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| Man's Ceremonial Headdress and Elephant Mask (Cameroon, Bamileke people), early 20th century. LACMA, Marcel and Zaira Mis collection |
Western collections of African art have often focused on masks, the wellspring of European Cubism. In African practice, masks were part of an ensemble with textiles (and performances) that early collectors ignored. It wasn't until the 1970s that African costumes appeared widely on the international markets. Among the pioneering collectors were Marcel and Zaira Mis, he the Turkish-born owner of a clothing company and she an Italian art dealer. LACMA bought the Mis collection of Sub-Saharan textiles in 2015, with funds raised for the museum's 50th anniversary. It was then billed as "arguably the finest and most comprehensive collection of African costume and textiles in private hands." A selection was shown in 2015, and now another sample is on view in "Ritual Expressions: African Adornment from the Permanent Collection."
The objects spans the continent's peoples, from Dida (Côte d'Ivoire) to Maasai (Kenya) to Betsileo Tanala (Madagascar). The materials are more diverse than "textiles" might suggest, including beadwork, basketry, parrot feathers, cowry shells, monkey fur, mirrors, amulets, and claws.
The Mises' collection was global in scope. Taiwan's National Palace Museum acquired the cream of their Asian holdings. Some of the remainder of the Mis collection was recently dispersed in a Jan. 2025 auction.
"Ritual Expressions" is in the Resnick Pavilion through July 6, 2025.
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| Man's Royal Ceremonial Robe (Nigeria, Yoruba people), early 20th century |
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| Woman's Wrapper Cloth (Nigeria, Yoruba people), 20th century. Gift of B. Rich |
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| Man's Robe (Riga) (Nigeria, Hausa people), 20th century |
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| Man's Royal Cap (Orikogbofo) (Nigeria, Yoruba people), first half of the 20th century |
This beaded cap imitates a biretta, topped with a cross, worn by Anglican priests during the British colonial period.
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| Man's Headdress (Uganda, Acholi people), mid-20th century |
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| Man's Ritual Mask Costume (Angola, Matapa people), early 20th century; Man's Ceremonial Hunting Tunic and Hat (Burkina Faso, Mossi people), early to mid-20th century |
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| Men's Dance Tunics and Hat (Niger, Fulani people), early to mid-20th century |
Comments
Right now, LACMA's Broad, Resnick and Japanese wings generally don't come off as must-see. Once the Geffen/Zumthor building opens, If LACMA's programming remains as it has mainly been for the past several years, the novelty of the new and shiny will wear off faster.
As for the Lucas, it will likely attract the type of people who aren't too interested in typical art museums. Although a lot of them probably will drop by a Louvre or Metropolitan because it's de rigueur.
Why the world's richest museum charges anything is scandalous.
> the architectural marvel is was
> supposed to be but at least you'll
> be able to see all of the currently
> hidden pieces under one roof...
A visitor from Minneapolis several years ago posted an online review of LACMA and wasn't impressed. The Minneapolis Institute of Arts, created during the early 1900s in the Beaux-Arts style, apparently seemed more big time for that person than William Pereira's 1960's "tract house" did.
Even if the contents of the MIA were or are no BFD, the packaging its exhibits are wrapped in must have seemed more prestigious to her. However, I've still been suspicious of what Govan and Zumthor (and LACMA's Board of Trustees) are doing, but less so after mulling things over during the past 4-5 years. So something had to be done.
The Geffen Galleries are supposed to give a sneak peek to the public in a few months, and I wonder if the building will come off as too small, too un-serious, too "a de facto museum of contemporary art, but frankly...not a very good one"?