Contrary to the Temptation!

An Appeal for a New Dialogue among Museums and

Collectors, Scholars, and Dealers
Author(s): Lorenz Homberger and Christine Stelzig
Source: African Arts , Summer, 2006, Vol. 39, No. 2 (Summer, 2006), p. 1, 4, 6, 83
Published by: UCLA James S. Coleman African Studies Center

Stable URL: https://www.jstor.org/stable/20447759

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 first word

U * b

Contrary to the
Temptation!
An Appeal for a New
Dialogue Among Museums
and Collectors, Scholars,
and Dealers
R elationships between museums
and private collectors are deter
mined by a complicated equilib
rium. In the best cases they are
characterized by a balanced give
and-take oriented to specific pro
jects and through which critical perceptions,
high ethical and scholarly objectives, as well as
empathy for the concems of each other are dis
tinct on both sides and in a similar manner. In
the worst cases, these principles are abandoned
in favor of the misdirected ambitions of col
lectors and museums, presumably on the as
sumption that exhibiting objects from private
collections without detailed examination of
their authenticity and origin and without a
clear contextualization is permissible, as long
as visitors are presented with an exhibition of
apparently unknown material, whose presen
tation and catalogue suggest that it equals or
even surpasses the quality of objects whose au
thenticity has been determined beyond a doubt
and verified by sustained scholarly revisions of
the material.
The recent exhibition "Mit dem Auge des
Astheten. Kunst aus Gabun" (With the Eye of
an Aesthete: Art from Gabon) at the Volker
kundemuseum der Josefine und Eduard von
Portheim-Stiftung in Heidelberg (November 6,
2005-January 22, 2006) constitutes a case study
of such issues, exhibiting objects from uniden
tified private collectors. Museum visitors were
presented with seventy-four objects, all but sev
en of which are illustrated in the accompanying
publication-far more comprehensive than the
~~~~~~~~~n. S *,.S S S:
exhibition-Gabon: Tribal Art (Walldorf: Schulte
Weiss, 2005), printed with a trilingual text in
German, English, and French.
This exhibition, the catalogue, and above all
the objects themselves have caused great un
easiness among international experts in the
field. Based on fieldwork done by Lorenz Hom
berger (see Figs. 1-4) and others in Cameroon
and Gabon, it appears to us that many of the
objects shown in Heidelberg are contemporary
reproductions and therefore highly problemat
ic to the trained eye. However, a visitor or read Si ISSS. I 5''''SS 5 ISS'
er unencumbered by such prior knowledge
cannot recognize this. The many thousands of
copies flooding the market are produced in
abundance not only in Gabon, but also, and pri
marily, in workshops in Cameroon, where they
are laboriously "aged." Despite the low wages
paid to those who produce these objects, quite
a bit of time is spent on them. The question aris
Continued on page 4

summer 2008 arPlcan arts

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 afrian arts
U C LA
editors
Marla C. Berns
Allen F. Roberts
Mary Nooter Roberts
1, I
Doran H. Ross
I I
1? . book review editor
. 4
i Victoria L. Rovine
dialogue editor
Sidney Littlefield Kasfir
k. exhibition review editor,
north america
.4v
Christa Clarke
exhibition review editor,
overseas
Constantine Petridis
filmnvideo editor
Robert Cancel
photo essay editor
Christraud M. Geary
consulting editors
Rowland Abiodun
Mary Jo Arnoldi
first word Continuedfroni page 1 many of the objects belonging to the collec Judith Bettelheim
tor. To make a long story short, one of the Suzanne Preston Blier
Elisabeth L. Cameron
es, what immediate and long-term impact such most distinguished scholars of African art, Pro Robert Cancel
an exhibition and publication may have for the fessor Roy Sieber, who happened to be stay Christa Clarke
field of African art. ing in Switzerland, viewed the exhibition and Henry John Drewal
Christraud M. Geary
Our response is that it can only be a nega came to the conclusion that 70% of the objects Michael D. Harris
tive one. It is not only that the catalogue con on display were fakes. Piet Meyer, the former William Hart
