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Does Digital Benin really decolonize, or does c...
The platform systematically documents where objects are located and addresses colonial violence. In doing so, it follows the logic of what Sarr and Savoy call the reversal of responsibility: it...
Does Digital Benin really decolonize, or does c...
The platform systematically documents where objects are located and addresses colonial violence. In doing so, it follows the logic of what Sarr and Savoy call the reversal of responsibility: it...
Olowe of Ìsẹ̀ and the Benin Court Artists: Auth...
Olowe of Ìsẹ̀ (c. 1873–1938) occupies a special place in the history of West African art, as his name—unlike most traditional African artists—is recorded and associated with individualisable works.¹ His wood...
Olowe of Ìsẹ̀ and the Benin Court Artists: Auth...
Olowe of Ìsẹ̀ (c. 1873–1938) occupies a special place in the history of West African art, as his name—unlike most traditional African artists—is recorded and associated with individualisable works.¹ His wood...
“Every Monument Will Fall” in the Shadow of the...
German version see below In our conversation, Bénédicte Savoy remarked, “She would never have had such success in France as she has had in Germany.” This statement hits the core...
“Every Monument Will Fall” in the Shadow of the...
German version see below In our conversation, Bénédicte Savoy remarked, “She would never have had such success in France as she has had in Germany.” This statement hits the core...
Exploring the “Urhoto" entries on Digital Benin...
Under the Urhoto term on Digital Benib, one finds ivory heads of the Iy’Ọba alongside depictions of captives, court officials, and small figurines of various types. This Online Platform describes...
Exploring the “Urhoto" entries on Digital Benin...
Under the Urhoto term on Digital Benib, one finds ivory heads of the Iy’Ọba alongside depictions of captives, court officials, and small figurines of various types. This Online Platform describes...
The Fateful Seventh Year: The Language of “Auth...
The Hamburg “Völkerkunde Museum” around 1920. In the past ten years, visitor numbers have dropped sharply. Could this also be due to the renaming to “MARKK,” a name that few...
The Fateful Seventh Year: The Language of “Auth...
The Hamburg “Völkerkunde Museum” around 1920. In the past ten years, visitor numbers have dropped sharply. Could this also be due to the renaming to “MARKK,” a name that few...
The Benin Bronzes: Provenance, Aesthetics, and ...
The Benin Bronzes have become a focal point in contemporary provenance research, illustrating how interpretive frameworks, value judgments, and moral assumptions have shifted in the handling of African art. Earlier,...
The Benin Bronzes: Provenance, Aesthetics, and ...
The Benin Bronzes have become a focal point in contemporary provenance research, illustrating how interpretive frameworks, value judgments, and moral assumptions have shifted in the handling of African art. Earlier,...