Strike While It's Hot

Where: African Art Museum

When: closing October 20, 2019

First of all, know that this is a huge show that starts in the African Art Museum (on the lowest level) and continues into the International Gallery of the Ripley.  I went to see it on a free afternoon, and after a full hour, I was skimming at the end.

The show opens with a discussion of how iron arrived here - it comes from the core of meteorites that were destroyed in impacts in space and eventually fell to Earth.  The Smithsonian has one of the world's largest and most complete collection of meteorites, some of which are on display in the show.  Iron has become such a part of the human experience that it is what makes our blood red.

So on to the African blacksmiths.  They held a very high place in society, as they were able to use fire to transform iron into objects that were practical, beautiful and signifiers of status.  They made tools for everyday use; they made jewelry and they made objects used in important rituals.

When one thinks of iron, one thinks of strong, heavy, powerful items.  But that's not the totality of what iron can be.  A piece called "Rain Wand" was lovely and delicate - something I did not anticipate when I came to the exhibit.  As impressive as the tools and knives were, the ability to transform iron into something elegant was even more arresting.

Iron was also used to create objects to honor the dead; it became a symbol of divinity and of fidelity.  As members of the community left this existence, their loved ones celebrated their lives and remembered them after their death.  Iron was eventually so important in society, and such an indication of wealth, that it was actually used as currency.

The show ends with  examples of the lamellophone.  An instrument made of iron, it mimics the sound of the forge - which is more musical than you might expect.

Verdict: If you've got lots of time, this is an interesting examination of both art and the society that creates it.

Art at the Crossroads

Where: African Art Museum

When: closing September 3, 2018

The Swahili Coast marks the intersection of Africa and the Indian Ocean.  Over centuries, peoples and their artistic traditions have met and mixed here, and this exhibit is a survey of what that mingling has produced.  This melting pot of cultures has allowed Islamic influences and traditional African art to meld into a distinct set of artworks: jewelry, textiles, furniture and other woodwork, photography - even board games.

Jewelry is well-represented in this show, and it was an important commodity in years past.  It was a sound investment, which allowed women some autonomy.  It functioned as a type of private nest egg, separate from their husband's wealth.

The pieces that most impressed me were the beautifully carved wooden doorways, the craftsmanship was wonderful.  Intricate in design and expert in execution, they are a way of bringing art into one's home - making the necessary exceptional.

The photography section reminds us that the "selfie" craze is just the latest manifestation of the human desire to be documented, to be seen in a certain way or with certain other people.  These photographs served purposes very similar to those of Western portraits - social signifiers that indicated that the subject was worthy of being remembered, that their image was worthy of preservation.

Just when I thought I'd left the exhibit behind, what should I see but this small robot, named Pepper, who wanted to tell me about the show and about the Swahili language.  Since part of my job is tracking news about automation and the advent of robots in the workplace, how could I resist a conversation with a real "live" example?  Pepper did most of the talking, although it did ask me to learn some Swahili words and say them out loud.  My only criticism, and I mean this to be constructive, is that Pepper is really short.  I'm not tall, and I was stooping over to touch the screen.  Perhaps this is meant to ensure that it is not intimidating to children?

Verdict: An interesting exhibit and cultural history lesson in one.  And a talking robot!

Who I Am Not

Where: African Art Museum

When: closing in July 2018

Did you know that the Smithsonian's African Art Museum is the only museum in the entire country devoted to African art?  That seems crazy to me, but I'm assuming it's true.  It's a real shame, because I'm willing to bet most museums have some traditional masks or jewelry or carvings, but little if any contemporary works on display.   And I love contemporary African art.

As longtime readers of this blog know, I'm a huge fan of Yinka Shonibare.  My enthusiasm for him led me to seek out other contemporary artists from Africa, and I've been really impressed with their work as well.  Jim Chuchu was previously unknown to me, but I like his videos, Invocations, now playing at African Art.

They are two very short films (you can easily watch them both in a visit) about identity.  The first features words spoken and printed on the screen such as "I Am Not Your Son" and "I Am Not Your Blood."  The question that I left asking was, "Who are you and who exactly are you rejecting?"  Is this a universal cry of youth raging against an older generation that does not understand their experience, or is it more specific than that?  Is it the anger of Africans against a world that refuses to respect them?

The second film involves a young man (I assuming the artist himself) with black smoke pouring out of his mouth.  I'm not sure what I was supposed to take away from this, but I kept thinking of imperialist Victorians creating rail lines across the African continent to further their own enterprises.