Salah M. Hassan
tains sweeping claims such as: "In view of the curator of African Art at the Museum Rietberg Manuel A. Jordan P6rez
impressive number of authentic masks con in Zurich, also expressed devastating criticism, Bennetta Jules-Rosette
Sidney Littlefield Kasfir
nected with the ngil ritual which are illustrated as did Irwin Hersey, who began his article Sandra Klopper
in this volume it seems sensible to compile a "Scandal in Switzerland" with the following Christine Mullen Kreamer
typology" (p. 31)-although the six examples words: Alisa LaGamma
Frederick Lamp
illustrated are anything but representative of Kristyne Loughran
There is something strange about primi Joseph Nevadomsky
a "typology." But, more importantly, the insis
tive art which tends to make almost any Sylvester Okwunodu Ogbechie
tence on the authenticity of the masks rein Constantine Petridis
one who gets interested in it an instant
forces one's rising indignation. Did the authors John Picton
expert, sometimes with disastrous con Victoria Rovine
believe that simply saying it would make it so? Raymond A. Silverman
sequences (Primitive Art Newsletter, vol. 3,
We would not have thought it possible Robert Farris Thompson
no. 12, December 1980). Kenji Yoshida
that exhibitions of this dubious nature could
take place in public museums today. There After this exhibition, the atmosphere among * 0 0 0 0

really have been enough examples in the past,
which should have been a warning, calling for
the utmost vigilance. The issue of authenticity
and African art has frequently been raised in Af
rican Arts, from the 1976 special issue on "Fakes,
Fakers, and Fakery" in vol. 9, no. 3 through
Sidney Kasfir's 1992 article on "African Art
and Authenticity: A Text with a Shadow" in vol.
25, no. 2 and subsequent discussion in the Dia
logue column.
In 1980 an art enthusiast's African art col
lection was shown at the Kunstmuseum Bern
(Switzerland). At the same time, the collector
expressed his desire to leave some of his works
to this museum as a gift. The director, a Ren
aissance painting specialist, was responsible
for the exhibition. To ensure quality and schol
arly credibility, he consulted a renowned eth
nologist who had a good reputation as a scholar
of comparative theology, but whose knowl
edge of African art was modest-he was more
interested in ritual connections than in style,
quality, or even in the distinguishing charac
teristics of genuineness of the objects. At the
time, a catalogue was also published to mark
the exhibition, written by an art dealer who,
however, had also been the principle seller of
museums, collectors, and dealers in Switzer
land was poisoned for years. Those attacked
attempted to defend their reputations with the
help of the media and lawyers, while the critics
had to spend a lot of time and a show of nerves
in order to explain and defend their points of
view. Their suggestion to convene a roundtable
of experts and to discuss the matter on an
impartial level was declined. When in the end
the collector died of a heart attack shortly after
the exhibition, the lack of resolution left an
unpleasant atmosphere behind.
Intense criticism aimed at the museum and
collectors' scene was also provoked in 2000-01,
when the well-known Roemer- und Pelizaeus
Museum in Hildesheim (Germany), primarily
known for its exquisite, internationally recog
nized collection of Egyptian art, presented an
exhibition on the theme of African art, which
bore the sensational title "Auge in Auge mit
Afrika. Masken und Skulpturen aus dem nord
1. "... tu donnes 40 Euros ..." Gabon mask pre
sented to Lorenz Homberger in one of the approx
imately thirty art galleries in Foumban, Cameroon,
March 1, 2006. Photo: Lorenz Homberger.
executive editor
Leslie Ellen Jones
art director
Gregory A. Cherry
operations manager
Eva P. Howard
African Arts (ISSN 0001-9933; ISBN 0-9762618-6-3) is published
quarterly by the University of California, Los Angeles, CA 90095
1310, in spring, summer, autumn, and winter. For editorial information
and advertising rates, write African Arts, The J.S. Coleman African
Studies Center, University of California, Los Angeles, CA 90095-1310.
