Exhibition | Afro-Atlantic Histories

Posted in books, catalogues, exhibitions by Editor on December 3, 2021

From the press release (21 October 2021) for the exhibition:

Afro-Atlantic Histories
Museu de Arte de São Paulo, 28 June — 21 October 2018

Museum of Fine Arts, Houston, 24 October 2021 — 17 January 2022
National Gallery of Art, Washington, DC, 10 April — 17 July 2022
Los Angeles County Museum of Art, TBD

U.S. Tour Curated by Kanitra Fletcher

This fall the Museum of Fine Arts, Houston, will debut the U.S. tour of Afro-Atlantic Histories, an unprecedented exhibition that visually explores the history and legacy of the transatlantic slave trade. Initially organized and presented in 2018 by the Museu de Arte de São Paulo (Histórias Afro-Atlânticas), the exhibition comprises more than 130 artworks and documents made in Africa, the Americas, the Caribbean, and Europe from the 17th to the 21st centuries.

In collaboration with MASP and the National Gallery of Art in Washington, DC, the MFAH will present Afro-Atlantic Histories at its Caroline Wiess Law Building from Sunday, 24 October 2021, through Monday, 17 January 2022. The exhibition will then travel to the National Gallery of Art to be on view in its West Building from Sunday, 10 April, through Sunday, 17 July 2022, with the Los Angeles County Museum of Art and additional venues confirmed to follow.

“Afro-Atlantic Histories recasts the traditional telling of the colonial history of the Western hemisphere within the vast web of the transatlantic slave trade over three centuries,” commented Gary Tinterow, Director, Margaret Alkek Williams Chair, MFAH. “It is an essential reexamination, one that the MFAH and the National Gallery have distilled from its expansive, original presentation in Sao Paulo in 2018 to focus on forgotten perspectives under the theme of histórias.”

“The National Gallery is honored to partner with the Museu de Arte de São Paulo and the Museum of Fine Arts, Houston, to bring Afro-Atlantic Histories to the United States. In the nation’s capital, this exhibition will shed light on the many histories that are crucial to our understanding of the legacy of slavery across the Americas,” said Kaywin Feldman, Director of the National Gallery of Art. “Through works made by artists across five centuries, Afro-Atlantic Histories will also celebrate the ongoing influence of the African diaspora on both sides of the Atlantic.”

Afro-Atlantic Histories dynamically juxtaposes works by artists from 24 countries, representing evolving perspectives across time and geography through major paintings, drawings and prints, sculptures, photographs, time-based media art, and ephemera. The range extends from historical paintings by Frans Post, Jean-Baptiste Debret, and Dirk Valkenburg to contemporary works by Ibrahim Mahama, Kara Walker, and Melvin Edwards.

The U.S. tour further builds on the exhibition’s overarching theme of histórias—a Portuguese term that can encompass both fictional and non-fictional narratives of cultural, economic, personal, or political character. The term is plural, diverse, and inclusive, presenting viewpoints that have been marginalized or forgotten.

The exhibition unfolds through six thematic sections that explore the varied histories of the diaspora:

Maps and Margins illustrates the beginnings of the slave trade as it unfolded across the Atlantic between Africa, the Americas, and Europe. Highlights include artworks that reference the widely reproduced British Abolitionist document Description of a Slave Ship (1789), an illustration that clinically detailed a slave ship’s cargo hold; Aaron Douglas’s painting Into Bondage (1936), a powerful portrayal of the moment when a group of Africans are taken to a slave ship bound for the Americas.

• Enslavements and Emancipations examines how the abuses of commercial slavery triggered rebellion, escape, and Abolitionist movements. Theodor Kaufmann’s On to Liberty (1867) portrays women and children fleeing through the woods—a scene that Kaufmann, who served as a Union Solider during the American Civil War, witnessed firsthand. Torturous practices are addressed in works that range from The Scourged Back, the widely published 1863 photograph by McPherson & Oliver, to the 2009 etching Restraint, a powerful image of a silhouetted figure in an iron brindle, by American artist Kara Walker. Samuel Raven’s Celebrating the Emancipation of Slaves in British Dominions, August 1834 (c. 1834) presents a romanticized tribute to emancipation; Ernest Crichlow’s portrait of Harriet Tubman honors the fearless liberator and ‘conductor’ of the Underground Railroad.

• Everyday Lives features images of daily life in Black communities during and after slavery, in realistic and romanticized views. Among 20th-century artists, American Clementine Hunter and Brazilian Heitor dos Prazeres depict field work and friendships. American Romare Bearden draws inspiration from the rhythmic and improvised staccato of jazz and the blues, using shifts in scale, breaks in color, and disarranged perspectives for his depiction of a sharecropper in the monumental collage Tomorrow I May Be Far Away (1967). The pastoral painting Landscape with Anteater (c. 1660), by the Dutch artist Frans Post, places enslaved laborers and indigenous peoples in an idyllic Brazilian landscape.

