Thursday, 15 August 2019

Kuba Dance Skirts | Democratic Republic of Congo


African Kuba Raffia & Cowrie Shell Dance Skirt - 1950s

 

Estimate | $4,000 - $5,000


Central Africa, Democratic Republic of the Congo, Kuba, ca. mid 20th century CE. Framed Kuba cloth comprised of three panels sewn together - each one presenting bold geometric patterns - a plethora of diamond and chevron motifs - in warm earth tones: chocolate brown, tawny red, and warm tan on a creamy beige ground. Traditionally, kuba cloth is woven from raffia-tree leaves; this example is comprised of naturally colored fabric created via a laborious process of hand-dyeing using mud, indigo, or the powdered bark of the camwood tree. Such cloths are usually created by Kuba men on a single heddle loom. Next they are embroidered by women and children to create an uncut or cut-pile appearance (the latter resembling a velvet or velour texture). Kuba cloths are worn during ceremonial events, especially funerals; however, they are also found in tapestries and home furnishings. The abstract geometric patterns are symbolic of an individual's social and marital status, age, and/or personal attributes or character. Size: 20" W x 19.75" H (50.8 cm x 50.2 cm); 25.25" W x 25.875" H (64.1 cm x 65.7 cm) framed

and here is another:

African Kuba Raffia & Cowrie Shell Dance Skirt - 1950s

 

Estimate | $4,000 - $5,000
 
 
 
 
 

Artemis Gallery

686 S Taylor Ave, Ste 106
Louisville, CO 80027
United States
 

Kube Dance Skirt | Democratic Republic of Congo


African Kuba Raffia & Cowrie Shell Dance Skirt - 1950s

 

Estimate | $4,000 - $5,000



 
Africa, Democratic Republic of Congo, ca. 1950. A traditional Kuba dance skirt (Tcaka) - handmade from raffia and hand-stitched with immense artistry, presenting bold geometric patterns in warm earth tones - rich browns and toasty almond beiges - as well as pops of more vibrant color - magenta, blue, green, and pink. Such cloths are usually created by Kuba men on a single heddle loom. Next they are embroidered by women and children to create an uncut or cut-pile appearance. Highly decorative and created with painstaking technique, this skirt presents panels of checkerboard patterns and an applied overlapping zigzag/diamond motif comprised of pink, black, and houndstooth fabrics. The trim is made of alternating passages of cut raffia pom poms and cowrie shells. A particularly exceptional example given that it is made of raffia, demonstrates immense artistry with intricate patterns, skillfully executed weaving, beautiful hues, and also boasts a generous size and excellent condition. Size: 260" L x 33" H (660.4 cm x 83.8 cm)

Kuba cloths are worn during ceremonial events, especially funerals; however, they are also found in tapestries and home furnishings. The abstract geometric patterns are symbolic of an individual's social and marital status, age, and/or personal attributes or character.

There are several theories concerning the inspiration for Kuba style. One theory suggests that the designs in Kuba textiles are rooted in tribal scarification patterns. Another suggests that the motifs of Kuba textiles were modeled upon those found in crop patterns. Still another suggests that the source for their visual patterns was divine intervention. The creation of these ceremonial wraps is a collaborative effort. Men are involved in all stages of preparing the fiber and executing the weaving, whereas women soften the textiles and apply the decoration. These coveted ceremonial textiles are worn during ritual dances and special occasions such as festivals, weddings, funerals, and initiation rites.


Artemis Gallery

686 S Taylor Ave, Ste 106
Louisville, CO 80027
United States
 



Saturday, 22 June 2019

Frank Bowling | Tiger Falls, 1980

Frank Bowling RA, OBE
Tiger Falls
signed, titled and dated '“TIGER FALLS” Frank Bowling 1980' on the reverse
acrylic on canvas
117.5 x 64.5 cm (46 1/4 x 25 3/8 in.)
Painted in 1980.
20th Century Work of Art
 
Estimate
£40,000 - 60,000

Phillips Sale on 28th June 2019



“TIGER FALLS” Frank Bowling 1980
“TIGER FALLS” Frank Bowling 1980


“TIGER FALLS” Frank Bowling 1980
“TIGER FALLS” Frank Bowling 1980'








































