Last week Artnet, one of the most important and widely read websites about the art market, interviewed this years honorary president of Parcours des Mondes about his passion for African art. The interview took place ahead of Frieze New York, which was showing tribal art for the first time (with Galerie Meyer, Entwistle and Donald Ellis participating). At the same time as TEFAF NY (with the presence of Jacques Germain, Tambaran Gallery and Galerie Meyer), the Almine Rech Imaginary Ancestorsexhibition, and coinciding with the preview of Christie’s African art sale TIMELESS, there definitely was a momentum going on in New York city, which elicited the interest of Artnet. You can read the full interview here. An excerpt:
How does the tribal art market compare to the contemporary art market in terms of price points?
I think the record for an African tribal art work at auction is $12 million—that is the pinnacle. You can still get masterpieces depending on the type of object. And there are incredible objects that can be bought for under $100,000. Recently, Christie’s in Paris sold a really iconic Dogon mask with a figure on top that was in all the important museum shows for $2,5 million. It’s a chunk of change, but if you compare it to contemporary artists where we don’t even know if they’re going to be around in 20 years, then it’s not that much. So relatively speaking, the high end is in the low millions—maybe between $1-6 million—whilst in the modern and contemporary market, an edition by Koons can cost more.
I couldn’t have said it better. And that’s why we are so proud of our upcoming sale, bringing together a selective group of top notch African art – below two teaser installation views of the preview. As you can see, African art does get its rightful place at Christie’s (amidst works of Brancusi, Braque and Basquiat).
The last issue of Apollo Magazine features a nice article about the relevance of ethnographic museums in the 21st century, you can read it here. Its conclusion:
The periodic revival of the repatriation debate reminds us that ethnographic collections stand in for histories of colonial exploitation, even if the objects were in fact fairly obtained, and sometimes willingly presented by local people interested in the representation of their cultures in metropolitan exhibitions. Certainly, ethnography was associated with the business of empire, both in practice and in theory. But it was also, from the start, distinguished by genuine efforts to document and celebrate cultures beyond Europe – efforts that are often considered important by the people concerned today. Ethnography collections need to be living collections, representative of cultural diversity in the present, as well as of traditions which suffered upheaval, the confrontation of empire, at the time of the museums’ formation. Renewed museums have the capacity to represent not only world cultures, but also the interconnectedness of the world, starting with the puzzling and sometimes problematic stories of how their collections reached Europe. Conceived ambitiously rather than apologetically, museums of ethnography and world culture now have more to offer than ever before.
ps perhaps the most successful of all ethnographic museum remains the Musée du quai Branly – Jacques Chirac, with ca. 1,3 million yearly visitors even more popular than New York’s iconic Guggenheim Museum (source) ! Not bad for a museum that was only founded ten years ago..
Tempus fugit; last month marked my 1st year anniversary as the European director of the African and Oceanic Department at Christie’s. It’s been one hell of ride so far! The above picture sums up the year nicely. To ‘celebrate’ I thought of doing an ‘ask me anything’. The format is quite simple. There is no format. Just mail me whatever question you have and I’ll post the answers on here 🙂 Please allow me some time to answer as I have some busy days ahead. Thanks, Bruno
The best movie I’ve seen this year, “Embrace of The Serpent” tells about the ravages of colonialism in the Colombian Amazon through the story of two explorers. Filmed in black-and-white, the film centers on Karamakate, an Amazonian shaman and the last survivor of his people, and the two scientists who, over the course of 40 years, build a friendship with him. The film was inspired by the real-life journals of two explorers (Theodor Koch-Grünberg and Richard Evans Schultes) who traveled through the Colombian Amazon during the last century in search of the sacred and difficult-to-find psychedelic Yakruna plant. It’s a different continent than the one this blog is about, but still succeeds in giving a glimpse of how it must have been in the early days of colonialism in remote areas like the Amazon. For a great interview with its director Ciro Guerro, click here.
ps another movie on my to-see list is “Tanna”, the first feature film shot entirely in Vanuatu, taking place in the South Pacific island of its title. It was written in close collaboration with the Yakel, performed predominantly by its members, and supposedly tells a great love story from their recent past.
I’m surely not the only collector who long ago started with postage stamps. So whenever I get mail, I still pay attention to the stamp. The above example with a nice Fang figure graced Lucas Ratton’s invitation for Parcours des Mondes. Kudos to him for coming up with this great idea. Last year, Ratton already had made a Kota stamp – which was also very clever, see below.