Verdict: Intriguing videos, capable of many interpretations.

Yinka Shonibare - Need I Say More?

Where: African Art Museum

When: through January 2, 2017

Imagine my delight when I discovered that Yinka Shonibare was among the African artists featured in this selection of contemporary video art.  I was off to the Mall with a spring in my step, and that spring was only enhanced by the fact that the barriers are down, and you can walk easily from one side of the Mall to the other!  Hurrah - no more walking all the way over to 12th street to get to the Sackler and its neighbors.

The Shonibare piece was "Un Ballo in Maschera," and I only wish I'd had time to watch it all the way through.  The dancers are clad in his trademark wax cloth and their movements are much like those of birds.  I wish I knew what that meant, as I'm sure it means something.  Gorgeous colors in the costuming and lots to think about - typical Shonibare.

The other videos are interested as well; the first one in the show is of a woman walking on olive oil, which is strangely captivating.  I was also intrigued by Theo Eshetu's kaleidoscope piece - so cool to look at, especially as you can see your own reflection in the mirrors.

My only complaint is that sometimes the sound bleeds over from piece to piece, but that's a small gripe.

Verdict: This show reminds me how much I like contemporary African art.  Worth seeing.

A Book is a Work of Art That You Can Hold and Touch

Where: African Art Museum

When: through September 11, 2016

It was so hot in DC yesterday when I went over to the African Art Museum to see this show that I felt like I'd walked all the way to Africa.  This is our first big heat wave of the summer, and I maintain the first one is always the worst.  One's body is not yet adjusted to the humidity, and one really feels it.  I'm looking forward to the fall...

The easiest way to get to this exhibit is to enter through the Ripley; it's just off the main concourse.  The cool temperatures so far below the ground were a delight, and the ordinarily quiet offices were buzzing with summer camp activity.  As much as the crowds of screaming boys who seem to live full-time at the Air and Space Museum get on my nerves, I do realize that children who have happy memories of the Smithsonian are likely to grow up to be adults who will support its funding (just like me!), so I sincerely hope the campers are enjoying themselves to the fullest.

The exhibit is an interesting one, showcasing a wide variety of different illustrated books.  The curators took a very broad view of what is an "artist's book," so these are books with lovely illustrations, or books where the illustrations are primary, with explanatory text, or books that are works of art in and of themselves.  The thing they all have in common is that they are either by African artists or about Africa.

In addition to the books, there is also a video running, of interviews with several of the artists.  If you have some extra time, this is worth watching.  I noticed that the wall notes seemed targeted to younger visitors, as I've observed in other of the museum's shows.  This is probably a good thing, in that children might not be inclined to go to an art museum (especially if Air and Space or Natural History beckon), so making an effort to make the art accessible to them is laudable.  It might not be what I would choose for myself, but I understand that it's not all about me.

Verdict: A nice exhibit, one that you could see with kids.

I'd Go All the Way to Hell to See a Yinka Shonibare

Where: African Art Museum

When: through August 2, 2015

The new show at African Art has literally taken over the entire museum.  It starts in the pavilion, continues on the first floor, proceeds down the stairwells and ends on the third floor.  In fact, it bursts through the museum walls on the third floor and actually ends in the International Gallery of the Ripley Center.

So what's all the fuss about?  What topic can command so much floor space?  What can take your mind off the Cosby exhibit on the 2nd floor?  It's "The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists," and by the time you've wandered through the many rooms and landings, you'll feel as if you've been on quite a journey.

When I saw the entry for this show on the Smithsonian website, my first thought was, "Contemporary African artists?  Does that mean Yinka Shonibare will have a piece?"  Imagine my delight to find that he is, in fact, one of the artists on display.  I've been waiting for weeks for the show to open, and I went rushing right over on opening day, eager to see another of his pieces.

The exhibit begins in the pavilion with an introduction to the show; there's a video and an invitation to record your own writings in the entryway.  The ball really gets rolling, however, on the 1st floor, with the "Heaven" section.  I have to say, there is some seriously weird stuff in this show.  I'd look at a piece and think, "What IS that?"  Then I'd turn to the title and find myself none the wiser.  Perhaps the most peculiar thing (and that's saying something) in this section is entitled "Frontier with Church" by Jane Alexander.  It's a large installation with numerous figures, many of whom reminded me strongly of the mouse-like characters of the Jews in Maus.  Bizarre.