Provenance

Spanierman Modern Gallery, New York
Private Collection, California

Catalogue Essay

‘In my youth I tended to look at the tragic side of human behaviour and try and reflect that in my work, but gradually as I became more involved in the making of paintings, I realised that one of the main ingredients in making paintings was colour and geometry.’ - Frank Bowling

Undoubtedly one of Britain’s finest formalist painters, Frank Bowling’s painterly practice is currently being celebrated at the artist’s retrospective at the Tate Britain this summer. Since the 1960s, Bowling has been testing and stretching the possibilities of painting, continuing to experiment with form and materials. Born in Guyana, Bowling moved to Britain as a teenager and studied at the Royal College of Art in the early 1960s alongside David Hockney and R.B. Kitaj. Although Bowling achieved early recognition in London, he decided to move to New York in 1966 where his paintings became less constrained by the representational. Pursuing formalism on his own terms, Bowling built a tilting platform in his New York and London studios that enabled him to pour paint from heights of up to two metres, creating daring work that was the product of controlled accidents.

The present work, Tiger Falls, was executed in 1980, by which time Bowling had been refining his abstract painting for a decade. Bowling’s deep understanding of the motion and colour of paint is evident in this dynamic composition of violet and ochre. Warm and cool hues are blended together, calmly spilling from the top-left corner over the finely-dappled layers underneath. Unlike the hard and rigid lines of American abstraction, visible in the work of Morris Louis or Kenneth Noland, Tiger Falls is an exploration into both the formal materiality as well as atmospheric suggestiveness of paint. In unison with the title, Bowling’s application of the medium is an organic mixture of impasto and thinner painterly washes, both invoking the natural world. Retaining a captivating ambiguity, Tiger Falls transports us into the depths of nature, inviting the viewer’s eye to follow the cascades of paint in motion.



Contact Specialist

Phillips
Tamila Kerimova
Specialist, Head of Day Sale
+ 44 20 7318 4065
tkerimova@phillips.com

Saturday, 1 June 2019

Season by Wole Soyinka


Image by Joe Pollitt from his series, 'African Graffiti | The Walls Have Ears" 2004



Poets from Biafra and Nigeria

Wole Soyinka

Season

Rust is ripeness, rust
And the wilted corn-plume;
Pollen is mating-time when swallows
Weave a dance
Of feathered arrows
Thread corn-stalks in winged
Streaks of light. And, we loved to hear
Rasps in the field, where corn leaves
Pierce like bamboo slivers.

Now, garnerers we,
Awaiting rust on tassels, draw
Long shadows from the dust, wreathe
Dry thatch in woodsmoke. Laden stalks
Ride the germ’s decay – we wait
The promise of the rust.

Sunday, 5 May 2019

The Changing Face of Civilization by Joe Pollitt


The Changing Face of Civilization


Today, thankfully we are coming to the end of an abysmal cycle of Civilization. The Greeks had their time, so too the Romans and later the British, French, Portuguese and the Americans. The rise and fall of Empire is solely dependent on whether or not those that are Governed by the so-called, ‘civilized’ are prepared to tolerate the notion of unjust, outdated feudal systems, whereby power, (both economic and intellectual) is distributed to the few. These cycles of Civilization are constant, ever changing and optimistic; sadly, the civilization of now has its roots based strictly on race. Its success has been largely dictated by the blatant exploitation of the Continent of Africa. This comes in many guises, the resources found in the ground and the forced migration of the vast unpaid workforce in the form of slavery. This perverse human ownership, similar to that of cattle-thieves and homogeneously as noble, was a foreign affair whereas Colonization, less obviously shocking but nonetheless equally damaging, was more a domestic affair; both evenly derogatory for those held captive.

In the early days of European trading with Africa; mainly in the West and Central regions, the partnerships where amicable, trustworthy and even respectful | In Chinua Achebe’s essay, ‘Africa’s Tarnished Name’, he notes that the Portuguese captain, Diogo Cao first visited the Congo in 1482 and by his third visit in 1487 he was introduce to the King Mweni-Congo.  

