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December2010MIAMIVOLUME112www.arttribalnews.comMaINSIGHTmrketIsightutureffirsreviewsegFrotiterviewsobjetsdsArtTribalNewsletterLLC2010AllinformationandimagesincludedarepropertyofArtTribalNewsletterLLCandshallnotbereproducedorusedinanywaywithouttheproperexpressedwrittenconsent.450AmsterdamAv2NNewYorkNY10024-Phone1888832-9285OnNovember30th2010SothebysPariswilloffer49exceptionalAfricanArtlotsfromaNewYorkCollection.Lot27AMAGNIFICENTFANGHEADGABONbelowthatwaspartoftheprestigiouscollectionsoldatauctiononthe9thofNovember1965inParisAnciennecollectionPaulGuillaume-ArtNgrehtelDrouot.whichboastsapre-saleestimateof500000-700000EUR682299-955219.Anotherimportantobjecttowatchislot33ARAREANDIMPORTANTMUMUYEFIGURENIGERIArightwithapre-saleestimateof180000-250000EUR245627-341149Immediatelyfollowingtherewillbeasaleconsistingof103lotsofAfricanandOceanicmaterial.ANewYorkColleCtioNIstartedcollectinginthelate1970s.WhatdrewmetoAfricanartIthinkwasaloveofthematerialwoodswithsmoothorweatheredsurfacesrichdarkpatinasimagesthatweresometimesbeautifulidealizedportraitsbutothertimesintenselyexpressionisticimagesthatchallengedtheimaginationandinvitedinvestigationofanotheraestheticuniversethathadinfluencedthemostimportantEuropeanartistsearlierinthecentury.InNewYorkinthosedaystheplacestoseeAfricanartwereclusteredaround57thSt.andalongMadisonAvenuenorthtowardstheMetropolitanMuseumofArtwhichhadnotyetopeneditsMichaelC.RockefellerWingfortheartofAfricaOceaniaandtheAmericas.SimilarlytheMuseumforAfricanArtwasafewyearsinthefuture.AnamateurofAfricanartthereforedependedontheprivategalleriesanddealerswhoaboundedinthecity.PacePrimitivealmostalwayshadacataloguedexhibitionornewlyarrivedmaterialtoshowandonacrispautumnSaturdayIwouldheadtotheirspacethenasnowonEast57thSt.ItbustledwithactivityvisitednotonlybyAfricancollectorsbutalsobyartistsandcollectorsofmodernandcontemporaryartlookingforaprovocativepieceoftribalartandoftenescortedbyArneGlimcherhimself.BryceHolcombethedirectorwasacharacterandraconteuranditwaseasytopassanentiremorninginhiscompanywhilehepulledoutwonderfulobjectsforconsiderationlikethedelicateSenufohornbillmask.FromtheexhilarationofPaceIheadedacrossthestreettothequieterprecinctsoftheFullerBuildingandGastondeHavenonsgallery.Theever-charmingdeHavenonhadendlessstoriesofParisandtheamazingcollectionhehadamassedwhiletravellingtoFranceonbusinessinthe1950sand1960s.Hewasalwaysgenerouswithhistimeandencouragedmyinterest.ThesmallKongofetishandastonishingGuromaskwithstandingfigurethatoncebelongedtoLouisCarrecamefromthosevisitstodeHavenonsgallery.WalkingnorthonMadisonAvenuetheeducationwouldcontinueattheoldParkeBernetGalleryiftherehappenedtobeasaleexhibitionoratFreddieRolinsstorefrontgallerynear78thStreet.OnaslowdaythearistocraticownerorhisstaffwouldtakemetothedownstairsstoreroomtoengageinsomebasementarchaeologyspendinghoursdiggingaroundtreasuresIdidnotyetfullyappreciate.Ilearned.TherewerelargeLubaandHembaancestorfiguresanamazingKongodogfetishmasksfromZaireivoriesfromNigeria.ThisiswhereIdiscoveredtheelegantlyattenuatedMumuyefigurethePicasso-esqueNgbakaspoontheUrhoboshrinethatoncebelongedtoArmanwhoIoftensawinthegallery--andthestrongandbeautifulPendemask.Thesearethekindsofobjectsyoucouldfindinthosedaysatpricesabeginningcollectorcouldafford.OnedaycheckingoutRolinswalk-insafeatthebackofthegalleryIdiscoveredandimmediatelyboughtalate7thcenturyIndianGuptabronzeBuddhawhichtodayisownedjointlybytheVictoriaandAlbertandBritishmuseums.NearbywasCMArtswhereblue-chippostwarartworksandmuseum-qualityexhibitionsforartistslikeJacksonPollockanddeKooningsharedspacewithahandfulofmasterworksofAfricanartlikethearchaicDjennenkeancestorfigurewhichremindsmeofabustofaGothickingorsaintfromtheperiod.FurtherupMadisonHeleneandPhilippeLelouphadestablishedaNewYorkgallerywhereIspentmanyenjoyablehoursinconversationwiththiswonderfulcouplewhobecamementorsanddearfriends.ItwasthereIfoundtreasuresliketheSongyeshieldandtherareOwoivorybowl.AcrossthestreetMertonSimpsonheldcourtinhismasterpiece-ladengallery.InthesidestreetsoffMadisoncouldbefoundotherimportantdealersfromAmericaandEuropewhowouldshowgreatobjectsinsmallgalleriesprivateapartmentsorhotelrooms.ItwasagoldenageforlookingatandbuyingAfricanartinNewYork.SOTHEBYSOFFERSanEWYORKcOllEcTIOnInpaRISimagecourtesyofSothebys