The above ‘wall of masks’ was on view in Paris last week at Maison Valentino’s spring 2016 show – spectacular as it may be, these masks unfortunately are all fake, but maybe not so unfortunate since they were all painted black anyhow. The Valentino fashion show received a lot of negative comments because of its embarrassing cultural appropriation and stereotype ideas of African fashion. The African-inspired collection (the continent of Africa is a pretty big and diverse place to seek inspiration from as a whole btw) included raffia, feathers, studding, bone necklaces and bracelets, Kente cloth and much embroidery, fringing and embellishment whilst the show was soundtracked to the beat of the bongo drum. Valentino’s show notes said the “primitive…spiritual, yet regal” collection was inspired by “wild, tribal Africa“, and that it was a “journey to the beginning of time and the essential of primitive nature“. Add in handbags affixed with miniature masks (see below) and safari prints and you’re crossing the line between appreciation and appropriation. Valentino, as the show notes indicate, wanted to represent Africa “as vibrant, as throbbing, as imperfect purity“. Very cringeworthy if you ask me, especially since it is 2015. Read more about the controversy here, and about others misuses of African designs by the fashion industry here.
Sad tidings from Paris. Last week the famed bookstore Librairie Fischbacher closed its doors after having sold art books for more than 100 years. The closure will leave a big hole in the St-Germain des Près quarter. For such a bookstore to close it doors, smack in the middle in one of Europe’s busiest art districts, makes one afraid about the future of specialized book stores.. in Paris only one selling African art books is left: Librairie Mazarine – as for Belgium only Vasco & Co. Books on the Sablon remains.
Much more than a bookstore, places like this are important meeting spots for the African art community. I always joke that Vasco is like a kind of neutral zone, the Switzerland of the Sablon. How many chance meetings and conversations would already have taken place there?
Internet of course is mainly to blame for the decline in bookstores. In 2015, books are just one click away and conveniently delivered at your doorstep. Web stores such as Amazon nonetheless have a disadvantage, as they only have recent publications for sale. Once you start looking for older, out-of-print books, these sites are not very helpful. If you are interested in something particular as African art, real-life independent book stores still have the largest, unrivaled inventory of specialized books. People often complain that many of the old books are expensive (perhaps regretting not having bought them when they came out), but at least they are available and you can freely come browse them to decide if you want to purchase them. There’s a big difference between browsing books in an online store, or browsing the shelves in the actual world..
Speciality booksellers being close to extinction, expanding online and converting to a web-based business model is keeping the last ones alive, but the closure of Fischbacher tells us we’re close to reaching the tipping point. The commerce of selling books is obviously going through a lot of changes, and the only way to respond to them is to go online too. A clever initiative of Vasco & Co. is their frequently send newsletter which brings you up to date of new arrivals and old stock now made available online – do subscribe if you haven’t already. And support your local bookstores – or we’ll only realize how important they are when they are all gone..
Last Bruneaf, Marc Leo Felix gave a fantastic lecture about the history of the African art market. Structured by the decade, it’s a summary of how the West discovered African art – it offers a wonderful chronology peppered with many personal experiences, insights and opinions. Felix being an African art dealer (and much more than that) for more than 53 years, I can assure you this is a must watch. Note that the lecture is in French, but the good people of Biapal did the effort of providing English subtitles (available when you click ‘CC’ on the lower right bottom).
I love this postcard. It’s called “La maladie noire” – which freely translates to “The craze for African art”. It is a drawing by Albert Guillaume – I don’t know if he’s related to the famous Paul Guillaume. Looking at the dresses of the women I would say it’s from the 1920s. That the scene is taking place in Paris we know from the title “Salon de Paris”. Central in the scene is a wooden female figure from the Baule (Ivory Coast). On its right we see it’s owner, cigar in the mouth, hands in his pockets, he’s pleased to show off his new acquisition, but his mind is already somewhere else. On his left, his wife rests one hand on his shoulder, while supporting her head with the other; “Mon dieux, what do I have to do with this black goddess in my house?” you see her thinking. Her friends, sitting down, are as mystified about the presence of this enigmatic, yet voluptuous sculpture central in the salon. Most left, an art-critic (or a merchant?) raises his hands, awe-struck by this exotic beauty and praising the eye of the collector. On the right, behind the owner, we find two fellow-collectors. The first, chin up, clearly is convinced that this statue is inferior to the one he has in his own collection; while the man most right has a rather mean posture – with hate observing this craze for African art that is taking place all around him in the Parisian art circles. In other words, most likely a perfect rendering of what was happening in the salons those days – and sometimes still is..
UPDATE: a reader was so kind to send me a link with more information about Albert Guillaume, find it here.
UPDATE 2: in the meantime, I was able to localize the Baule statue, identified 3 of the featured persons and discovered what that round object in the background is – read all about it here.
Another African artist who’s name is forever lost, while his style is so personal he at least deserves a “pseudo-name”. For me, the trademark of this artist’s work is the T-shaped brow which links the nose, nasal bone and eyebrows, a feature present in all his works – hence the nickname. All faces also have the same type of scarification (two small parallel lines) next to the (deeply incised) circle-dot eyes and nostrils. On the neck there is an incised necklace, formed by a continious circle of small carved crosses (sometimes rectangles). Other typical features of the work of this carver are the typical ‘halo-like’ coiffure, the pointed breasts with large exagerated nipples, the position of the hands enclosing the navel, the protruding belly button, and the pentagonal base.