• Rites and Rhythms features works about celebrations and ceremonies in the Americas and the Caribbean. Often re-creating African traditions, these rites became channels for worship and communication. Twentieth-century Uruguayan artist Pedro Figari frequently portrayed his country’s Candombe dances, which originated with descendants of enslaved Africans. Dominican artist Jaime Colson’s lively Merengue (1938) pays homage to his country’s national dance and music, a blend of Afro-Caribbean rhythms and African movements. Other works in this section of the exhibition explore Carnival, African-based religions, and the historical Black presence in Christianity.

Dalton Paula, Zeferina, 2018.

• Portraits spotlights Black leaders of the 18th and 19th centuries who have not traditionally been memorialized in historical American and European portraiture. Dalton Paula’s Zeferina (2018), commissioned for the original presentation at MASP, provides a face to an influential slave rebellion leader who was arrested and sentenced to death before she could be commemorated. Other historical and more contemporary works feature ordinary people, invented figures, and the artists themselves, including Self-Portrait (as Liberated American Woman of the ’70s) (1997) by Cameroonian photographer Samuel Fosso, an unconventional work that challenges our understanding of self-portraiture.

• Resistances and Activism examines the continuing fight for freedoms. Banners, flags, and textiles referring to histories of resistance across the Afro-Atlantic invoke cultural, political, religious, and artistic identities. Me gritaron negra (They shouted black at me) (1978), a video by Venezuelan artist Victoria Santa Cruz, is a powerful renunciation of colorism and racism through poetry and dance inspired by the artist’s own history. Other works in this section draw attention to Black activism, including Glenn Ligon’s painting Untitled (I Am a Man) (1988), inspired by signs carried in the 1968 Memphis Sanitation Workers’ Strike, which protested unsafe working conditions and low wages; and March on Washington (1964), a rare figurative painting by Alma Thomas that recalls her experience attending the storied demonstration.

The U.S. tour is curated by Kanitra Fletcher, Associate Curator of African American and Afro-Diasporic Art at the National Gallery of Art. Adriano Pedrosa, Artistic Director; Ayrson Heráclito, Curator; Hélio Menezes, Curator; Lilia Moritz Schwarcz, Adjunct-Curator of Histories; and Tomás Toledo curated the exhibition at the Museu de Arte de São Paulo. At the National Gallery, the curatorial team also includes Molly Donovan, Curator of Contemporary Art, and Steven Nelson, Dean of the Center for the Advanced Study in the Visual Arts.

In Washington, DC, the curators are working closely with an external advisory group of local leading historians and art historians: Ana Lucia Araujo, Professor of History, Howard University; Nicole Ivy, Assistant Professor of American Studies, George Washington University; Kevin Tervala, Associate Curator of African Art, Baltimore Museum of Art; Kristine Juncker, Special Assistant to the Director, National Museum of African Art; and Michelle Joan Wilkinson, Curator, Smithsonian National Museum of African American History and Culture.

Adriano Pedrosa and Tomás Toledo, eds., with additional contributions by Ayrson Heráclito, Deborah Willis, Hélio Menezes, Kanitra Fletcher, Lilia Moritz Schwarcz, and Vivian Crockett, Afro-Atlantic Histories (New York: DelMonico Books / Museu de Arte de São Paulo, 2021), 400 pages, ISBN: 978-1636810027, $70.

Exhibition | The Abyss: Nantes and the Atlantic Slave Trade, 1707–1830

Posted in books, catalogues, exhibitions, resources by Editor on December 3, 2021

L’abîme: Nantes dans la traite atlantique et l’esclavage colonial, 1707–1830 as installed at the Musée d’histoire de Nantes (Photo by David Gallard). The graphic elements on the wall and the floor are taken from an eighteenth-century document, signed by participants in the slave trade, that depicts La Marie Séraphique, a slave ship that in 1769 transported 312 captives to Cap-Français.

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Now on view at the Musée d’histoire in Nantes (there is also a Google Arts & Culture site, “Nantes and the Atlantic Slave Trade,” with related objects from the museum).

The Abyss: Nantes’s Role in the Slave Trade and Colonial Slavery, 1707–1830
L’abîme: Nantes dans la traite atlantique et l’esclavage colonial, 1707–1830
Musée d’histoire de Nantes, Château des ducs de Bretagne, 16 October 2021 to 19 June 2022

Curated by Krystel Gualdé

Plan, Profile, and Layout of the Ship ‘The Séraphique Marie’ of Nantes, outfitted by Mr Gruel, for Angola, under the command of Gaugy, who dealt in Loango . . ., 1770 (Musée d’histoire de Nantes).