“Seated on an ivory throne surrounded by his courtiers. Cao’s monks were returned to him, and all was well. An extraordinary period ensued in which the king of Congo became a Christian with the title Dom Afonso I. Before very long, the royal brothers of Portugal and Congo were writing letters to each other that were couched in terms of complete equality of status. Emissaries went back and forth between them. Relations were established between Mbanza and the Vatican. A son of the Mweni-Congo was appointed in Rome itself as bishop of his country. This bishop, Dom Henrique, had studied in Lisbon, and when he led a delegation of Congo noblemen to Rome for his consecration, he addressed the Pope in Latin.”

These harmonious relations fizzled out, as the aggressive Europeans started fighting over territory, carving up the Continent for themselves. Soon enough the white man’s greed dominated, as they became increasingly aware of the abundance of wealth to be gained from the coast to the interior of Sub-Saharan Africa.

The Modern European Civilization goes back to 15th Century but it wasn’t until the 18th and 19th Century that the clandestine style of literature, speeches, paintings, cartoons, eugenics, botany, evolution, natural philosophy and expeditions, funded by the Church started to evolve.  Thus, begins a campaign by the wealthy elite, on a lasting racism that has become forever ingrained in the feeble minds of the Enlightened Europeans of that time, right up until the present day. This systematic formation of the very definition of our Modern Civilization has been founded on the notion of racial division. Ideas that have been cunningly established in the public libraries, constructed by academic slave-owners, all of which requires the reader to be complicit and obediently silence in order to become an acceptable “civilized” individual. The recurring theme over time has been based on superiority of race and the value of location; Geo-political racism, where those that have been omitted from the pages of history are considered redundant when it comes to the collective global village. At the time of these writings and centuries before, the tribal make-up of West Africa were highly sophisticated and complex systems of governance and power sharing. These practical and intelligent forms of African democracy prior to the Colonial invasions have been absent from the shaping of our Modern Civilization. Conveniently ignored over years of formal published abuse, which was superciliously crafted in the ironically named, ‘Age of Enlightenment’. 

If you want more pay for it...I AM NO SLAVE! I am not your private Nigger; your House Nigger..I am a FREE MAN, so PAY ME!!

Wednesday, 24 April 2019

Bisi Silva | International Curator


Bisi Silva, 56, Bold Curator of Contemporary African Art, Dies

Source | NY TIMES

Bisi Silva in Central Park during a trip to New York in 2016. “Twenty, 25 years ago, curators of contemporary art might have been completely and totally scared of going to ‘the Dark Continent,’ ” she said. “Now it’s like, ‘Oh, Bisi, I want to go to Lagos, I want to go to Ghana.’  


 Photo by Gabriela Herman for The New York Times

Article By Richard Sandomir
Bisi Silva, an adventurous curator who, with her own money, founded a nonprofit art gallery and education center in Lagos, Nigeria’s largest city, that has nurtured the growth and recognition of contemporary African artists, died on Feb. 12 in a hospital there. She was 56. Her sister Joke Silva, an actress, said the cause was breast cancer.

Ms. Silva started the Center for Contemporary Art, Lagos in 2007 and made it a hub for bold and experimental sculpture, painting, photography and video and performance art that could ignite local and global interest.

She also curated exhibitions of African art around the world. One, in Helsinki, Finland, in 2011, featured the Nigerian photographer J. D. Okhai Ojeikere’s images of African women’s exotic hairstyles. (She turned that show into a book.) Others showed the work of the Ghanaian-born sculptor El Anatsui in Amsterdam and Johannesburg.

“I wouldn’t call her an African curator, but an international curator,” Hannah O’Leary, the head of modern and contemporary African art at Sotheby’s in London, said in a telephone interview. “She promoted African artists to the world and brought the international art world to Africa, and did it tirelessly. She never did the obvious: Her knowledge and vision were unrivaled.”

Ms. Silva felt that her mission was to change the way contemporary African art was being viewed from a Western perspective and to develop African artists in ways that their schools were not.
“The gaps in the art education system are jarring,” she told Frieze, an art and culture magazine, in 2017. While some West African nations like Nigeria had arts education programs, she called them “a colonial relic out of tune with present-day contextual, stylistic and intellectual realities.”