MUSeUMREVIEWManRaYaFRIcanaRTandTHEMOdERnISTlEnSAnexhibitionfeAturingrecentlydiscoveredphotogrAphsAndreunitingimAgeswithoriginAlobjectsAnexhibitionfeaturingrecentlydiscoveredphotographsandreunitingimageswithoriginalobjectsbothonviewatVancouversMOAthroughJanuary232011.TheMuseumofAnthropologyispleasedtoannounceManRayAfricanArtandtheModernistLensagroundbreakingexhibitionexploringthepivotalroleofphotographyinchangingtheperceptionofAfricanobjectsfromartifactstofineart.ManRayAfricanArtandtheModernistLenswillbeonviewatMOAfromOctober292010throughJanuary232011.ManRayAfricanArtandtheModernistLensbringstolightphotographsofAfricanobjectsbyAmericanartistManRay1890-1976producedoveraperiodofalmosttwentyyears.InadditiontoprovidingfreshinsightintoManRaysphotographicpracticetheexhibitionraisesquestionsconcerningtherepresentationreceptionandperceptionofAfricanartasmediatedbythecameralens.Featuredaremorethan50photographsbyManRayfromthe1920sand1930salongsideapproximately50photographsbyhisinternationalavant-gardecontemporariessuchasCharlesSheelerWalkerEvansAlfredStieglitzandAndrKertsz.ForthefirsttimeanumberofthesephotographsarepresentedalongsidetheoriginalAfricanobjectstheyfeature.Thejuxtapositionoffersarareopportunitytoencounterfirst-handhowvariousphotographictechniquesofframinglightingcameraangleandcroppingevokeradicallydifferentinterpretationsoftheseobjects.Booksavant-gardejournalsandpopularmagazinesalsoondisplayillustratehowthesephotographscirculatedandpromotedideasaboutAfricanartandculturetoaninternationalaudience.CuratedbyWendyGrossmantheexhibitionframestheobjectsandimageswithindiversecontextsincludingtheHarlemRenaissanceSurrealismandtheworldsofhighfashionandpopularculture.ManRayAfricanArtandtheModernistLenswascuratedbyWendyGrossmanPh.D.andorganizedbyInternationalArtsArtistsWashingtonDC.TheexhibitionwasfundedinpartbygrantsfromtheTerraFoundationforAmericanArttheNationalEndowmentfortheArtsandtheDedalusFoundation.MediasponsorTheGeorgiaStraight.OpeningreceptionsponsoredbyConsulatGeneraldeFranceaVancouver.aewexhibitttheMuseumofathropoogyshowshowMRyhispeersooketopre-iustriizeuturesforispirtiobrlaSometimesnaturedeliversexactlytherightmetaphoratexactlytherightmoment.AttheUniversityofBritishColumbiaonwhatfeelslikethelastcleardayoftheseasonacoldwhitemistrisesfromtheStraitofGeorgia.ItwrapsitselfaroundtheMuseumofAnthropologyblurringthebuildingsmodernistoutlinessmudgingitssharpanglesenshroudingitinmystery.TheexhibitionthatrunsfromFridayOctober30toJanuary232011ManRayAfricanArtandtheModernistLensblurslinesanglesandmeaningstoo.Likethesurrealistswhoseaestheticisinvokedherethisshowplayswithourperceptions.Itsmudgesthedivisionsbetweendisciplinesartandanthropologyandbetweentherationalandirrational.ItscuratorAmericanarthistorianWendyGrossmanhasassembledmorethanahundredvintagephotographsofAfricanfiguresmasksandornamentstakenContinuedonPages5and6ManRayUntitledBamilekefigurenjuindemBangwaQueenBangwaKingdomCameroonc.19342010ManRayTrustArtistsRightsSocietyARSNewYorkADAGPParis inthe1920sand30sbyManRayandhismodernistcolleaguesRaoulUbacCharlesScheelerCecilBeatonandothersandbroughtthemtogetherwithmanyoftheactualobjectsdepictedintheimages.TheintentionGrossmanwritesintheexhibitioncatalogueistoshowtheinstrumentalrolephotographsplayedintheprocessbywhichAfricanobjectsformerlyconsideredethnographiccuriositiescametobeperceivedasthestuffofModernartinthefirstdecadesofthetwentiethcentury.Inmanyinstancesthephotographsandthree-dimensionalobjectsintheshowhavebeenseparatedformorethanhalfacenturydisseminatedthroughwidelydifferentpublicandprivatecollectionsonbothsidesoftheAtlantic.Bringingthemtogetherinthisexhibitionrepresentsastartlingfirst.Italsorepresents15yearsofintenseresearchbyGrossman.AlongthewayshehasfoldedanumberofotherthemesintoheroriginalpremisetheexhibitionandcatalogueexaminetherelationshipbetweenimageandobjectthepoliticsandpoeticsofsurrealismandtheimpactofAfricancultureonwesternfashionmusicandart