African & Oceanic Art & Antiquities.
As the world's most buoyant art market, New York City provides the ideal context for a TEFAF Fair outside Maastricht. We are proud to present the second edition of TEFAF New York Spring, with a focus on modern and contemporary art and design. The Fair’s timing in early May is intended to coincide with auctions, exhibitions, and other fairs in New York dedicated to modern and contemporary art and design. The historic Park Avenue Armory provides the prime Manhattan location and setting for the world’s leading art dealers to meet with curators and collectors.
Madison Ancient and Tribal Art is an annual tribal Art fair featuring a select group of international dealers specializing in the art of traditional cultures. With an emphasis on figurative and abstract sculptures, the goal of MATA is to offer to new and seasoned collectors of traditional, modern and contemporary art an eclectic range of antique fine art and artifacts from the rich tribal cultures of Africa, Oceania, Indonesia, Asia and the Ancient Americas. MATA invites collectors of modern and contemporary art and design to consider the beauty of non-Western sculpture both on its own terms and for its potential to compliment their collections.
Bonhams African and Oceanic Art department offers a wide range of unique and traditional works of art from sub-Saharan Africa and the islands in the Pacific.
For this 8th sale of contemporary African art at PIASA.
From November 21, 2018, the Musée Barbier-Mueller will present an exhibition focused on asen, iron altars specifically those of the former kingdom of Dahomey. It will explore an array of issues important to our understanding of these striking sculptures. Key among these are artist hands, questions of use, the history of these arts, and how asen enhance our understanding of the broader regional history of the southern area of the Republic of Benin where they are found.
Beauty stops us in our tracks. It makes us pause, look, consider. Sometimes it overwhelms us. We are often told art should aspire to this standard and be proportionate, symmetrical, naturalistic, and orderly. But what of work that is designed to revolt and terrify? Across Sub-Saharan Africa, artists working across a range of states, societies, and cultures deliberately created artwork that violated conceptions of beauty, symmetry, and grace—both ours and theirs. Subverting Beauty features approximately two dozen works from sub-Saharan African’s colonial period (c.1880-c. 1960) that are accumulative, composite, crude, counterintuitive, and disproportionate. More importantly still, it explores the reasons why artists working during this turbulent period in the continent’s history turned against beauty in order to express the meaning and vitality of their day-to-day existence.
The Burgundy Tribal Show is the first international tribal art fair to be held in the countryside. In a rural setting, and a relaxed atmosphere conducive to discovery, the Burgundy Tribal Show offers its audience a distinctly different experience.
For several years now, the three organisations, AAB, BAAF and BRUNEAF, have instituted a dynamic synergy in relation to the June events to ensure their wide international recognition. With our successful record in this area all three organisations have decided to join forces and organise a single event in June while retaining their own specific mode of operation. CULTURES – The World Arts Fair will soon become a global reference for seasoned collectors as well as amateurs interested in Asian, antique and non-European art. A simple and ingenious colour code will be used to identify exhibitors and their respective specialities. Our enthusiasm is as great as ever and more than ever we will endeavour to turn Brussels into THE venue for the classical arts.
For Marceau Riviere, it was a case of love at first sight for the African continent, and his collection which was born in the early sixties would become one of the most comprehensive and striking within the field. Marceau Rivière has established during a half-century of collecting, a group of works which bring together many of the varying stylistic corpora of sub-Saharan Africa. The 250 artworks that will be offered in Paris on June 19 recall above all that during the last decades, Marceau Rivière has been one of the most fervent defenders of African Art; an art he has never ceased to promote and share with the greatest number of people.
Masterpiece London is the unmissable art fair at which visitors can view and buy the finest works of art, design, furniture and jewellery - from antiquity to the present day. The Fair offers an unparalleled opportunity for new and established collectors to discover exceptional works for sale across a range of price points from 160 international exhibitors and across every major market discipline.
Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa is the first major exhibition addressing the scope of Saharan trade and the shared history of West Africa, the Middle East, North Africa, and Europe from the eighth to sixteenth centuries. Weaving stories about interconnected histories, the exhibition showcases the objects and ideas that connected at the crossroads of the medieval Sahara and celebrates West Africa’s historic and under-recognised global significance. Presenting more than 250 artworks spanning five centuries and a vast geographic expanse, the exhibition features unprecedented loans from partner institutions in Mali, Morocco, and Nigeria, many of which will be seen in North America for the first time.