Phone: 310-825-1218. Fax: 310-206-2250. Email: afriartsedit@inter
national.ucla.edu. The opinions of contributors and advertisers are
not necessarily those of African Arts.
Subscription information: African Arts is distributed by The MIT Press,
Cambridge, MA 02142. Subscription and address changes should be
addressed to MIT Press Journals, 238 Main Street, Cambridge, MA
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POSTMASTER: Send address changes to African Arts, MIT Press
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Permission to photocopy articles for internal or personal use is grant
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Address all other inquiries to the Subsidiary Rights Manager, MIT
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? 2006 by the Regents of the University of California. Printed in
Hong Kong.

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 From top:
2. The Bamoum potter Kotu ldrissou Mache copy
ing Mangbetu pots from an old auction cata
logue in Machutvi, Bamoum province, Cameroon,
March 2, 2006. Photo: Lorenz Homberger.

3. Newly carved Gabon and Congo style masks

during the "aging process" at an art gallery in
Foumban, Cameroon. February 10, 2006. Photo:
Lorenz Homberger.

4. Gallery specializing in bronze objects made

to order, Foumban, Cameroon, February 10, 2006.
.K. - ,:( 8 i 8 ;1 _ Photo: Lorenz Homberger.

lichen Kongo" (Face to face with

and sculptures from the Norther
exhibition also presented numer
extremely questionable proven
years later, Hersey's statement a
experts" and "disastrous conse
held true.
_ ~ n. _ r | tAll collectors of African art are at liberty to
take delight in their objects and to want to share
this enjoyment with others through the help
__, of museums. Appreciation of objects is subjec
tive-all collectors have their own emotiona
connection to the objects they find desirable
(9 . s f*_Nevertheless, it is deplorable and highly dubi
ous if this occurs in a manner that gives the
- _ > _ impression that modern reproductions are
- e i comparable in uniqueness and value to authen
tic examples of African art. Every museum is
also at liberty to display objects from private
collectors. However, it is highly objection
_ _ = A>. ? M __ able, as well as extremely unprofessional and
counterproductive, if this occurs contrary to all
scholarly practices-and among these, the eri
-{ ? 1 |fication of the provenance and authenticity of
*;> . -the objects presented is first and foremost.
In fact, the recent case in Heidelberg sym
bolizes more than a devaluation of authentic
African art and its creators. It can lead to a
, ; 3 t general calling into question of museums as
L' . , ,\ A trustworthy institutions, respected for their
~~~~~~~~ ~~~~~~~knowledge and mediation of knowledge. O
again, the fact was ignored that museums play
an important role in establishing benchmarks
ANA . ..... - i ) for the quality and authenticity of objects. In
terms of public credibility, museums are gener
ally ranked much higher as sources of infor
_\tr,# '^ '. mation than the media or even universitie
Indeed, it is still the museum that ennobles ob
s_.t .;. ;; + v jects and their collectors. Yet, for exactly this
.- = * _l X W^i reason, museums are irrevocably bound to their
duties and obligations. No museum in Ger
eg '<-/! \> >-^ _o_ [ @ many devoted to the art of the Middle Ages
would present an exhibition that in
temporary imitations of works by V
(1447/48-1533) and Tilman Riemen
(1468-1531), two of the most signifi
tors of the Late Gothic period, wit
,.tg . .: _ *.Y . | ~~~~~~~~~~~~responding reference. A
_a"_; . :- _I_V s K; o I ~~~~~~~~~~would be quite a welcome change if museums
_: 2. . _ W.:. 1 _ X ;C ~~~~~~~~~~~~ would also put higher quality criteria ito prac
,.,. ~ ~ ~ - . ; , _ ,.:,. " _ , .. * . _ tice regarding the selection and presentation
4 jA t-Xot 7 : 4 ' *ttt7*'<. * 1 ~~~~~~~~of non-European art: criteri
1 5 t'' , <$//;i\ :r'i :git;* P r *?;4!J,f,.~~ P provenance, expert opinion d
s C~ ~ ~4 IO I' ' | , W_ Q search and publication in ascho
' \ - 4& 9 2e .1 X .t{0m and, where possible, scientifically based knowl
A. vv fl*CXAw XS.{ Xt -.33i 1 -4/ --X.*-Iedge and documented usage in local context.