-collectingofthetime.CarolMayerMOAscuratorofOceanicandAfricanartandtheliaisoncuratorforthistouringexhibitionwalksintotheMichaelAudainGallerywherepreparatorsarebusilyinstallingtheshow.JazzplaysinthebackgroundandJeanCocteaussurreal1930filmBloodofaPoetissilentlyprojectedoverawallandacrossthefloor.Blowupsoftwodifferentblack-and-whitephotographsofthesameAfricanobjectaBamilekefigurefromCameroonsignalthecomplexwaysinwhichphotographycantransformitssubjectandinfluenceourinterpretationofit.ThecarvedwoodenfigureknownasBangwaQueenwasphotographedinabout1934bythesurrealism-influencedManRayandagainin1935bythemoreformalistWalkerEvans.Evansshothisphotoinwhatlookslikeanuninflecteddocumentaryfashionthelightingisflatandeventhefigureisseenstraightonandnoonefeaturepredominatesoveranyother.ManRaysphotohoweverisdramaticallydifferentshotfromabovewithcrosswayslightinganddeepshadowsthefigurelooksbothfierceandsorrowful.Eyesandmouthareexpressivelyexaggerated.Thethree-dimensionalworksintheexhibitionrangingfromtinyivorypendantstointricatelycarvedwoodendoorsarefineexamplesofAfricanartMayertellstheStraightbuttheirimportanceinthiscontextistoposequestionsabouttheirrepresentation.HowdidtheparticularartmovementsofthetimeinfluencethewaypeoplelookedatthemTheframingandlightingthecameraanglethekindofpaperonwhichtheprintwasdevelopedandthewaytheimagewascroppedallplayedaroleinthemessagethephotographerwantedtoconvey.Mayerpointsoutasolarizedself-portraitManRayNoireetblanchenegativeversion19262010ManRayTrustArtistsRightsSocietyARSNewYorkADAGPParis ofManRaynearthegalleryentranceandanintroductorypanellettingvisitorsknowwhothisartistwas.BornEmmanuelRadnitzkyinPhiladelphiain1890ManRayworkedacrossthedisciplinesofphotographyfilmpaintingandsculptureandisdescribedintermslikemultifariousartistandpolyartist.HeparticipatedintheNewYorkDadaistmovementin1915andafterhismovetoParisin1921joinedthesurrealistswhoenthusiasticallyembracedtheartofAfricaandotherpre-industrialcultures.AlthoughhesbestknownforhisexperimentalportraitsofwomenManRayproducedover50photographsfeaturingAfricanOceanicandPre-Columbianartduringthe1920sand30s.SpeakingbyphonefromherhomeinCollegeParkMarylandneartheUniversityofMarylandwheresheisanadjunctprofessorGrossmanexplainstheappealofnonwesternarttoavant-gardeartistsofthetime.Artistswerelookingforinnovativewaysofrepresentingtheworldandwerethinkingthatwesternclassicaltraditionshadprettymuchexhaustedthemselvesshesays.TheunprecedentedslaughteranddestructionoftheFirstWorldWarandtheassociationwithmechanizationandindustrializationdeeplydisillusionedthem.BasicallythemottooftheDadaistsandsurrealistswasIfthisiswhatcivilizationbringsuswerejectit.Insteadtheylookedtopre-industrialculturestorepudiatewesternhierarchiesandvaluesGrossmancontinues.TheyhadtheperceptionthattheseobjectshadsomekindofspiritualcorethattheydemonstratedawaytobreakwiththerationalityoftheEnlightenmentandgomoretowardstheunconsciousandthespiritual.Grossmanwillbeintownfortheexhibitionopeningandtodelivertwopublictalks.ForinformationaboutthevariedprogrammingthataccompaniestheexhibitionincludingfilmsmusicandperformanceartgototheMOAwebsite.Andmindtheencirclingfog.Head-shapedcupmbwoongnteyKubaDemocraticRepublicofCongoLate19th-early20thcenturyPhotoKwakuOfori-AnsaJamesLatimerAllenPortraitofJamesLesesneWellsc.1930CharlesSheelerUntitledFangReliquaryFigurec.1916-17TheLaneCollectionMuseumofFineArtsBostonManRayUntitledPendependantandChokwewhistle19332010ManRayTrustArtistsRightsSocietyARSNewYorkADAGPParis MaisonAvenuePromenadewww.madisonpromenade.comCOMINGMAY2011NYTRIBAARTWEE30ruesaintanne1000Brussels-Belgium.o.owww.o.oalainnaOumantiqueafricanart WOODSDAVYWOODSDAVYEARTHLINK.NETWWW.WOODSDAVY.COMCANTAMAR51609STONE38HX30X14 