There was also a piece composed of prayer rugs on the floor, each with a pair of glittery women's shoes standing on it.  Why?  What is this supposed to mean?  Is this a commentary on the place of women in Islam?  Or does it have something to do with fashion and the toll it takes on women's bodies?  Or what?

Moving on from heaven, we proceed to "Purgatory."  It begins on the first floor, flows down the stairwells and landings and ends on the third floor.  It's a bit tricky to navigate; I was distracted from the art by trying to make sure I'd seen everything.  My favorite piece was on one of the landings, "Refrigerium" by Dimitri Fogboboun.  It's a wooden confessional.  You can open up the doors to the right and left to see into the piece; on the left side, there are nails pointing up out of the places where you would put your knees and elbows in a real confessional.  They spell out Lord Have Mercy.  On the right side, there's a picture of Jesus with glowing eyes and a broom hanging up, which made me think of self-flagellation.   Perhaps the message is a bit heavy-handed, but I liked it all the same.

On the third floor, we reach "Hell."  On the first day I went, I was filled with anticipation.  I'd looked carefully through "Heaven" and "Purgatory" to find the Shonibare, but no luck.  I knew then I'd need to go to "Hell" to see his work, and I was willing to do it.  I was about to enter the first room, when the security guard stopped me and said, "Sorry ma'am, it's still closed."  Closed!?!  What?  I chatted with the guard for a few minutes, explaining that Shonibare is my favorite artist.  "This is the definition of hell for me," I said.  "Being so close to seeing a Yinka Shonibare, but not actually able to see it."  Dejected, I left the museum.  Two days later, however, I was back, and this time "Hell" was open for business.

I gathered from the wall notes that Hell is based on what you fear, and that makes sense.  When you're paralyzed by fear and doubt, that is a kind of hell.  You're not happy, as you would be in heaven and you're not on a journey to a better place, as purgatory represents.  You're stuck in a miserable situation, with no way out.  The rooms are dark, so it's sometimes a bit difficult to make out the works, but one thing is clear: more weirdness abounds.  Probably the oddest work was a big rubber thing - I can't really be more descriptive.  It's vaguely unsettling, but why, I don't know.

The Yinka Shonibare piece is entitled "How to Blow Up Two Heads at Once (Gentlemen)."  It's two of his signature headless mannequins, each pointing a revolver at the other.  The great thing about the placement of the piece is that I could get right up close to it.  The hands of the mannequins are easy to see, and they're so lifelike - you'd swear they were real people.  His work is powerful, and this one, that I'm interpreting as a statement on the politics of mutual destruction, makes you realize that hell is the waste of human energy on killing, instead of working together to solve problems.  The man is a genius, and this piece is a great example of that.

Verdict: This takes more than a lunch hour to fully explore, but is worth a look.  There's nothing straightforward in this show, but it is thought-provoking.

Visions from the Forests: The Art of Liberia and Sierra Leone

Where: African Art Museum

When: through August 17, 2014

True confession: I'm not a fan of traditional African art.  I like lots of the contemporary things I've seen; in fact, Yinka Shonibare, who is from  Nigeria, is my favorite artist, bar none.  But traditional masks and figurine carvings, they just don't speak to me.  I keep coming to shows here, hoping to see something that will allow me to "get it," and I keep walking away as mystified as ever.

I remember coming to the African Art Museum to see highlights from the Tishman-Disney Collection.  The Tishmans were a husband and wife who collected African art, and when asked why, they responded, "Who can say exactly?  How do you know why you've fallen in love?"  I guess what it comes down to is that I'm just not in love with African art.

And, after seeing this show on art from Liberia and Sierrra Leone, I'm still not in love.  The show is largely masks and carved figurines, so if you like that sort of thing, run right over.  There were a few textiles that I enjoyed seeing, but that's a small part of the total show.

The exhibit features art collected by William Siegmann, the former curator of African art at the Brooklyn Museum, who worked in Liberia from 1965-1987.  The wall notes describe him as a connoisseur of African art, and give you information on how to judge the pieces you see.  Clearly, I'm not the only one who finds the work a bit alien.  Even armed with this new information, I still couldn't really like it.

Oh well, perhaps the next exhibit will be the one to do the trick?

Verdict:  If you like masks and carvings, you'll very much enjoy this show.

