Read Carefully the Following Piece of Text. What Does It Tell Us About Cross Cultural Encounters?

On September 2nd I took a trip to the Michael C. Carlos Museum at Emory in Atlanta. The museum included many art exhibits from ancient cultures around the world. Including pieces from South America, Greece, and Egypt with larger exhibits as well as African and Asian cultures with smaller exhibits.

All made from various torn pages from books, cracked vinyls and newspapers. This is keeping very much in line with the history of auto-destructive art. In the introduction to the book Art and Destruction, Jennifer Walden (2014) writes: ‘It is also evident that ‘destruction‘ has particular relevance and resonance in relation to objects always felt to be as precarious as they are precious.’ (p. 1.) To paraphrase: art and objects that are destroyed need to be emotionally/culturally/intellectually valuable. They need an emotional connection in order to take on a further dimension in the

Why might a craft or other three-dimensional object, such as an African mask or fine porcelain, not be understood as an isolated piece in a museum? How might

The museum has a permanent collection of more than 5,000 objects from various points in history, and the historic gardens have many statues and monuments. Artifacts in the museum include porcelain pieces, paintings and sculptures from the Middle Ages through the 20th century. The museum features various styles and periods of art, such as the Renaissance, and different styles of art

This paper will be describing and analyzing the African Art Galleries in the Metropolitan Museum of Art. The galleries that will be critiqued in this paper are 350, 351, and 352. Gallery 350 (Samuel H. and Linda M. Lindenbaum Gallery) is an averaged size rectangular room that spans about the length of a sidewalk. The gallery contains several carved wooden sculptures, primarily located in the center of the gallery that immediately take over upon entering. While most objects are not enclosed in cases and are instead freestanding, some works such as the Senufo Face Mask are not freestanding and are supported by a wall in a case allowing for frontal viewing. The Bozo door has a slight relief and can be viewed frontally as it hangs on the wall. Some freestanding works are displayed in cases that are built into the walls of the gallery, which limits the individual’s ability to view the work all the way around. Though external lights bring some brightness into the gallery, they seem to add a muted sepia tone to the room. In the cases against the walls, the lights are installed in the panels above the pieces in order to provide an even distribution of light amongst all of the work. In the entire gallery, the lights are scattered on the ceiling and angled in a way to provide light on each sculpture. The sculptures are arranged in a geographical manner since most of the items are from the people of Mali and Côte D 'ivoire . In this gallery, the pieces are also grouped in a

Because these crafts have their own real meanings, and they had reasons to be made. For example, the African masks, they expressed a kind of spirit of dead forefathers. Also, they were used in religious activities. If these masks as an isolated piece in a museum, they could not show what they really mean and how useful they are. In my opinion, I think people can learn about the background or history of these objects. People should be knowledge about them, and they will gain a deeper insight from the significance and influence of these

Artwork can be whatever you would like for it to be because it really is up to your imagination. From what I have seen, you can make a piece of art out of anything as long as it looks good and has an interesting story behind the making of it. When I went to the Zuckerman Museum of Art on the Kennesaw State University Campus; I saw amazing pieces of artwork. From what I have seen in the section of Sleight of Hand, there are a few images that show an important message from artwork that they found precious. According to these postcards with images on them. There is an image that shows men holding elephant horns. It may not seem like anything to us, but back in the day I believe that it was very important to the Africans. It was important because

To understand the past, we have to understand the artefacts of the past. Artefacts show us another kind of history, another way of approaching the past. Not only do they frame the way we act in the world, they also influence the way we think about the world. So when one questions the ownership of these artefacts, they also question the history behind it. Because the history of art is, in large part, a history of theft, questions over its ownership are bound to ensue. So, how do we decide who owns art and subsequently history? Prevailing post- colonial ideology characterises museums as imperial despoilers and their possession of artefacts a dispossession of the cultural identity from the colonised, robbing the motif behind acquired objects. The idea that an ancient work of art is removed from its original setting, of which it forms an aesthetic and historical part, it loses most of its value and becomes a mere item of archaeology. However, arguments against this idea regard the notion of cultural property a pure myth as such artefacts are deemed inessential and irrelevant to the identity of recently emerged and artificially created nations. Instead the concept of internationalism and the ideas of shared history are propagated to defend the retention of artefacts in mostly western museums. Both sides present valid arguments for and against the repatriation of historical artefacts. It becomes apparent that the reality of

