Exhibition: “Add to, Take Away: Artistry and Innovation in African Textiles” at Dallas Museum of Art

November 8, 2014 to December 6, 2015

““Add to” and “take away” refer to basic techniques African textile artists use to decorate cloth. “Add to” techniques include embroidery and appliqué. “Take away” refers to the removal of threads from cloth to create intricate patterns. Decorated cloth is often a powerful expressive medium in African life, a kind of visual language that can be read by those familiar with it. This installation of cloths drawn primarily from the DMA’s collection explores these techniques as they have been—and still are—practiced in Mali, Republic of Benin, Nigeria, Cameroon, and Ethiopia. “Add to” and “take away” refer to basic techniques African textile artists use to decorate cloth. “Add to” techniques include embroidery and appliqué. “Take away” refers to the removal of threads from cloth to create intricate patterns. Decorated cloth is often a powerful expressive medium in African life, a kind of visual language that can be read by those familiar with it. This installation of cloths, drawn primarily from the DMA’s acclaimed collection of African art, explores these techniques as they have been—and still are—practiced in Mali, Republic of Benin, Nigeria, Cameroon, and Ethiopia. “

Captions for the photos are:

Tunic with appliquéd designs, Probably 1920s, Cameroon: Kom people, cotton and wool; commercially woven fabrics, machine and hand stitching, Dallas Museum of Art, Textile Purchase Fund;

Robe for a dignitary (boubou lomasa), Late 19th-early 20th century, Mali: Soninke people, cotton and silk; plain weave and embroidery, Dallas Museum of Art, Textile Purchase Fund;

Woman's embroidered shawl, Probably 1930s, Nigeria or Cameroon, Africa, cotton, Dallas Museum of Art, Textile Purchase Fund;

In my view the shawl is more likely to be from Ivory Coast.

African Headwear: Beyond Fashion–new exhibition at Dallas Museum of Art

“August 14, 2011–January 1, 2012
Focus Gallery I

African Headwear: Beyond Fashion, an exhibition of approximately fifty objects from the Museum’s collection of African art, internationally acclaimed as one of the top five of its kind in the United States, explores the way in which headwear signifies status in traditional African societies. Often made of unusual materials, such as the skin from a pangolin (spiny anteater), wood and copper, various types of nutshells, lion mane, and human hair, African headwear can also include glass beads, plastic buttons, and ostrich feathers used in unfamiliar ways.

For example, a sacred crown worn by Yoruba kings in Nigeria is lavishly beaded and adorned with sculpted birds and modeled human faces. Tiered basketry hats worn by Ekonda chiefs from the Democratic Republic of the Congo feature hammered brass discs. Baule chiefs in the Côte d’Ivoire (Ivory Coast) wear velvet pillbox-style hats on which symbolic gold-leaf ornaments are attached.

Among the exhibition’s highlights, which also include significant works from local private collections, is a work from the Lega, in the Democratic Republic of the Congo, where a man wearing a hat adorned with elephant tails would be recognized as belonging to the highest level of the association.

Another hat is something a Himba bride from southern Africa would wear on her wedding day. Made of soft calfskin imbued with butter and red ocher and decorated with iron beads, its large earflaps prevent the bride from looking in any direction but forward—toward her new husband’s home.

African Headwear: Beyond Fashion is organized by the Dallas Museum of Art and curated by Roslyn A. Walker, Senior Curator of the Arts of Africa, the Americas, and the Pacific and The Margaret McDermott Curator of African Art at the Dallas Museum of Art.

Images:

Diviners headdress (nkaka), Democratic Republic of the Congo, Tabwa, mid-20th century, leather, fiber, beads, and feathers, Dallas Museum of Art, gift of The Cecil and Ida Green Foundation, 1999.62”