for just one exquisite second to meet at the egg's innermost heart. —Rebecca Horn, A Rather Wild Flirtation Rebecca Horn's art both constrains and resists constraint. 1 Her kinetic sculptures and performance pieces play on the struggle
The Material Entextualization of Mutual Incomprehension in Sino-Mozambican Relations
Morten Nielsen and Mikkel Bunkenborg
visited Mozambique in 2003 to install a series of sculptures he had been commissioned to produce for the Chinese-built Ministry of Foreign Affairs. In a brief article on this adventure, Xu Xiaohong (2003: 56) notes how the central reliefs depicting
The Karaoğlanoğlu War Memorial
Mehmet Kerem Özel
The architectural and sculptural design of the Karaoğlanoğlu War Memorial (1990-1991), which this article explores, has a unique place in Turkish war memorial architecture built after 1950. Until the end of the 1990s, Turkish war memorials continued to be conceived and constructed in a traditional and conventional manner in spite of the changes that the notion of the war memorial underwent worldwide over the course of the twentieth century. The Karaoğlanoğlu War Memorial embodies certain attributes of a 'living memorial' and 'counter-monument' with regard to its architectural form and its monument characteristics, which distinguish it from other Turkish memorials. Designed in connection with the features of its geographical context, this memorial enables an awareness of the landscape of memory. With its humane dimension and vaguely figurative repre- sentation, the monument evokes a unique personal experience for each visitor.
Germans and Jews Re-enacting Aspects of the Holocaust
left angrily with his sculptures, feeling betrayed and shunned, as he later wrote to the organizers. By the time of the feedback meeting the misunderstanding had acquired wider implications: instead of being treated merely as a regrettable
Jewish Museums in a Politically Correct World
Tom L. Freudenheim
So there I was – sitting at dinner in New College, Cambridge, next to a rather sophisticated museum-going lady from Chicago. She was sharing with me her fury at the indignities suffered by women visiting art museums. As a prime example, my dinner companion cited a sculpture of a nude, by Aristide Maillol, standing at the head of the stairs at the Art Institute of Chicago. What is a young girl to think about a nude torso, headless and armless, intended to greet visitors to this great art museum? With its focus on the crotch, this image of a maimed and helpless woman sends all the wrong messages.
Performing Culture and Remembering the Past in Osogbo, Nigeria
This article focuses on the debate about cultural heritage in the context of art, history, and politics in the Yoruba town of Osogbo in southwest Nigeria. Some forty years ago, Osogbo became the center of a vibrant art scene. Today Osogbo’s fame as a symbol for the renaissance of Yoruba art and culture has faded. What has survived, however, is the debate about the shrines and sculptures shaped by the Austrian-born artist, Susanne Wenger, and her local collaborators in the grove of Osogbo’s guardian deity Osun. It is argued that the present day conflicts about the meaning of the image works standing in the Osun grove are based upon their perception not so much as art but rather as media which in the very sense of the word—mediate between different realms of social importance in terms of time, space, power, and wealth.
Cuban Posters for African Liberation 1967–1989
( Figure 2 ), who was the artistic director and lead designer for OSPAAAL. Some posters have striking but sobering designs; for example, “Africa” by Jesús Forjans Boade ( Figure 3 ) juxtaposes a tribal sculpture with modern weapons. Many of the posters
Amy Cox Hall, Sergio González Varela, Jessica S.R. Robinson, Peter Weisensel, and David Wills
more deeply, and the centrality of the ancestors in their cosmology. He leaves empty-handed but learns a lot. Finally, in “The Modern Age,” he travels to Tumbur where he meets the wood carver Damianus, ultimately purchasing some sculptures to take back
The Visual Culture of the Congo Free State and Fin de Siècle Europe
Matthew G. Stanard
museum that would go on to welcome more than 120,000 visitors on average each year after 1910. Samuel's sculpture is clearly a work of art, free of the constraints of historical truth. Framed for decades within a scientific institution, it garnered an
The Lengnangulong Sacred Stone from Vanuatu in France, Revisited
carved face that is the container for the spirit of Lengnangulong , who is a pig-devouring creature that brought wealth to its owners by way of pigs with spiraling tusks (traditional money). I had recorded the life history of this sacred sculpture during