LikemanyfamousartistsVeniceBeachCA.basedartistandsculptorWoodsDavyfeelsaconnectionbetweenhisownworkandtheloveofcollectingtribalart.UponenteringDavyshometheshearnumberofmasksofthesametypeisoverwhelming.Asyouwalkintohisworkingstudioanarmyoffullcostumedfiguresawaitswhichremindsusoftheveryvisceralexperiencethatistribalart.WhereiyoustuyrtwhtwsyourmireoffousTheUniversityofNorthCarolinaatChapelHillforaBFAandtheUniversityofIllinoisatChampaign-UrbanaforanMFAbothinsculpture.IalwaystookartclasseswhenIwasgrowingupinMiamiandtheninWashingtonD.C.WherewhewsyourfirstexhibitiosrofessiortistMyfirstmatureexhibitionwasatSecurityPacificBankPlazaindowntownL.A.in1980.cyouexiyoursuturewhtwhoisireyouInitiallyIwasworkingwiththeideaofcreatingaresolvedbalancebetweenman-madeandnaturalformbothmindandemotion.LaterIfocusedonsomeofthenaturalelementsandtriedtoreducethosedetailsdowntotheiressence.IendedupwiththeCantamarserieswherethestonesappeartofloatdenyinggravityandtheiridentity.IfeelcompelledtomaketheseworksastheygivemeasenseoftheunexpectedbutitismorethanthatthereissomethinginthewayIfeelwhenIlookatthemsomethingthatbringsserenity.Ilikethatfeelingitsveryresolvedandverybenevolent.AndImaketheselargegraniteboulderworksthatarequitetheoppositetoughandanimatedverybrute.TheytakemefromthetranquilityoftheCantamarseriestoafeelingofagitatedroughtrade.HowiyougetivovewithoetigTribartDuringaLosAngelesCountyMuseumArtandArchitecturetourofourhomestudioin1987EleanorStendahlsawafakeZapotecurnalittleBajasouvenirandaskedwhydontwegetarealone.IsaidhowdoIdothatandshesaidIlltradeyouoneforthatsculptureoverthere.Ihadalwaysbeeninterestedinartfromotherculturessothatgotmestarted.WhtwsthefirstieeoftribrtyouquireItwasaverybruteKumumaskthatIboughtfromMortDimondsteinprobablyabout1990.WhenIfirstsawitIknewitwasmineIwantedthatenergy.Ittookmeayeartopayforit.WhtfirstttrteyoutooetSogyeKifwebemsksfromthedRcwhtotheymetoyouIthinkitgoesbacktomyearlysculpturesthatcombinationofoppositesthatcreatessomethinggreaterthanthesumofitsparts.Iwasfascinatedbytheintelligenceofthearchitectureoutofwhichemergedthispowerfulexpressiveforceagainbothmindandemotion.Withthesetwoextremespresentinoneobjectitproducedanotherworldlyforcethatreallyspoketome.Iwantedtopossestheseformsandalwaysholdthemexaminethemlearnfromthem.IusuallytakeonetobedeverynightandjuststudyitasIlaythereHowmyKifwebemsksoyouthikyouhveiyouroetioIguessIhaveabout300orsoincludingthesmallmaskettespanelsandotherkifweberelatedmaterial.doyouhvefvoriteKifwebeorseimemoryofKifwebethtwsgretexeseortsktoquireSometimesIseeamaskanditstartlesmeandstaresrightbackatmeandIreallywanttolivewithitfortherestofmylife.Butofcourseitcanbedifficulttoactuallyacquireitespeciallywithlimitedfinancialresources.Ittookmeabout5yearstoacquireamaskthatAlexArthurhaditwasalwaysonmymindbutoutofmyreachuntilitjusthappenedoneday.OneofmyfavoritemaskscomesfromPierreDartevellewhohasalwaysbeenverykindtomeitisaNorthernKalebwemaskwithgreatpowerandpresence.AndIhaveboughtsomeveryinterestingtopmasksfromDidierClaesandhisfatherPatric.OncewhileinBrusselsDidiersaidOhWoodsIhavesomethingforyoucomeintothekitchenandtherewasanancientfemaleSongyemaskwithtripleeyebrows.IfeltanoverpoweringexcitementasIgrabbeditimmediatelyandsaidthankyou.AndhisfatherPatricfieldcollectedtheaggressivefemalemaskwithfullcostumeinthephoto.IlovethatmaskPatrichasbeenveryhelpfultome.IhaveknownMarcFelixformanyyearsandhehasalwayshelpedmeinmyquesttolearn.TherearemanyotherEuropeandealersthathavebecomegoodfriendsaswelllikeAlainNaoumwhohasbeenverygenerousovertheyears.GoingtoBruneafisalwaysoneofthegreatestexperiencesofmylife.doKifwebemsksisireyousrtistifsohowYestheydobutImstilllearninghow.PerhapssometimeIllknowbutnowIjustgethintsandflashes.Thatmakestheprocessofcollectingartandmakingartmoreofajourney.Ithinkonceyouknowalltheanswersitbecomeslessinspiring.pROFIlEOFanaRTISTandcOllEcTORanInTERVIEWWITHWOOdSdaVYByDavidCassera BedauxArtDr.JanBaptistBedauxPieterskerhof73512JRUtrechtNetherlands0031621215948www.bedauxart.nlBamanaHyenaMaskMali THROCKMORTONFINEART145EAST57THSTREET3RDFLOORNEWYORKNY10022TEL212-223.1059FAX212.223.1937www.throckmorton-nyc.cominfothrockmorton-nyc.comCostaRicaLargeJaguarMetate600-900CEVolcanicstoneH1434xW1314inxL37in. SHowPICSlOSangElESaSIanTRIBalaRTSSHOW2010InpHOTOScaSSERaaRTSpREMIERSJaMESSTEpHEnSOnaFRIcanaRTMArkJoHNSoNGAllerYMIKEgladpHOTOgRapHYHAMSoNGAllerY casseraARTSPREMIERSByAppointmentNYC212.873.1937LA310.691.9391Ecassera.nycgmail.comWwww.ancienttribal.comartmiamiBoothA631-5Dec.2010MaORIHEI-TIKIoriginNewZealandcirca19thCenturymaterialJadeitedimension4inhigh