To fill the gaps, she created the Asiko Art School — actually a series of pop-up schools holding annual, monthlong educational gatherings in various African countries including Senegal, Ghana and Ethiopia, where artists, writers, historians, curators and teachers immersed themselves in seminars, workshops and exhibitions. The events gave Ms. Silva opportunities to evaluate artists’ work.
“Everyone had 15 minutes to present,” Antawan Byrd, who learned art curating under Ms. Silva at C.C.A. and is now assistant curator of photography at the Art Institute of Chicago, said by phone. “She’d be very critical. You had to defend your work and your research.”

Ms. Silva believed that her exhibitions, lectures, workshops, mentoring and educational programs made a positive impact in a short time.

Monday, 17 December 2018

AFRICAS GRAND MASTER JEDI, JACK KATARIKAWE


AGONY AND EMPTINESS AS EAST AFRICAS GRAND MASTER JEDI, JACK KATARIKAWE RESTS HIS PAINTING BRUSHES AND COLOUR PALLETE IN NAIROBI.

In 2016, I was tasked to research and write about contemporary Ugandan Artists. I was cautioned to situate my research within the period stretching from the 1940s through the 60s to the late 90s. My findings indicated that the name Jack Katarikawe appeared more than any other in most published local and foreign Journals, Catalogues, newspapers, books and periodicals about contemporary African Art.


That is how i was baptized with new knowledge concerning Jack Katarikawe. This new knowledge about Jack Katarikawe led to permanent withdrawal from my earlier assumptions that since I had mastered the perfect interplay of western principles and elements, I had less interest in reading about artists who had not gone through formal training. I must confess that in my blindness, the first time I looked at Katarikwes work, I didn’t see much of the ingredients that defined Art with a capital. (I am not alone in this category of Artists who do not bother to look outside their box). Little did I know that in this universe, God secretly served wisdom and luck to all created beings in doses. Following this secret formula, people like Kataritawe received the right dosage and luck from the creator who they call Ruhanga in Kataritawes native language. Katarikawe must have realized these two God given gifts at an early age and he quickly applied the icing sugar of Determination and hard work to his cake of wisdom and luck.


I was humbled to find out that Kataritawes work had been exhibited and collected in more than one hundred museums and galleries across the different six continents that make up our world. I wrote all those findings plus making a thorough analysis of his painting style which I submitted as part of the fulfillment for an award. I was told that Katarikawe lived in Nairobi and I kept on thinking I would pay him a visit and interview him with or without invitation. This never happened.


On the 25th/10/2018. I received a shocking notification from the president of Uganda visual artists and designers association (U.V.A.D.A) concerning the death and send off program for this Grand master Jedi Jack Katarikawe. (Jedi is nowadays used to refer to someone who possesses a special skill in doing something) The UVADA president organized a special send off and public viewing of Jack Katarikawe’s body at Nommo Gallery in Kampala before leaving for Kabale, the final resting place. The function was attended by a few Ugandan Frontline Artists, Katarikawe’s family members and the Art fraternity from Kenya. The reasons for taking Katarikawes body to Nommo Gallery for public viewing can be explained by the UVADA President and Uganda’s soldier Artist Gen. Tumwine.


Runyanzhuka Village the birth place and final resting place of the legendary master Katarikawe is located in the Kigezi region of south west Uganda in Kitumba county off the Kabale Katuna- Rwanda boarder, past Rushoroza girls school.


I am laboring to give a detailed explanation of Runyanzhuka village on the presumption that you can never understand the true life and style/ work of an artist unless you know his birth place and the circumstances under which he was nurtured.


Jack Katarikawe was born in 1938 and raised in the mysterious landscape of Runyanzhuka, a dramatic conglomeration of breathtakingly beautiful, neatly laid out terraces covering thousands of hectares of high rising flat topped and round topped hills.


The thousands of hectares of heavily cultivated hills must have registered a permanent kind of squared or rectangular canvass picture in Katarikawe’s memory. This inspired his desire to become a painter who must have wished to earn a living from making and selling paintings on canvasses that emulated the shapes and colours of the large tapestry of cultivated fragments that surrounded his village.


