“It’s important to see every object is an individual creation,” said Constantine Petridis, who curated “Senufo: Art and Identity in West Africa” for the Cleveland Museum of Art.
In the exhibit – which opened at The St. Louis Art Museum on Sunday and continues through September 27 – masks, figures and other artifacts tell the story of African people who proved to be unforgettable, even in their anonymity.
Hardly any of the 170 works borrowed from nearly 60 public and private collections in Europe, Asia, Africa and North America have an individual artist attributed to them – or even a particular country of origin.
But these carvings, with all of their vibrancy and intricate detail, prove bigger than even the “Senufo” label – which was applied to visual art from Cote d’Ivoire, Mali and Burkina Faso, a trio of West African countries colonized by the French in the late 1880s.
“Senufo: Art and Identity in West Africa” is the first presentation of Senufo Art in the United States since New York City’s now-defunct Museum of Primitive Art presented Robert Goldwater’s “Senufo Sculpture from West Africa” in 1963.
It is the first African art exhibition at the Saint Louis Art Museum (SLAM) in more than 15 years. Nichole Bridges, SLAM’s associate curator of the Arts of Africa, Oceania and the Americas, curated the St. Louis presentation of the exhibit. Bridges will prevent a gallery talk entitled “Senufo and Beyond in the Permanent Collection” at 11 a.m. August 20 and 6 p.m. August 21.
Through the exhibit’s three sections – “Seeing Senufo in the First Half of the 20th Century,” “Forms in Context” and “Beyond Senufo” – guests will become acclimated to the origins of Senufo as a subcategory of African culture defined by those who colonized the region.
The exhibit shows audiences that modern artistic icons like Pablo Picasso found inspiration in West African art at a time when Africans were often seen as subhuman. “Artistic vanguards looked at African art and were fascinated by it,” said Petridis, who is curator of African art at the Cleveland Museum of Art.
But this was not art made in the studio for the gallery or museum; it was often part of functional culture, made with ritual intention and purpose. In “Forms in Context,” guests see Senufo art created for the Poro – a male initiation ceremony. Within the multifaceted rituals, young men learn how to build strong relationships among themselves and the community as a whole.
Art was created for the Poro – so those who participated in the Poro were essentially taught to be patrons of the arts. They would see artwork commissioned for Poro activities as well as the care, detail and level of artistry applied to the different pieces.
Young women were initiated through the Sandogo society, and on display are some of the objects that aided them in the process – including shapeless blobs thought to siphon off evil spirits and negative energy.
Other items featured in “Senufo” were created as a form of tribute to commemorate people, for funeral ceremonies, other rituals and even domestic use.
The interactivity of “Senufo,” as well as the extensive programming that compliments it, offers new perspectives on the power of art to transcend aesthetic purposes, to go beyond the museum and participate in the critical transformations in human life.
The exhibit’s next stop is Musée Fabre in Montpellier, France. Translated from English for the last venue, the exhibit’s catalog will be the first published in French about “Senufo” art, which originated in former French colonies.
“Senufo: Art and Identity in West Africa” will be on display at the Saint Louis Art Museum through September 27. For more information about the exhibit or related programming, call 314-721-0072 or visit slam.org.
Originally Posted: ‘Senufo’ is first African exhibit at art museum in more than 15 years