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December2010MIAMIVOLUME112www.arttribalnews.comMaINSIGHTmrketIsightutureffirsreviewsegFrotiterviewsobjetsdsArtTribalNewsletterLLC2010AllinformationandimagesincludedarepropertyofArtTribalNewsletterLLCandshallnotbereproducedorusedinanywaywithouttheproperexpressedwrittenconsent.450AmsterdamAv2NNewYorkNY10024-Phone1888832-9285OnNovember30th2010SothebysPariswilloffer49exceptionalAfricanArtlotsfromaNewYorkCollection.Lot27AMAGNIFICENTFANGHEADGABONbelowthatwaspartoftheprestigiouscollectionsoldatauctiononthe9thofNovember1965inParisAnciennecollectionPaulGuillaume-ArtNgrehtelDrouot.whichboastsapre-saleestimateof500000-700000EUR682299-955219.Anotherimportantobjecttowatchislot33ARAREANDIMPORTANTMUMUYEFIGURENIGERIArightwithapre-saleestimateof180000-250000EUR245627-341149Immediatelyfollowingtherewillbeasaleconsistingof103lotsofAfricanandOceanicmaterial.ANewYorkColleCtioNIstartedcollectinginthelate1970s.WhatdrewmetoAfricanartIthinkwasaloveofthematerialwoodswithsmoothorweatheredsurfacesrichdarkpatinasimagesthatweresometimesbeautifulidealizedportraitsbutothertimesintenselyexpressionisticimagesthatchallengedtheimaginationandinvitedinvestigationofanotheraestheticuniversethathadinfluencedthemostimportantEuropeanartistsearlierinthecentury.InNewYorkinthosedaystheplacestoseeAfricanartwereclusteredaround57thSt.andalongMadisonAvenuenorthtowardstheMetropolitanMuseumofArtwhichhadnotyetopeneditsMichaelC.RockefellerWingfortheartofAfricaOceaniaandtheAmericas.SimilarlytheMuseumforAfricanArtwasafewyearsinthefuture.AnamateurofAfricanartthereforedependedontheprivategalleriesanddealerswhoaboundedinthecity.PacePrimitivealmostalwayshadacataloguedexhibitionornewlyarrivedmaterialtoshowandonacrispautumnSaturdayIwouldheadtotheirspacethenasnowonEast57thSt.ItbustledwithactivityvisitednotonlybyAfricancollectorsbutalsobyartistsandcollectorsofmodernandcontemporaryartlookingforaprovocativepieceoftribalartandoftenescortedbyArneGlimcherhimself.BryceHolcombethedirectorwasacharacterandraconteuranditwaseasytopassanentiremorninginhiscompanywhilehepulledoutwonderfulobjectsforconsiderationlikethedelicateSenufohornbillmask.FromtheexhilarationofPaceIheadedacrossthestreettothequieterprecinctsoftheFullerBuildingandGastondeHavenonsgallery.Theever-charmingdeHavenonhadendlessstoriesofParisandtheamazingcollectionhehadamassedwhiletravellingtoFranceonbusinessinthe1950sand1960s.Hewasalwaysgenerouswithhistimeandencouragedmyinterest.ThesmallKongofetishandastonishingGuromaskwithstandingfigurethatoncebelongedtoLouisCarrecamefromthosevisitstodeHavenonsgallery.WalkingnorthonMadisonAvenuetheeducationwouldcontinueattheoldParkeBernetGalleryiftherehappenedtobeasaleexhibitionoratFreddieRolinsstorefrontgallerynear78thStreet.OnaslowdaythearistocraticownerorhisstaffwouldtakemetothedownstairsstoreroomtoengageinsomebasementarchaeologyspendinghoursdiggingaroundtreasuresIdidnotyetfullyappreciate.Ilearned.TherewerelargeLubaandHembaancestorfiguresanamazingKongodogfetishmasksfromZaireivoriesfromNigeria.ThisiswhereIdiscoveredtheelegantlyattenuatedMumuyefigurethePicasso-esqueNgbakaspoontheUrhoboshrinethatoncebelongedtoArmanwhoIoftensawinthegallery--andthestrongandbeautifulPendemask.Thesearethekindsofobjectsyoucouldfindinthosedaysatpricesabeginningcollectorcouldafford.OnedaycheckingoutRolinswalk-insafeatthebackofthegalleryIdiscoveredandimmediatelyboughtalate7thcenturyIndianGuptabronzeBuddhawhichtodayisownedjointlybytheVictoriaandAlbertandBritishmuseums.NearbywasCMArtswhereblue-chippostwarartworksandmuseum-qualityexhibitionsforartistslikeJacksonPollockanddeKooningsharedspacewithahandfulofmasterworksofAfricanartlikethearchaicDjennenkeancestorfigurewhichremindsmeofabustofaGothickingorsaintfromtheperiod.FurtherupMadisonHeleneandPhilippeLelouphadestablishedaNewYorkgallerywhereIspentmanyenjoyablehoursinconversationwiththiswonderfulcouplewhobecamementorsanddearfriends.ItwasthereIfoundtreasuresliketheSongyeshieldandtherareOwoivorybowl.AcrossthestreetMertonSimpsonheldcourtinhismasterpiece-ladengallery.InthesidestreetsoffMadisoncouldbefoundotherimportantdealersfromAmericaandEuropewhowouldshowgreatobjectsinsmallgalleriesprivateapartmentsorhotelrooms.ItwasagoldenageforlookingatandbuyingAfricanartinNewYork.SOTHEBYSOFFERSanEWYORKcOllEcTIOnInpaRISimagecourtesyofSothebys