The Geographers have always guessed that thousands of years before Katarikawe’s great ancestors settled in Runyanzhuka, there must have been one major break where a fault in the underlying parent rock caused a section of the highland to suddenly drop and create a series of spectacular valleys. Today, what we see is that, not only are the valleys steep sided, but the faults cut deep into the floor and create winding cliff lined valleys within a valley. The valleys are filled with dense human settlements and jungle like vegetation. Sensational slow moving mixtures of fog and smoke occasionally rise from underneath the valleys causing an Eldilla. (an Eldilla is a mysterious smoky manifestation of the Holy Spirit in medieval philosophy!). This slow moving Smog causes a blur effect on distant hills and it is seen in Katarikawe’s paintings.


Katarikawe also benefits greatly from the highly sophisticated anthropological advantage of his native Kiga culture. This is in terms of language, orthography, folklore and other unique forms of oral literature that define his ancestry. It is a known fact that up to this day, the Banyakigezi have remained at the frontline as far as promotion and preservation of unique forms of cultural expressions like stories, proverbs, idioms, riddles, dance and song is concerned.


The tendency of combining human and animal forms in most of Katarikawes paintings enables the artist to explore his inner world of emotions, to identify the metaphysical echoes of love, lust, pain, fear, and anger against which all living things are powerless.


This subject matter of Katarikawe’s paintings therefore originates from his rich culture and it is against that backdrop that the UVADA president requested Sana Gateja, a highly respected artist and personal friend of Katarikawe, to deliver UVADAS condolence message in the local language. (Certain things are better said in our local languages than the English language). The Kenyan fraternity was represented by Lady Annabelle, a self-taught Artist who passed through the hands of Katarikawe. Lady Annabelle invited the director of the national museums of Kenya Beatrice Wangeshi who eulogized Katarikawe as a legend.


It it is true that more than ten of Katarikawe’s paintings are permanently exhibited in the Frankfurt museum in Germany and more than fifty others in UK, USA, Australia and Canada, then Katarikawe has served as Uganda’s ambassador to the outside world more than any other Ugandan. This means that he deserved a hero’s welcome and a state funeral .I have always lamented that there is lack of a clear policy regarding the visual arts in this country, Does this mean that the story of Katarikawe may temporarily fade?


According to Amos Wekesa Uganda Tourism guru and president of Great Lakes Safaris, in 2016 alone, Uganda hired three PR firms in the US, Gernany and UK whose job is simply talking about how beautiful Uganda is. A lot of tax payers’ money is spent on these PR firms who simply copy and paste a few camera shots of Uganda’s flora and fauna, use their laptops to manipulate a few digital clips, create a blog or some kind of “website” and use it as evidence to convince Uganda tourism board to sign their huge cheques. People like Jack Katarikawe and other legendary Ugandan artists who have sold more of their works abroad such as David Kibuuka, Noah Wamala Nyanzi, Dan Ssekanwagi and many others have been practically marketing and talking about the beauty of Uganda through their works for more than fourty years. Why pay the PR Firms and bury our heads in the sand when it comes to recognizing Visual artists? Is it because the PR firms are “smarter” and know more about “marketing” than the visual artists?


Now, let the Uganda Tourism board be born again and realize that in the beautiful hills of Kitumba in Runyanzhuka – Kabaale, lies a great man called Jack Katarikawe whose works will continue to market Uganda to the outside world. To wash itself clean, let the Uganda Tourism board liaise with the director of the National museums in Kenya and the president of Uganda visual Artists and designers Association. The three bodies will get in touch with Katarikawe’s family members who have already announced a grand project, the Jack Katarikawe foundation. This foundation can be developed as a tourist destination in addition to the much publicized gorilla permits or “hanging fruits” in Kibale National park, Bwindi, and queen Elizabeth National Parks.


If the Uganda Tourism board thinks that this is unnecessary, someone from Gremany, UK or Australia will come to Uganda one day and will be the first to recognize the final resting place and the contribution of Katarikawe towards contemporary East African Art.


IBANDA JOSHUA
FINE ART HISTORY POLITICS MUSIC CULTURE.