However, many other African artists who have worked at the same time and who have similarly bridged the ‘traditional’ and ‘contemporary’ categories continue to have profile problems outside of Africa.
There were some exceptions. In 1980, Susan Vogel had a solo exhibition at the Metropolitan Museum of Art called “The Buli Master: An African Artist of the 19th Century.” In 1998, Roslyn A. Walker did the same for “Olowe of Ise: A Yoruba Sculptor to Kings” at the Smithsonian Institution’s National Museum of African Art, spotlighting her one of Bamigboye’s contemporary older figures. I turned on the light. (Olowe’s exhibition catalog was the first complete scholarly publication dedicated to a single “traditional” African artist; it is now joined by her Bamigboye catalog at Yale.)
Some scholars have argued that the interest in determining a single authorship in African art is only a Western obsession directed at museums and markets. It has long been awaited to pay attention to the careers of the world’s artists in a lavishly focused monograph. .
This requires cooperation between continents and cultures. On the occasion of the Bamigboi exhibition, the Yale University Art Gallery and the Yale Institute for Cultural Heritage Conservation have partnered with the Nigerian National Museums and Monuments Commission in a conservation training initiative aimed at fostering ongoing collaboration between the institutions. partnered. Evident in the presence of loans from New Haven’s Lagos.
Perhaps if the restitution movement, now in the bud, could truly blossom and trade resources instead of hoarding them as the West did, it would become the new two-way norm, and the great African artists would , can claim fame in the world as they have…always done at home.
Bamiboe: Master Sculptor of the Yoruba Tradition
Until January 8th. Yale University Art Gallery in New Haven, Connecticut. (203) 432-0600, artgallery.yale.edu.