From left to right: 1. Ex Alain Naoum & Ex Christie’s, Paris, 16 June 2009. Lot 302; 2. Collection Tropenmuseum, Amsterdam, The Netherlands (#6356-2). Collected in 1925; 3. Private Collection. Published & exhibited in “Mangbetu. Afrikaanse Hofkunst uit Belgische prive-verzamelingen”, Brussels, KB, 1992: p. 87, #16; 4. Ex Sotheby’s, New York, 15 May 2003. Lot 56. Collected before 1913; 5. Private Collection, collected before 1902.
Figural art depicting a Mangbetu-style head is still called “Mangbetu” no matter who produced it. Although we can not be sure if “The Master of the T-shaped brow” in fact was Mangbetu or Zande, we do know he was very active in the first decade of the twentieth century. Five figures of this artist are known. One of these figures was brought to Europe in 1925 by E. Lefevre, a Belgian prospector and geologist, and thus carved before this date. A second figure was collected by Ernest Shreiber, magistrate in the Belgian Congo, between 1890 and 1913. One of the three pedestals illustrated below was collected in the 1920s. Another figure was already in Europe in 1902. All other objects by this carver have no information about their date of collection. It is thus plausible that this sculptor started carving in the last decade of the 19th century, when Europeans first entered the region, and developed a more homogenous style throughout the years. This corresponds with the fact that the majority of the figurative sculpture in the Uele region was created between 1908 and 1925.
Three other objects are also part of this artist’s corpus; their function is uncertain. A pedestal surmounted by a classic Mangbetu head, they were most likely prestige objects.
From left to right: 1. Ex Sotheby’s, New York, 6 May 1998. Lot 207; 2. Private Collection; 3. Published & exhibited in “Mangbetu. Afrikaanse Hofkunst uit Belgische prive-verzamelingen”, Brussels, KB, 1992: p. 61, #15.
Like most anthromorphic carvings from the Northeastern Congo, the head shows the typical elongation, strenghtened by the receding hairline. Since the Mangbetu spent a great deal of their time on personal appearence, new hairdresses developed all the time. Hairstyles varied considerably throughout time and according to the status, the occasion and even the mood of the wearer. Wealthier people could afford the time to prepare elaborate coiffures. At the end of the 19th century the practice emerged to strenghten this elongating effect of the forehead by embellishing the coiffure with a sort of funnel-shaped conceived halo. The hair was pulled back, sometimes supplemented with hair from other people, and tied into a open chignon at the back, with the help of a disk- shaped framework of reeds that had been woven into the hair. Originally this coiffure indicated a high social position, worn by the ruling lineage. Afterwards it became an ideal of beauty for all those who wanted to make the effort – preparing such a coiffure was very time-consuming. The halo-shaped basketry frame covered with hair only became common and widespread by 1910. For even more elegance, the Mangbetu wrapped the forehead and the front half of the skull with a wide band of carefully juxtaposed, blackened fiber strings – as can be seen on the field-photo below. The horizontal bands of parallel lines on the wooden statues possibly represent these strings.
The function of these figures is highly interesting since it exemplifies the ongoing difficulty to define authenticity in African art. We know that in the colonial period, the European presence greatly expanded the market for certain types of art in the Uele region. Local chiefs commissioned objects for the Western visitors; they mediated between the new patrons and local artists and encouraged artists to produced the kinds of works that Europeans admired. Chiefs of northeastern Congo thus employed artists to carve anthropomorphic figures, some of which were given as gifts to other leaders, both African and European. These gifts were all the more necessary in uncertain times, as in the period of Arab and European contact. The era of colonial rule threatened the continued operation of the traditional Mangbetu court system. This practice of using art as a form of tribute encouraged the development of workshops in which rulers employed carvers who worked in distinctive styles – such as the one under discussion here. These statues thus were made for secular rather than religious purposes, and in a way are early Congolese examples of sculpture carved intentionally to be a works of art. As Schildkrout and Keim wrote in their excellent book on the subject (African Reflections, American Museum of Natural History, 1990), many of the arts that flourished in the very early colonial period gradually died out in the years after the death of chief Okondo (in 1915) and other rulers. Administrative changes were rapidly reducing the formal power of chiefs. Once the system of colonial rule became firmly established, chiefs were less inclined to use art to win the favor of colonial officials. With the Belgian bureaucratization of colonial administration, gifts of art became less useful as a means of communicating with the colonial authorities. Once the patronage of chiefs was gone, the quantity and quality of anthropomorphic art decreased dramatically. Depending on one’s definition of ‘authenticity’, one can thus place this type of sculpture in one or the other category. Surely these statues were employed in a post-contact environment and did not have any religious or magical use, still, as we have seen above, they served a very specific use to their commissioners…