Africa ReViewed: The Photographic Legacy of Eliot Elisofon

Where: African Art Museum

When: through August 24, 2014

It's been a while since my last trip to African Art, and since I was a bit disappointed in what I saw then (the Roger Ballen show), I was hoping for something to restore my faith in the place.  Enter Eliot Elisofon, a very interesting person, of whom I had never heard before, to help me wile away a very pleasant hour.

Eliot Elisofon was a photographer for Life who was sent to Africa.  While there, he fell in love with the continent, and made a practice of photographing African craftspersons at their work.  In 1947, he made a trek from Capetown to Cairo, photographing all the way.  In 1973, he donated his collection of African art and photographs to the museum, which has a photographic archives named for him.  I'm sure it must be a treasure trove for scholars, as he made many trips and visited a variety of different countries.

One of his best known photographs is of a Kuba king in fantastic regalia - covered with shells.  There's something captivating about this photograph; I found myself looking at it for some time.  Perhaps it's the air of leadership about him.  In another photograph, you see a chief's wife holding a cloth that she presented to Elisofon - it is on display as well.  There should be a name for that phenomenon - when you see a photograph or painting of an object, along with the object itself.  There probably is, and I just don't know it.

Elisofon was the first person to photograph African leaders in color, so he had no fear of new technology.  That is clear from his abstract photographs, which he made as the first staff photographer of the Museum of Modern Art in New York.  He also directed and produced educational films about African arts and crafts, and was the photographer on the production of The African Queen.  Not to mention that he was friends with Gypsy Rose Lee - there's a photo of them cooking together, which I only saw on my way to the women's restroom.  Clearly, a man who lived life to the fullest.

Verdict: Well worth a trip to African Art.  A fine show about a very interesting person.

Earth Matters: Land as Material and Metaphor in the Arts of Africa

Where: African Art Museum

When: through January 5, 2014

As I write this, it's not even September, but I'm already seeing exhibits that will close in 2014.  Partly that's because my schedule has allowed me to see several exhibits per week lately, and partly it's because there don't seem to be as many shows on display that are closing this fall.  There are a TON of shows closing in January, however, so it's not as if I lack for things to see.

I haven't been to the African Art Museum in a while - they don't seem to have as many temporary exhibits as the Sackler (which is almost identical in size).  I'm not sure why that is, but I wish they offered a few more things I could add to my list to visit.  I find I like contemporary African art very much and would enjoy seeing more of it.

This display, which is fairly large, is comprised of works that consider the role of the land in African society.  In some pieces this is the actual earth itself, in others it's representations of land, maps for example.  In yet others, it's what is contained below the surface of life, buried in the earth.  The show focuses on works from 1800 - present.

The first work I noticed was a painting, imagine my surprise.  I've noticed that a lot of African art is composed of sculpture, masks, bead work, but you don't often see a lot of painting.  This one is a still life called Hottentots Holland:  Flora Capensis 2 by Andrew Putter.  It reminded me of many still life paintings I've seen over the years in the National Gallery.  At first, it's a lovely arrangement of flowers, but the more I looked, the more I saw other images in the floral designs.  An interesting piece, and one I was sorry to leave behind.

One thing I noticed about the display is how young many of the artists are; lots of them were born in the 1960s or later.  Nice to know that, despite the continent's problems, people are still making art and sharing it with the rest of the world.

Another set of paintings that I liked was Christine Dixie's Even in the Long Descent I-V.  This deals with the Cape Frontier Wars, which lasted from 1779-1879.  The five works show a family buried in the earth, complete with their dog.  The idea, as I interpreted it, is that the life we live today, on the surface of the land, is built on the lives of others, who are now hidden below us.  It behooves us not to forget these people, and the circumstances of their lives.  Dogs, I found out, are often used as symbols of the underground, as they dig in the earth - something I didn't know before.

Less traditional pieces are represented as well, including a piece by Batoul S'himi.  It's a pressure cooker, with a map of the world carved into it.  It symbolizes the under-representation of women in world politics and the pressure that exists to change this.  One of the last pieces I saw was one by Younes Rahmoun entitled Kemmoussa.  It's a series of plastic bags, tied into tiny knots and strung together.  I couldn't help but be reminded of the plastic bags I take with me every day when I walk my dogs - these bags have a better fate than the ones I'm using!!

Verdict:  Well worth a look if you're at all interested in African art, or in the relationship between people and the land.

African Cosmos: Stellar Arts

Where: African Art Museum

When: through December 9, 2012

I realized as I walked over to see this show that it had been a while since I'd visited the African Art Museum.  It seems as if they don't offer as many special exhibits as the other Smithsonian museums.  I'm not sure why that is, but I wish they offered more.  I don't know much about African art, and attending these shows is a good way to learn.