Comparing the clothes of black figures, there are some common designs in Igbo-Ukwu's unique representation of bronze in natural object. Igbo-Ukwu is a region in eastern Nigeria which used to have the largest population in Nigeria. It was also the region where most of the African culture and art had developed. On page 414 of the textbook, Igbo-Ukwu is introduced as a region where the earliest-known evidence of copper alloy and bronze casting was discovered. Igbo-Ukwu's bronze objects suchas bowls and shells are covered with elaborate decorations invluding linear, spiral, circular, and granular designs, which seems to match Himid's artwork. The gap between the African chapter and her artwork is the difference of the object on which the designs are used. Himid used such designs for clothes of the paper figures instead of bronze

Central Africa is home to many cultures and tribes that create beautiful art pieces and figures, one of those cultures being the Kingdom of the Kongo. A large portion of the Bakongo (another name for Kongo) people’s art pieces revolve around supernatural forces/magical figures. In this essay, I examine these magical objects/figures of the Bakongo people. I am able to do this by describing what objects/figures look like, presenting the ways in which they work, and explaining the changes or actions they intend to produce.

The inscriptions under the images are the final addition of the European artist to the prints. The final version of the copperplate engravings have writing in three different positions: to the lower left, the name of the artist and the date of the model drawing; in the centre, the name of the supervisor, Cochin; and in the lower right, the name of the engraver and the date of the engraving. Although this varies from print to print, it is an important piece of information for the understanding of the production of the

It references the name of the exhibiting artist, the title of the work and material used. Cross-referenced with this testimonial are the names and dates, either incised or written, on the base of the figure under discussion. For instance, at the Royal Academy 1950, Miss Waller exhibited an ash-glazed stoneware figure titled Genet (RA 1409), along with a portrait figure titled, Jim the Gardner (RA 1362), and an ash-glazed stoneware avian figure simply titled, Drake (RA1245). There are no further details of the last two works, and their whereabouts are presently unknown. Moreover, Vyse exhibited two works at the same exhibition. A stoneware edition of a figure group Orang- Utangs (RA1401) see Fig 134, and a terra-cotta figure group titled Sea Horse (RA1339) see Fig 188. The latter, a new model, should not to be confused with the 1932 figure group bearing the same title, Sea Horse (Fig 115).

Art of the Stone Age, although not an extensively lengthy book, is written to inform, not to entertain. The authors approach the subject with specific, scholarly information. They make use of pictures of cave paintings, analyzing the importance, style, and authenticity of the art. They give detailed information as to what the artists’ peoples were probably like. For example, by analyzing a painting and realizing its Negro-art influences (symbolic and developed animism) as well as Negro masks in the art, one can conclude that the painting was painted by Negro people. Likewise, if cave paintings depicted the hunting and killing of animals, the painters were probably of a hunting people. The authors also discuss how the paintings were created. Some techniques used were engraving the art in cave walls, and painting using paint from dirt mixed with animal fat. Another concept the authors reviewed was how professionals determined the authenticity of the paintings. Some ways of confirming the authenticity of cave art are to make sure the animals depicted in the art corresponds with the animals alive at the time the art is thought to have been painted, checking to see if there are any artistic crafts, such as engraved sculptures of objects, of the same time period and which correspond stylistically with the cave art, and checking the movement and durability of the cave the art was painted

The land that the charter granted was the adjacent islands on the west coast of Africa from Cape Blanco to Cape of Good Hope for a period of a thousand years. There is a part in the charter that states the purpose of the company and that is ‘ “setting forward and furthering of the trade intend in the parts aforesaid and the encouragement of the undertakers in discovering golden mines and setting of plantations there” ’. There was never mention of slaves. There were five ships that went the Henritta, Sophia, Amity, Griffin, and Kingsale. This charter was ultimately a failure. There are no records of even an attempt to find gold mines; the climate affected the men in such a way that prevented them of doing so. There was a small cargo sent back to England that sold for 1,567 Pounds when it was triple that to fund the journey.

Throughout the late 18th century to the beginning of the 20th century, most of Africa faced a number of invasions from the British. Their culture and traditions were altered to meet the goals of Britain. Chinua Achebe’s book, Things Fall Apart, is set in a Nigerian town where the British government had taken over. The main character, Okonkwo, is followed as the story progresses and shows how the new leaders were constantly battling against the indigenous people of the village. The book maps out the change from colonialism to imperialism in Africa during this time period. Although not all of the transitioning was through brute force and exiling, the Africans still had little to no free will in what happened. Their entire way of life was