MUSeUMREVIEWManRaYaFRIcanaRTandTHEMOdERnISTlEnSAnexhibitionfeAturingrecentlydiscoveredphotogrAphsAndreunitingimAgeswithoriginAlobjectsAnexhibitionfeaturingrecentlydiscoveredphotographsandreunitingimageswithoriginalobjectsbothonviewatVancouversMOAthroughJanuary232011.TheMuseumofAnthropologyispleasedtoannounceManRayAfricanArtandtheModernistLensagroundbreakingexhibitionexploringthepivotalroleofphotographyinchangingtheperceptionofAfricanobjectsfromartifactstofineart.ManRayAfricanArtandtheModernistLenswillbeonviewatMOAfromOctober292010throughJanuary232011.ManRayAfricanArtandtheModernistLensbringstolightphotographsofAfricanobjectsbyAmericanartistManRay1890-1976producedoveraperiodofalmosttwentyyears.InadditiontoprovidingfreshinsightintoManRaysphotographicpracticetheexhibitionraisesquestionsconcerningtherepresentationreceptionandperceptionofAfricanartasmediatedbythecameralens.Featuredaremorethan50photographsbyManRayfromthe1920sand1930salongsideapproximately50photographsbyhisinternationalavant-gardecontemporariessuchasCharlesSheelerWalkerEvansAlfredStieglitzandAndrKertsz.ForthefirsttimeanumberofthesephotographsarepresentedalongsidetheoriginalAfricanobjectstheyfeature.Thejuxtapositionoffersarareopportunitytoencounterfirst-handhowvariousphotographictechniquesofframinglightingcameraangleandcroppingevokeradicallydifferentinterpretationsoftheseobjects.Booksavant-gardejournalsandpopularmagazinesalsoondisplayillustratehowthesephotographscirculatedandpromotedideasaboutAfricanartandculturetoaninternationalaudience.CuratedbyWendyGrossmantheexhibitionframestheobjectsandimageswithindiversecontextsincludingtheHarlemRenaissanceSurrealismandtheworldsofhighfashionandpopularculture.ManRayAfricanArtandtheModernistLenswascuratedbyWendyGrossmanPh.D.andorganizedbyInternationalArtsArtistsWashingtonDC.TheexhibitionwasfundedinpartbygrantsfromtheTerraFoundationforAmericanArttheNationalEndowmentfortheArtsandtheDedalusFoundation.MediasponsorTheGeorgiaStraight.OpeningreceptionsponsoredbyConsulatGeneraldeFranceaVancouver.aewexhibitttheMuseumofathropoogyshowshowMRyhispeersooketopre-iustriizeuturesforispirtiobrlaSometimesnaturedeliversexactlytherightmetaphoratexactlytherightmoment.AttheUniversityofBritishColumbiaonwhatfeelslikethelastcleardayoftheseasonacoldwhitemistrisesfromtheStraitofGeorgia.ItwrapsitselfaroundtheMuseumofAnthropologyblurringthebuildingsmodernistoutlinessmudgingitssharpanglesenshroudingitinmystery.TheexhibitionthatrunsfromFridayOctober30toJanuary232011ManRayAfricanArtandtheModernistLensblurslinesanglesandmeaningstoo.Likethesurrealistswhoseaestheticisinvokedherethisshowplayswithourperceptions.Itsmudgesthedivisionsbetweendisciplinesartandanthropologyandbetweentherationalandirrational.ItscuratorAmericanarthistorianWendyGrossmanhasassembledmorethanahundredvintagephotographsofAfricanfiguresmasksandornamentstakenContinuedonPages5and6ManRayUntitledBamilekefigurenjuindemBangwaQueenBangwaKingdomCameroonc.19342010ManRayTrustArtistsRightsSocietyARSNewYorkADAGPParis inthe1920sand30sbyManRayandhismodernistcolleaguesRaoulUbacCharlesScheelerCecilBeatonandothersandbroughtthemtogetherwithmanyoftheactualobjectsdepictedintheimages.TheintentionGrossmanwritesintheexhibitioncatalogueistoshowtheinstrumentalrolephotographsplayedintheprocessbywhichAfricanobjectsformerlyconsideredethnographiccuriositiescametobeperceivedasthestuffofModernartinthefirstdecadesofthetwentiethcentury.Inmanyinstancesthephotographsandthree-dimensionalobjectsintheshowhavebeenseparatedformorethanhalfacenturydisseminatedthroughwidelydifferentpublicandprivatecollectionsonbothsidesoftheAtlantic.Bringingthemtogetherinthisexhibitionrepresentsastartlingfirst.Italsorepresents15yearsofintenseresearchbyGrossman.AlongthewayshehasfoldedanumberofotherthemesintoheroriginalpremisetheexhibitionandcatalogueexaminetherelationshipbetweenimageandobjectthepoliticsandpoeticsofsurrealismandtheimpactofAfricancultureonwesternfashionmusicandart