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The Art of Liberating Voices

The Art of Liberating Voices KRISTINE ROOME Contemporary South African Art Exhibited in New York A beautiful display of the grandeur of fmesse of South African art from the perspective of real Africans - not the imaginary Africans. I don't feel like I have just been visiting a museum of African Art. I'm very disap­ pointed. I was willing to admire art craft made by Africans and revealing the cultural and re1igious aspects dominant in Africa [ ... ]. None ofthat is in here. HE QUOTATIONS ABOVE are excerpts from the guest book left for visitors T to sign at the Museum for African Art in New Y ork City during the run of the Liberated Voices: Contemporary Artfrom South Africa exhibition from September 1999 through January 2000. These quotations and others referred to throughout this essay suggest the complexity of issues which arise when curating a show about a particular pI ace and particular 'people' for the entertainment and edu­ eation of museum visitors. That is, will your audienee see what you want them to see? Moreover, will they all see the same thing? Or is all ofthat irrelevant, as mean­ ing is made and eonstantly remade depending on audienee and venue? On http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Matatu Brill

The Art of Liberating Voices

Roome, Kristine
Matatu , Volume 25 (1): 17 – Dec 7, 2002
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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0932-9714
eISSN
1875-7421
DOI
10.1163/18757421-90000420
Publisher site
See Article on Publisher Site

Abstract

KRISTINE ROOME Contemporary South African Art Exhibited in New York A beautiful display of the grandeur of fmesse of South African art from the perspective of real Africans - not the imaginary Africans. I don't feel like I have just been visiting a museum of African Art. I'm very disap­ pointed. I was willing to admire art craft made by Africans and revealing the cultural and re1igious aspects dominant in Africa [ ... ]. None ofthat is in here. HE QUOTATIONS ABOVE are excerpts from the guest book left for visitors T to sign at the Museum for African Art in New Y ork City during the run of the Liberated Voices: Contemporary Artfrom South Africa exhibition from September 1999 through January 2000. These quotations and others referred to throughout this essay suggest the complexity of issues which arise when curating a show about a particular pI ace and particular 'people' for the entertainment and edu­ eation of museum visitors. That is, will your audienee see what you want them to see? Moreover, will they all see the same thing? Or is all ofthat irrelevant, as mean­ ing is made and eonstantly remade depending on audienee and venue? On

Journal

Matatu – Brill

Published: Dec 7, 2002

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