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In 1990 Jacques Chirac, the future president of France and a passionate fan of non-European art, met Jacques Kerchache, a maverick art collector with the lifelong ambition of displaying African sculpture in the holy temple of French culture, the Louvre. Together they began laying plans, and ten years later African fetishes were on view under the same roof as the Mona Lisa. Then, in 2006, amidst a maelstrom of controversy and hype, Chirac presided over the opening of a new museum dedicated to primitive art in the shadow of the Eiffel Tower: the Musée du Quai Branly. Paris Primitive recounts the massive reconfiguration of Paris’s museum world that resulted from Chirac’s dream, set against a backdrop of personal and national politics, intellectual life, and the role of culture in French society. Along with exposing the machinations that led to the MQB’s creation, Sally Price addresses the thorny questions it raises about the legacy of colonialism, the balance between aesthetic judgments and ethnographic context, and the role of institutions of art and culture in an increasingly diverse France. Anyone with a stake in the myriad political, cultural, and anthropological issues raised by the MQB will find Price’s account fascinating.
Featuring a broad selection of photographs from Musée du Quai Branly – Jacques Chirac and other French partner museums, the exhibition catalogue explores the circumstances in which photography was introduced in Europe since 1839 and then practiced around the world, including the Middle East, Africa, Asia and the Americas by leading photographers like Jacques-Philippe Potteau, Isidore van Kinsbergen, Auguste Bartholdi, Désiré Charnay, Muhammad Sadiq Bey, Lala Deen Dayal, Abdullah Brothers and Timothy O’Sullivan. It also features a selection of historical texts on photography by prominent theologian and philosopher, the Emir Abd el-Kader.
Pending the opening of the Musee du Quai Branly in 2004, this Pavillon des Sessions display represents the first step towards realising the ambition stated by the President of the Republic: namely to endow France with a modern institution dedicated to the arts and civilisations of Africa, Asia, the Pacific Islands and the Americas."--BOOK JACKET.
Though we live in a time when memory seems to be losing its hold on communities, memory remains central to personal, communal, and national identities. And although popular and public discourses from speeches to films invite a shared sense of the past, official sites of memory such as memorials, museums, and battlefields embody unique rhetorical principles. Places of Public Memory: The Rhetoric of Museums and Memorials is a sustained and rigorous consideration of the intersections of memory, place, and rhetoric. From the mnemonic systems inscribed upon ancient architecture to the roadside acci
After five years of work, the museum of the Branly quay will open its doors on June 23, 2006. This new cultural institution presents objects from non-European cultures, coming from Oceania, Asia, Africa, and the Americas. The museum lies in the shade of the Eiffel Tower on the left bank of the Seine.
How can we rethink anthropology beyond itself? In this book, twenty-one artists, anthropologists, and curators grapple with how anthropology has been formulated, thought, and practised ‘elsewhere’ and ‘otherwise’. They do so by unfolding ethnographic case studies from Belgium, France, Germany, Italy, the Netherlands, and Poland – and through conversations that expand these geographies and genealogies of contemporary exhibition-making. This collection considers where and how anthropology is troubled, mobilised, and rendered meaningful. Across Anthropology charts new ground by analysing the convergences of museums, curatorial practice, and Europe’s reckoning with its colonial legacies. Situated amid resurgent debates on nationalism and identity politics, this book addresses scholars and practitioners in fields spanning the arts, social sciences, humanities, and curatorial studies. Preface by Arjun Appadurai. Afterword by Roger Sansi Contributors: Arjun Appadurai (New York University), Annette Bhagwati (Museum Rietberg, Zurich), Clémentine Deliss (Berlin), Sarah Demart (Saint-Louis University, Brussels), Natasha Ginwala (Gropius Bau, Berlin), Emmanuel Grimaud (CNRS, Paris), Aliocha Imhoff and Kantuta Quirós (Paris), Erica Lehrer (Concordia University, Montreal), Toma Muteba Luntumbue (Ecole de Recherche Graphique, Brussels), Sharon Macdonald (Humboldt-Universität zu Berlin), Wayne Modest (Research Center for Material Culture, Leiden), Bonaventure Soh Bejeng Ndikung (SAVVY Contemporary, Berlin), Margareta von Oswald (Humboldt-Universität zu Berlin), Roger Sansi (Barcelona University), Alexander Schellow (Ecole de Recherche Graphique, Brussels), Arnd Schneider (University of Oslo), Anna Seiderer (University Paris 8), Nanette Snoep (Rautenstrauch-Joest-Museum, Cologne), Nora Sternfeld (Kunsthochschule Kassel), Anne-Christine Taylor (Paris), Jonas Tinius (Humboldt-Universität zu Berlin) Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Nigerian art has long been sought after by art collectors in France. Accompanying an important exhibition, Arts of Nigeria in French Private Collections explores Nigeria’s rich artistic production through a collection of beautiful works, including many arresting figurative pieces, in a wide variety of media. Internationally known experts provide texts that introduce Nigeria, its peoples, and its assorted cultures. The superb photographs of the works add to the value of this sumptuous volume.
"The collection of scholarly essays 'Striking Iron: The Art of African Blacksmiths' accompanies an international traveling exhibition of the same title organized by the Fowler Museum at UCLA. For more than two millennia, ironworking has shaped African cultures in the most fundamental ways. 'Striking Iron' reveals the history of invention and technical sophistication that led African blacksmiths to transform one of Earth's most basic natural resources into objects of life-changing utility, empowerment, prestige, spiritual potency, and astonishing artistry. The contributions of diverse scholars examine how blacksmiths' virtuosic works can harness the powers of the natural and spiritual worlds, effect change and ensure protection, prestige, and status, assist with life's challenges and transitions, and enhance the efficacies of sacred acts such as ancestor veneration, healing, fertility, and prophecy. The publication features full-color photographic reproductions of over 225 artworks from across the African continent, focusing on the region south of the Sahara and covering a time period spanning early archaeological evidence to the present day. These works include blades, currencies, diverse musical instruments, body adornments, ritual accoutrements, tools, weapons, and other important iron objects. Following its presentation at the Fowler Museum in Los Angeles the exhibition 'Striking Iron' travels to the Smithsonian Institution's National Museum of African Art, Washington D.C., and the Musée du quai Branly-Jacques Chirac, Paris"--Provided by publisher.
Museums, modern concepts of culture, and ideas about difference arose together and are inextricably entwined. Relationships of difference--notably, of gender, ethnicity, nationality, and race--have become equally important concerns of scholarship in humanities and contemporary museum practice. Museums and Difference offers the perspectives of scholars and museum professionals in tandem, using the concept of difference to reexamine how museums construct themselves, their collections, and their publics. Essays explore a wide range of examples from around the world and from the 19th century to the present, including case studies of special exhibitions as well as broad surveys of institutions in Europe, the United States, and Japan.
Edited by Barbara Plakensteiner. Foreword by O.J. Eboreime.