-collectingofthetime.CarolMayerMOAscuratorofOceanicandAfricanartandtheliaisoncuratorforthistouringexhibitionwalksintotheMichaelAudainGallerywherepreparatorsarebusilyinstallingtheshow.JazzplaysinthebackgroundandJeanCocteaussurreal1930filmBloodofaPoetissilentlyprojectedoverawallandacrossthefloor.Blowupsoftwodifferentblack-and-whitephotographsofthesameAfricanobjectaBamilekefigurefromCameroonsignalthecomplexwaysinwhichphotographycantransformitssubjectandinfluenceourinterpretationofit.ThecarvedwoodenfigureknownasBangwaQueenwasphotographedinabout1934bythesurrealism-influencedManRayandagainin1935bythemoreformalistWalkerEvans.Evansshothisphotoinwhatlookslikeanuninflecteddocumentaryfashionthelightingisflatandeventhefigureisseenstraightonandnoonefeaturepredominatesoveranyother.ManRaysphotohoweverisdramaticallydifferentshotfromabovewithcrosswayslightinganddeepshadowsthefigurelooksbothfierceandsorrowful.Eyesandmouthareexpressivelyexaggerated.Thethree-dimensionalworksintheexhibitionrangingfromtinyivorypendantstointricatelycarvedwoodendoorsarefineexamplesofAfricanartMayertellstheStraightbuttheirimportanceinthiscontextistoposequestionsabouttheirrepresentation.HowdidtheparticularartmovementsofthetimeinfluencethewaypeoplelookedatthemTheframingandlightingthecameraanglethekindofpaperonwhichtheprintwasdevelopedandthewaytheimagewascroppedallplayedaroleinthemessagethephotographerwantedtoconvey.Mayerpointsoutasolarizedself-portraitManRayNoireetblanchenegativeversion19262010ManRayTrustArtistsRightsSocietyARSNewYorkADAGPParis ofManRaynearthegalleryentranceandanintroductorypanellettingvisitorsknowwhothisartistwas.BornEmmanuelRadnitzkyinPhiladelphiain1890ManRayworkedacrossthedisciplinesofphotographyfilmpaintingandsculptureandisdescribedintermslikemultifariousartistandpolyartist.HeparticipatedintheNewYorkDadaistmovementin1915andafterhismovetoParisin1921joinedthesurrealistswhoenthusiasticallyembracedtheartofAfricaandotherpre-industrialcultures.AlthoughhesbestknownforhisexperimentalportraitsofwomenManRayproducedover50photographsfeaturingAfricanOceanicandPre-Columbianartduringthe1920sand30s.SpeakingbyphonefromherhomeinCollegeParkMarylandneartheUniversityofMarylandwheresheisanadjunctprofessorGrossmanexplainstheappealofnonwesternarttoavant-gardeartistsofthetime.Artistswerelookingforinnovativewaysofrepresentingtheworldandwerethinkingthatwesternclassicaltraditionshadprettymuchexhaustedthemselvesshesays.TheunprecedentedslaughteranddestructionoftheFirstWorldWarandtheassociationwithmechanizationandindustrializationdeeplydisillusionedthem.BasicallythemottooftheDadaistsandsurrealistswasIfthisiswhatcivilizationbringsuswerejectit.Insteadtheylookedtopre-industrialculturestorepudiatewesternhierarchiesandvaluesGrossmancontinues.TheyhadtheperceptionthattheseobjectshadsomekindofspiritualcorethattheydemonstratedawaytobreakwiththerationalityoftheEnlightenmentandgomoretowardstheunconsciousandthespiritual.Grossmanwillbeintownfortheexhibitionopeningandtodelivertwopublictalks.ForinformationaboutthevariedprogrammingthataccompaniestheexhibitionincludingfilmsmusicandperformanceartgototheMOAwebsite.Andmindtheencirclingfog.Head-shapedcupmbwoongnteyKubaDemocraticRepublicofCongoLate19th-early20thcenturyPhotoKwakuOfori-AnsaJamesLatimerAllenPortraitofJamesLesesneWellsc.1930CharlesSheelerUntitledFangReliquaryFigurec.1916-17TheLaneCollectionMuseumofFineArtsBostonManRayUntitledPendependantandChokwewhistle19332010ManRayTrustArtistsRightsSocietyARSNewYorkADAGPParis MaisonAvenuePromenadewww.madisonpromenade.comCOMINGMAY2011NYTRIBAARTWEE30ruesaintanne1000Brussels-Belgium.o.owww.o.oalainnaOumantiqueafricanart WOODSDAVYWOODSDAVYEARTHLINK.NETWWW.WOODSDAVY.COMCANTAMAR51609STONE38HX30X14 