Still today, historians are unable to agree on the number of victims resulting from the transatlantic slave trade. With so many documents missing, it is impossible to arrive at an exact figure; and yet, the difference in final totals does not vary in terms of tens or hundreds or thousands—but in millions. How can a phenomenon so tragic and fundamental divide those who study it to such a degree? It would appear that the number, as staggering as it may be, does not explain the problem sufficiently. Moreover, what would we ultimately know if we arrived at a definite number? Would we know how many men, women, and children died during the wars and raids that led to their captivity? Would we have a better idea of how an entire city and its surrounding region could justify using the colonial system and slave trade as a means to accumulate unprecedented wealth? Would we be able to imagine the close ties between the transatlantic slave trade and the early Industrial Revolution? Would we understand, if only for an instant, how horrible it must have been to no longer be autonomous, to stop being considered human and be relegated to the status of a material good, to disappear without leaving any trace or memory? The exhibition provides an opportunity to hold the collections of the Musée d’histoire up to the light, revealing the invisible but ever-present traces of the men and women who were victims of the colonial system. Beyond the economic and commercial perspective commonly offered, this exhibition reveals the complex reality of a city so deeply involved in the slave trade.

Krystel Gualdé, est directrice scientifique du Musée d’histoire de Nantes et du Mémorial de l’esclavage. Spécialiste de la traite atlantique et de l’esclavage colonial, elle engage le musée dans de nombreux partenariats et réseaux scientifiques au niveau national comme international (Conseil d’orientation de la Fondation pour la mémoire de l’esclavage ; Projet SLAFNET – Slavery in Africa: A Dialogue between Europe and Africa). Elle est par ailleurs membre du Global Curatorial Project porté par le Center for the Study of Global Slavery at the Smithsonian’s National Museum of African American History and Culture (NMAAHC) et le Center for the Study of Slavery and Justice à l’université Brown aux Etats-Unis.

Krystel Gualdé, L’abîme: Nantes dans la traite atlantique et l’esclavage colonial, 1707–1830 (Rennes: Presses Universitaires de Rennes), 320 pages, ISBN: 978-2906519794, 30€.

A preview of the book is available here»

The dossier de presse is available here»


The Decorative Arts Trust Announces Failey Grant Recipients

Posted in books, exhibitions, museums by Editor on December 3, 2021

From the press release (1 December 2021) . . .

Thomas W. Commeraw, Jug, ca. 1796–1819, stoneware and cobalt oxide. Impressed on front: “COMMERAW’S/STONEWARE / CORLEARS / HOOK / N. YORK” (New-York Historical Society, 1937.820).

The Decorative Arts Trust congratulates author Caitlin Meehye Beach, Historic Rock Ford, and the New-York Historical Society on receiving Failey Grants. The Failey Grant program provides $25,000 in support for noteworthy research, exhibition, publication, and conservation projects through the Dean F. Failey Fund, named in honor of the Trust’s late Governor. Preference is given to projects that employ or are led by emerging professionals in the museum field.

Caitlin Meehye Beach, an assistant professor in the Department of Art History and affiliated faculty in the Department of African and African American Studies at Fordham University, will utilize grant funds for her forthcoming book Sculpture at the Ends of Slavery, which will be published by the University of California Press in 2022. The text will examine how a wide range of works of sculpture and decorative art—from antislavery medallions to statues of bondspeople bearing broken chains—gave visual form to narratives about abolition in the 18th and 19th centuries.

Historic Rock Ford in Lancaster, Pennsylvania, will use grant funding for further research and interpretation of the over 200 objects in their John J. Snyder, Jr. Gallery of Early Lancaster County Decorative Arts. Their goal is to uncover more about the shops, apprentices, laborers, indentured laborers, and enslaved workers who contributed to the Gallery’s collection of furniture, silver, clocks, and paintings from the mid-1700s to the early 1800s.

The New-York Historical Society receives grant funding for the groundbreaking exhibition Crafting Freedom: Uncovering the Life and Legacy of Free Black Potter Thomas Commeraw, to be presented January to June 2023 in their Pam & Scott Schafler Gallery. Crafting Freedom will be the first exhibition focused solely on Commeraw, a free Black craftsman descended from enslaved people, who was active as a master potter from the 1790s through 1819.

The Decorative Arts Trust is a non-profit membership organization that promotes and fosters the appreciation and study of the decorative arts through exchanging information through domestic and international programming; collaborating and partnering with museums and preservation organizations; and underwriting internships, research grants, and scholarships for graduate students and young professionals.

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