FOCUS: Nigerian Art from the Spelman College and Clark Atlanta University Collections

Igbo Mask

Elu Face Mask 1

Elu Face Mask 2

Headress

Ikenga

Divination Cup

Three Twin Figures

Mask

Gelede Dancers

Gelede Mask

 

 

 

One of the defining characteristics of Nigerian art is its integration into every aspect of life from formal ceremonies and religious rites to daily household tasks. Art permeates the entire cycle of life--from birth through initiation into adulthood, to death, to becoming an ancestor. Works of art, by their material composition, quality and quantity, can indicate levels of status. For instance, a particular type of artwork can indicate a leadership role. Some objects are used only by men; others, only by women. While individual objects may appear specialized, they often convey meaning in more than one context. Items of adornment, for example, may indicate status, or marriage, or initiation, depending on their cultural context. A bed can be a household object or a funerary bier. Whether an object is seen by a select few or stands in the heart of the compound, the individual and the community have standards for the selection and use of that object*. We therefore encourage you to discover Nigeria's rich cultural diversity as you explore this FOCUS show of Nigerian art.

*We are indebted to The National Museum of African Art for permission to reproduce this commentary.

For More Information:

Bassani, Ezio (1995)

"The Ulm Opon Ifa (ca. 1650): A Model for Later Iconography." In The Yoruba Artist: New Theoretical Perspectives on African Arts, edited by Roland Abiodun, Henry J. Drewal, and John Pemberton III, pp. 79Ð89. Washington, D.C. and London: Smithsonian Institution Press.

Blier, Suzanne Preston (1993)

"Art and Secret Agency: Concealment and Revelation in Artistic Expression." In Secrecy: African Art That Conceals and Reveals, by Mary H. Nooter, pp. 181Ð94. Exh. cat. New York: Museum for African Art.

Yoruba Art and Aesthetics (1991)

Yoruba Art and Aesthetics, by Rowland Abiodun, Henry John Drewal, and John Pemberton III, edited by Lorenz Homberger. Exh. cat. New York and Zurich: Center for African Art and Museum Rietberg.

 

 

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