One: Egúngún tells the life story of a twentieth-century Yorùbá masquerade dance costume (egúngún), from its origins in Ògbómọ̀ṣọ́, Nigeria, to its current home in Brooklyn. Composed of over three hundred textiles from Africa, Europe, and Asia, this egúngún swirls into motion during festivals honouring departed ancestors. Centuries old, egúngún is still practised in Nigeria, the Republic of Benin, and in the Yorùbá diaspora. By highlighting a single egúngún, this exhibition emphasizes the global connections of African masquerades while challenging the misconception that cultural practices are static. At the request of the Lekewọgbẹ family—the makers of this egúngún—this exhibition honours their family name and masquerade heritage. One: Egúngún is curated by Kristen Windmuller-Luna, Sills Family Consulting Curator, African Arts, Brooklyn Museum.
“Ex Africa semper aliquid novi”, wrote Pliny the Elder in his Naturalis Historia, and this is the start for our exhibition that shows us how African and European affairs have intermingled EVER since ancient times. This will be done through ‘stories’ of art, identity, journeys and encounters, beginning with travellers’ tales and the first contacts between Europeans and Africans. The exhibition is divided into a number of sections: from formal quality expressed by large and small works to ancient objects from famous African kingdoms, together with masks and figures representing rituals and power.
The Musée d’Orsay, the Musée de l’Orangerie, the musée du quai Branly - Jacques Chirac and The Museum of Modern Art, New York, pay tribute to Félix Fénéon (1861-1944), an important figure in the artistic world in the late 19th and early 20th century. Anarchist, art critic, editor, gallery director and collector, Fénéon espoused an open-minded vision of creation at a time when art was on the verge of the shift to modernity and strove for the recognition of non-western arts.
The Snite Museum of Art African art collection will reopen this fall within a larger, more prestigious space on the main floor of the Museum. The reinstallation will explore themes of power. In the past, African art was often tied into the way African leaders promoted their agendas. Royalty and rulers used art to project their authority; religious groups promoted their faiths; while the wealthy desired to display their riches. Ordinary Africans also used art to enable them to wield their own forms of power. Since supernatural forces were thought to play a large role in determining events, it was important to own objects that could withstand or shape events that lay beyond ordinary control. Fifty-nine outstanding works from the Snite Museum collection will illustrate these ideas through themes of economic, political, social, and spiritual power in Africa. Most of these works have never been on public view before. Nearly a third belong to the Owen D. Mort Jr. Collection, with art primarily from Democratic Republic of Congo, where Mort worked for many years. As he said, “My hope is to educate people on Africa. It’s been a great love of mine… Ideally Notre Dame would use the collection for education, to get interest going in Africa.”
For more than two millennia, ironworking has shaped African cultures in the most fundamental ways. Striking Iron: The Art of African Blacksmiths 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. Striking Iron is an international travelling exhibition organized by the Fowler Museum at UCLA that combines scholarship with objects of great aesthetic beauty to create the most comprehensive treatment of the blacksmith’s art in Africa to date. The exhibition includes 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. Striking Iron features artworks from the Fowler collection as well as American and European public and private collections.
Journey along the Sahara Desert’s trade routes during a time when West African gold directly impacted and connected peoples and cultures, arts and beliefs across continents. Experience the first major exhibition to reveal the shared history of West Africa, North Africa, the Middle East, and Europe from the 8th to 16th centuries and see more than 250 artworks, many shown in North America for the first time.
Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa is the first major exhibition addressing the scope of Saharan trade and the shared history of West Africa, the Middle East, North Africa, and Europe from the eighth to sixteenth centuries. Weaving stories about interconnected histories, the exhibition showcases the objects and ideas that connected at the crossroads of the medieval Sahara and celebrates West Africa’s historic and under-recognised global significance. Presenting more than 250 artworks spanning five centuries and a vast geographic expanse, the exhibition features unprecedented loans from partner institutions in Mali, Morocco, and Nigeria, many of which will be seen in North America for the first time.
This exhibition highlights artistic innovation and creativity in Africa as seen primarily through the traditions of ceramic arts from across the continent and over its long history. Countering the assumption that African arts and societies are largely unchanging and bound to traditions and customs, the remarkable diversity of objects and styles on display here tells a different story. A selection of more than 50 works on loan from the Peabody Museum of Archaeology and Ethnology at Harvard University, including those by newly discovered Nigerian artist Alice Osayewe, are shown alongside works from the Harvard Art Museums permanent collections, such as a recently acquired contemporary photograph by Afro-futurist artist Alexis Peskine.
Connecting African art collectors with dealers and scholars, based on a foundation of knowledge about the origin, use & distinguishing features of listed pieces
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