behind the Castle was open (not sure why, as it would have been easy enough to shut the gates), and I spent some time sitting there, taking in the fall flowers.  Still, no substitute for going to an actual exhibit.

Now, however, the Smithsonian is back in business, and my plan for the foreseeable future is to see as many shows as I possibly can, just in case we go through this insanity again in January.  Truly, this is no way to run a banana stand.

The first show I saw after the shutdown ended was a collection of Roger Ballen's work at the Museum of African Art.  Ballen is actually an American, who has lived and worked in South Africa for over 30 years.  It's difficult to describe his photographs; they're sort of collages, involving people, animals, objects and drawings of lines.  The picture above is typical of what you'll see.  In addition to over 50 photographs, there's also a video.

I had high hopes when I went over to the Museum, as I've found that I like contemporary African art very much.  Yinka Shonibare, for example, is my favorite artist.  I also very much enjoyed the Laila Essaydi show I saw a while ago.  This, however, was really bizarre.  I can't tell you what any of this was supposed to mean, or symbolize, as I could make neither hide nor hair out of it.  It was as if I was trying to have a conversation with someone speaking a language I couldn't understand.  I wanted to say to Ballen, "I just don't know what you mean."

Perhaps my exile from the museum world has made my brain sluggish, and I should have another look at this before it closes, in hopes of seeing something more in these photographs.  On the other hand, perhaps they're just weird.

Verdict: If you're a fan of Ballen, this is a great show, with examples of his many series of photographs, along with a video.  If surreal collages are not your cup of tea, you can safely give this a miss.