LikemanyfamousartistsVeniceBeachCA.basedartistandsculptorWoodsDavyfeelsaconnectionbetweenhisownworkandtheloveofcollectingtribalart.UponenteringDavyshometheshearnumberofmasksofthesametypeisoverwhelming.Asyouwalkintohisworkingstudioanarmyoffullcostumedfiguresawaitswhichremindsusoftheveryvisceralexperiencethatistribalart.WhereiyoustuyrtwhtwsyourmireoffousTheUniversityofNorthCarolinaatChapelHillforaBFAandtheUniversityofIllinoisatChampaign-UrbanaforanMFAbothinsculpture.IalwaystookartclasseswhenIwasgrowingupinMiamiandtheninWashingtonD.C.WherewhewsyourfirstexhibitiosrofessiortistMyfirstmatureexhibitionwasatSecurityPacificBankPlazaindowntownL.A.in1980.cyouexiyoursuturewhtwhoisireyouInitiallyIwasworkingwiththeideaofcreatingaresolvedbalancebetweenman-madeandnaturalformbothmindandemotion.LaterIfocusedonsomeofthenaturalelementsandtriedtoreducethosedetailsdowntotheiressence.IendedupwiththeCantamarserieswherethestonesappeartofloatdenyinggravityandtheiridentity.IfeelcompelledtomaketheseworksastheygivemeasenseoftheunexpectedbutitismorethanthatthereissomethinginthewayIfeelwhenIlookatthemsomethingthatbringsserenity.Ilikethatfeelingitsveryresolvedandverybenevolent.AndImaketheselargegraniteboulderworksthatarequitetheoppositetoughandanimatedverybrute.TheytakemefromthetranquilityoftheCantamarseriestoafeelingofagitatedroughtrade.HowiyougetivovewithoetigTribartDuringaLosAngelesCountyMuseumArtandArchitecturetourofourhomestudioin1987EleanorStendahlsawafakeZapotecurnalittleBajasouvenirandaskedwhydontwegetarealone.IsaidhowdoIdothatandshesaidIlltradeyouoneforthatsculptureoverthere.Ihadalwaysbeeninterestedinartfromotherculturessothatgotmestarted.WhtwsthefirstieeoftribrtyouquireItwasaverybruteKumumaskthatIboughtfromMortDimondsteinprobablyabout1990.WhenIfirstsawitIknewitwasmineIwantedthatenergy.Ittookmeayeartopayforit.WhtfirstttrteyoutooetSogyeKifwebemsksfromthedRcwhtotheymetoyouIthinkitgoesbacktomyearlysculpturesthatcombinationofoppositesthatcreatessomethinggreaterthanthesumofitsparts.Iwasfascinatedbytheintelligenceofthearchitectureoutofwhichemergedthispowerfulexpressiveforceagainbothmindandemotion.Withthesetwoextremespresentinoneobjectitproducedanotherworldlyforcethatreallyspoketome.Iwantedtopossestheseformsandalwaysholdthemexaminethemlearnfromthem.IusuallytakeonetobedeverynightandjuststudyitasIlaythereHowmyKifwebemsksoyouthikyouhveiyouroetioIguessIhaveabout300orsoincludingthesmallmaskettespanelsandotherkifweberelatedmaterial.doyouhvefvoriteKifwebeorseimemoryofKifwebethtwsgretexeseortsktoquireSometimesIseeamaskanditstartlesmeandstaresrightbackatmeandIreallywanttolivewithitfortherestofmylife.Butofcourseitcanbedifficulttoactuallyacquireitespeciallywithlimitedfinancialresources.Ittookmeabout5yearstoacquireamaskthatAlexArthurhaditwasalwaysonmymindbutoutofmyreachuntilitjusthappenedoneday.OneofmyfavoritemaskscomesfromPierreDartevellewhohasalwaysbeenverykindtomeitisaNorthernKalebwemaskwithgreatpowerandpresence.AndIhaveboughtsomeveryinterestingtopmasksfromDidierClaesandhisfatherPatric.OncewhileinBrusselsDidiersaidOhWoodsIhavesomethingforyoucomeintothekitchenandtherewasanancientfemaleSongyemaskwithtripleeyebrows.IfeltanoverpoweringexcitementasIgrabbeditimmediatelyandsaidthankyou.AndhisfatherPatricfieldcollectedtheaggressivefemalemaskwithfullcostumeinthephoto.IlovethatmaskPatrichasbeenveryhelpfultome.IhaveknownMarcFelixformanyyearsandhehasalwayshelpedmeinmyquesttolearn.TherearemanyotherEuropeandealersthathavebecomegoodfriendsaswelllikeAlainNaoumwhohasbeenverygenerousovertheyears.GoingtoBruneafisalwaysoneofthegreatestexperiencesofmylife.doKifwebemsksisireyousrtistifsohowYestheydobutImstilllearninghow.PerhapssometimeIllknowbutnowIjustgethintsandflashes.Thatmakestheprocessofcollectingartandmakingartmoreofajourney.Ithinkonceyouknowalltheanswersitbecomeslessinspiring.pROFIlEOFanaRTISTandcOllEcTORanInTERVIEWWITHWOOdSdaVYByDavidCassera BedauxArtDr.JanBaptistBedauxPieterskerhof73512JRUtrechtNetherlands0031621215948www.bedauxart.nlBamanaHyenaMaskMali THROCKMORTONFINEART145EAST57THSTREET3RDFLOORNEWYORKNY10022TEL212-223.1059FAX212.223.1937www.throckmorton-nyc.cominfothrockmorton-nyc.comCostaRicaLargeJaguarMetate600-900CEVolcanicstoneH1434xW1314inxL37in. SHowPICSlOSangElESaSIanTRIBalaRTSSHOW2010InpHOTOScaSSERaaRTSpREMIERSJaMESSTEpHEnSOnaFRIcanaRTMArkJoHNSoNGAllerYMIKEgladpHOTOgRapHYHAMSoNGAllerY casseraARTSPREMIERSByAppointmentNYC212.873.1937LA310.691.9391Ecassera.nycgmail.comWwww.ancienttribal.comartmiamiBoothA631-5Dec.2010MaORIHEI-TIKIoriginNewZealandcirca19thCenturymaterialJadeitedimension4inhigh