Musee du quai Branly: The Collection: Art From Africa, Asia, Oceania, and the Americas Hardcover – Nov 17 2009
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A vast and impressive collection of art from Africa, Asia, Oceania, and the Americas.
About the Author
Yves Le Fur is head curator and oversees the permanent collection at the museum.
Most Helpful Customer Reviews on Amazon.com (beta)
When will the Western world humble itself and allow others to convey their own stories ... Or even rightful legitimacy??
This is a grim reminder of the problems Cheikh Anta Diop had with his doctoral thesis, "Nations nègres et culture: De l'antiquité nègre égyptienne aux problèmes culturels de l'Afrique Noir", Diop brilliantly and factually presented data linking ancient Egypt to the rest of the African peoples and continent (resulting in future conclusive scientific proof through testing and other analysis). As far as Asia is concerned, the Musée du Quai Branly cannot be credited with making a representation of the art of that continent, it is already the function of the Musée Guimet in Paris - which incidentally also houses thousands of stolen and illegal objects - from China and the rest of Asia. It is also worth noting that Egyptian art and Islamic art is maintained at the Musée du Louvre and not the du Quai Branly - which is supposed to cover Africa and Asia.
(1). When did Egypt no longer become part of Africa, or are the French still following the 19th C. German philosopher Hegel's declaration: "Africa is no historical part of the world" and false belief that Egypt was never part of Africa??
(2). Or the Regius Professor of History at Oxford University, Hugh Trevor-Roper's openly racist views: "Africa has no history", expressed as recent as 1963?
(3). Or is it because of perceived fears of melee occurring if Egyptian art is included with sub-Saharan African art; which has always been respected as representing a high civilization; with groups essentially considered as "primitive" or crude ones?
(4). Aside from occasional exhibitions, contemporary / modern African art does not appear to be within the Musée du Quai Branly's criterion objectives, since this would contradict the notion of "art premier" or "primitive art" - which is still at the core of the du Quai Branly - despite all *disclaimers* to the contrary.
(5). Or is modern African art not considered African art? Does so-called "traditional" African art - represented in the du Quai Branly - contain all that there is to "art" from sub-Saharan Africa??
... Destruction of Dogon areas and the damage caused by looting of artifacts cannot be ignored, even by the anthropologists - first under colonial rule and within the "Independence Period" all ending up in Western countries. No country that experienced colonialist aggression and imperialist domination can ever remain the same or wholly preserve its traditions. Frankly, there are more Dogon in the du Quai Branly than in the National Museum, Bamako! The unwillingness of the French even to consider restitution claims and other demands from Africans prompted Aminata Traoré, a former Minister of Culture from Mali and author of "La Gloire des imposteurs (DOCUMENT) (French Edition)" and "L'Afrique humiliée (Documents) (French Edition)" to issue her famous statement on the occasion of the opening of the Musée du Quai Branly: "In our opinion, the Musée du Quai Branly is built on a deep and painful paradox since almost the totality of the Africans, Amerindians, the Australian Aborigines whose talents and creativity are being celebrated, will never cross the doorstep of the museum in view of the so-called selective immigration. It is true that measures have been taken to ensure that we can consult archives via Internet. Thus our works of art have a right of residence at a place where we are forbidden to stay".
Another example (of many) - which contrasts sharply with the *du Quai Branly approach* - directly addresses the reality that there are either not enough or no "black" voices in France which could be valuable on issues which involve minorities. Quite clearly the du Quai Branly was devised and built without reaching out to minorities - justifying that "non-whites" lack organization and consciousness -- and that the museum would not have a direct impact on "non-white" French and others. Yet, the principle concern being that "non-white" nations will *ask for their stolen treasures back* rather than motivations conveying ethnic pride and identity. LOL...
The French - who consider themselves very logical - twist facts to suit their own dubious classifications, while continually broadcasting *René Descartes (1596-1650) reasoning*, along with rogue colonial acuity that has been prolifically spread throughout the world. Europeans and Americans now argue that these works are part of the "Patrimony of Humanity" (UNESCO) and are better preserved in Europe or within the U.S.A. The rest of the world is finally arriving at the (obvious) conclusion that Europeans and Americans have become the victims of their own propaganda and cannot bring themselves to accept any mistakes or failures... "Supposedly faultless, without cause célèbre."
This great books presnts sections on the tribal art of Africa, Asia, Oceania, and The Americas. The well respected tribal art critic Yves Le Fur provides a (short) introduction, and then the majority of the book showcases tribal objects from around the world, with a detailed description of each work. The book as a whole merits somewhere betwenn 4-stars and 5-stars - I have had the pleasure of visiting the Museee Du Quai Branly, and the book doesn't quite do the fabulous museum justice, but the presentation and quality of the book cause me to err on the positive side.
Sections on the tribal art of Africa, Asia, Oceania, and The Americas. The well respected tribal art critic Yves Le Fur provides a (short) introduction, and then the majority of the book showcases tribal objects from around the world, with a detailed description of each work. The book as a whole merits somewhere betwenn 4-stars and 5-stars - I have had the pleasure of visiting the Museee Du Quai Branly, and the book doesn't quite do the fabulous museum justice, but the presentation and quality of the book cause me to err on the positive side.
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