Artist and master craftsman Joseph Tetteh-Ashong (Ghanaian, born 1947), also known as Paa Joe, is the most celebrated figurative coffin maker of his generation. In the tradition of figurative coffins—or abeduu adekai (which means “proverb boxes”)—the structures represent the unique lives of the dead. This exhibition comprises a series of large-scale, painted wood sculptures commissioned in 2004 and 2005 that represent architectural models of Gold Coast castles and forts, which served as way stations for more than six million Africans sold into slavery and sent to the Americas and the Caribbean between the sixteenth and nineteenth centuries. Once they were forced through the “Gates of No Return,” these enslaved people started an irreversible and perilous journey during which many died. Relying on traditional techniques and materials, Joe crafts his sculptures to represent vessels ferrying the dead into the afterlife that speak to spirits separated from bodies in trauma.
From the first millennium, the Sahel—a vast area in Africa just south of the Sahara Desert that spans what is today Senegal, Mali, Mauretania, and Niger—was the birthplace of a succession of influential polities. Fueled by a network of global trade routes extending across the region, the empires of Ghana (300–1200), Mali (1230–1600), Songhay (1464–1591), and Bamana (1640–1861) cultivated an enormously rich material culture. Sahel: Art and Empires on the Shores of the Sahara will be the first exhibition of its kind to trace the legacy of those mighty states and what they produced in the visual arts. The presentation will bring into focus transformative developments—such as the rise and fall of political dynasties, and the arrival of Islam—through some 150 objects, including sculptures in wood, stone, fired clay, and bronze; objects in gold and cast metal; woven and dyed textiles; and illuminated manuscripts.
The BRUNEAF (Brussels Non European Art Fair) has now become one of the leading exhibitions on African tribal art in the world. BRUNEAF developed from the first unified public presentation of a handful of tribal antique dealers in 1983 in the Sablon area. It is now one of the leading such fairs in Europe. Since 1996, the fair has included international galleries, including France, Italy, Spain, the UK, Netherlands, and the US. Today, it includes African, Oceanian, Indonesian, pre-Columbian, Asiatic, and Australian Aboriginal art.
Parcours des Mondes is widely recognized as the world’s most important tribal art fair due to the quality and diversity of its participants. Since 2002, each year it has brought together some sixty galleries specializing in the arts of Africa, Asia, Oceania, and the Americas.
Pan-African solidarity charity sale in collaboration with La Marocaine des Arts, Casablanca.
An extraordinary figure, the first 20th-century businesswoman, a self-made and emancipated woman, a visionary... There is no shortage of superlatives to describe the incredible rise to fame of Helena Rubinstein (1870-1965), dubbed the Empress of beauty by Cocteau, but her role as an experienced collector and a pioneer in the recognition of African and Oceanic arts in Europe and North America is often overlooked. Primarily amassed in Paris through her various encounters, "Madame’s collection", now dispersed, comprised over 400 pieces of non-European art including precious Kota and Fang reliquary guardians, exceptional Baoulé, Bamana, Senoufo and Dogon pieces. The exhibition places the spotlight on her passion for non-Western arts - primarily African art - through sixty pieces, as well as her fascination for their expressive intensity and character.