The theme of this exhibit is how the sun, moon, stars, lightning and rainbows have influenced African art.  What I really liked about it is how the curators blended ancient artifacts with modern African art.  For example, an Egyptian mummy case was placed between two displays of light used as artwork, including one that was a video of planes taking off and landing - I was reminded of the show I just saw at Air and Space.

At the beginning of the show, there is a picture of the Nabta Playa in southern Egypt.  It's one of the earliest known calendars - it resembles Stonehenge, although not in such good repair, and is 7,000 years old - more than 1,000 years older than Stonehenge.  The first room is made up almost entirely of Egyptian pieces; once again, I was amazed at the age of these items.  How they have managed to survive for thousands of years is incredible.

There are also video displays - the one that caught my eye was of ants running through sugar.  The video is reversed, so it appears that the background is black and the ants are white - it really does look like a starry sky.  Another item is something called Rainbow Serpent, by Romuald Hazoume.  It's an enormous circle made of recycled jerry cans (used to carry gasoline).  When I say it's enormous, it must be 10-12 feet high.

Verdict: This is an interesting show.  It's got lots of different kinds of art, something for everyone.  It's quite large, so you'll have to skim through on a lunch hour, or come back for a second look to see everything.

The Walt Disney-Tishman African Art Collection Highlights

Where: African Art Museum

When: through April 15, 2012

In 1959, Paul and Ruth Tishman began collecting African art.  When asked why they chose to do so, Paul Tishman compared it to falling in love - how could it be explained?  They set out to collect objects from every region of the continent, perhaps an impossible task.  In 1984, they sold their pieces to the Walt Disney Corporation, which was intending to display them publicly.  This project never came to fruition, and, in 2005, Disney gave the collection to the Smithsonian, where it has remained to this day.

What is on display is a small portion of the collection, about 64 items out of  525 pieces total.  This show has been "on" since 2009, and has been slated to close several different times.  I've wondered if I'd ever see it, as they kept extending its stay!  They may have a new show coming now, as it seems as if the exhibit really is closing this time.

As someone who knows next to nothing about African art, I always find it a bit intimidating to go to shows at this museum.  There's lots to see here - a dizzying array of carvings, functional items, masks, figures of both people and animals.  What occurred to me as I was leaving is that there is no painting, and as I thought about it, I realized that any time I've seen traditional African art, it's been carving, never paint on canvas.  Why that is, I know not.

Verdict: If you like African art, don't miss this exhibit.  The collection is extensive and even this sampling gives you a sense of the scale of the entire thing. 

Central Nigeria Unmasked: Arts of the Benue River Valley

Where: African Art Museum

When: through February 12, 2012

Apparently, the art of the Benue River Valley has not been much explored by historians or art enthusiasts.  They have turned their attention to areas both north and south of central Nigeria.  This exhibit seeks to redress this imbalance, by displaying many different art works from this region.

The "fluid and dynamic nature of art" makes pinpointing the exact source of this artwork very difficult.  People moved about within the Valley, and took their art with them.  Items found in one place could actually have been created elsewhere.  In addition, when people moved, they influenced the people they came into contact with, so you see similarities between different groups, which also makes the art curator's job more difficult.

I don't really know anything about African Art, so there were times I found it difficult to keep up with exactly what I was seeing - I really needed more than just a lunch hour to see everything.  One of the things I noticed is how often human representations in the art included scarification.  Clearly, this was part of their culture and it was reflected in their art.  Always seems a bit gruesome to me, but then I don't even have a tattoo!

Interestingly enough, for all the hardships involved in positively identifying the place of origin of much of the artwork, they know the individual person who created some of the more modern works.  They include pictures of this person when they have them available, so it seems as if they know either everything about the artist, or nothing at all.

There are several videos of people using the many ceremonial masks on display.  If you have time to watch them, they are quite interesting.  The videos date from the 1970s and earlier, so the quality is not the best, but you get an idea of what a Nigerian masquerade is like.

It's a very large display, and really requires quite a bit of time to see everything.  There are lots of different media on display: clay, stone, iron - the people of the Benue River Valley tuned their hands to many diverse materials.

Verdict:  This show is probably most worth seeing if you have more than a lunch hour in which to do it.  If you're already familiar with African art, you could probably get a lot out of it in an hour, but if you're a neophyte like me, you'll need a bit more time.