* > , '<>--- i 8 ~~~ ; i9-. >jz si,i- african arts sulmmer 28006
'; <\t<.b 4- -20S =4wf 4 v' . z
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first word Continuedfrom page 6
When museums ignore this objective, they open
themselves up to a type of blackmail and in ef
fect become the playthings of the interests of col
lectors and dealers. In so doing, they surrender
the basis of their existence, formulated during
the Enlightenment, when princely and royal
cabinets of curiosities were first transformed into
museums whose highest aim lay in their duties
to the truth of science.
Prestige, the pressures of competition, and
the courting of public favor are the parameters
that financial sponsors and politicians force
upon the daily business of museums today.
The transformation from a museum to a post
modem exhibition business sometimes cannot
be halted. The fine line between "content" and
"event" is becoming more and more problem
Traditional South African Artifacts;
Contemporary South African Crafts
Kim Sacks Gallery, Johannesburg, South Africa
Nigerian Art: The Meneghelli Collection
Totem Gallery
Johannesburg, South Africa
The Standard Bank Collection
of African Art
University of the Witwatersrand Art Galleries
Johannesburg, South Africa
Art from West Africa
Totem Galleries: Rosebank, Carlton, Sandton
Johannesburg, South Africa
African Art
La Rochelle Gallery
Paarl, South Africa
Sisonke: Symbols of Identity;
Traditional African Art;
Story of People in Southern Africa
Archaeology of South African Stone and Iron Ages,
San rock art
Natal Museum
Pietermaritzburg, Natal, South Africa
Contemporary South African Art from
the Permanent Collection
Pretoria Art Museum
Pretoria, South Africa
African Art
Les Art International
Saxonwold, South Africa
Tsonga and North Sotho Art
Tzaneen Museum
Tzaneen, South Africa
Permanent Collection
National Gallery of Zimbabwe
Harare, Zimbabwe
* australia
continuing exhibitions
Australian Aboriginal Art
Art Gallery of Western Australia
Perth, Western Australia
U middle east
continuin9 exhibitions
Faith-Dorian and Martin Wright Gallery
of African Art
Israel Museum
Jerusalem, Israel
summer
193.52.24.14 on Sat, 22 Apr 2023 23:42:49 UTC
atic. There is hardly a museum that can step
aside from the enormous pressure of having to
prove itself to a larger number of visitors each
year. The relationship between museums and
patrons is also becoming increasingly prob
lematic. The more politics retreats from financ
ing cultural institutions and thereby from the
responsibility for preserving the educational
system, the greater is the danger of museums
becoming dependent on private sponsors for
their very existence.
By examining both the expectations of
scholars and actual museum working meth
ods, we can see that the pressure from poten
tial patrons on curators and scholars has been
steadily increasing according to the principle
that "Whoever pays, plays." This practice can
not and should not be allowed. It is true that
many collectors gladly leave their collections
to museums, for the most part based on a
human impulse to make a contribution to pub
lic memory. This in turn, however, compels the
museums to appear obliging and friendly to
collectors and potential donors. Undoubtedly,
the statement "I think this is a fake" is unlike
ly to please any collector.
What possibilities remain open to museums
that will allow them to still do justice to their
responsibilities? In our opinion, first and fore
most it is the responsibility to present originals,
i.e., works whose authenticity has been unques
tionably verified by trained specialists, who
have expertise in the material culture of the
area and people whose work is being exhibit
ed and a wide knowledge of comparable mate
rial in museums and private collections. It is not
sufficient to lump all non-Western art together
and assume that a specialist in one non-Western
field is equally authoritative in another; African
art should be presented by Africanists, South
east Asian art by its own specialists, and so on.
These are the only things that will distinguish
museums, even in the postmodern future, from
all other media. Being able to show original
objects "live"-physically present-is and will
continue to be a privilege of museums. Neither
Bill Gates's digital image database nor any 3-D
installation, no matter how astonishing, will
ever be able to replace the physical experience
of being face to face with an original.
However, museums' responsibilities with
regard to objects, visitors, patrons, and po
liticians similarly lies in their transparency,
which is to say in the openness to be allowed
to speak just as unconditionally about abuses.
Constructive headway in scholarly debate, in
exhibition practices, in the perception of the
needs of museums, and among collectors, pa
trons, visitors, politicians, and yes, also deal
ers, can only take place if more courage is
found on all sides to put personal stakes aside
in favor of attaining the main objective, name
ly, to convey the greatness of non-European
art. Public confidence in the institution of mu
seums can only be maintained in compliance
with these principles. Therefore, we believe
that ethical considerations concerning the as
pects mentioned above must play an ever-in
creasing role in the concept of each and every
exhibition project. U
being an uncomplicated
Lorenz Homberger and Christine Stelzig
2006 6 airican
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books Continuedfrom page 12
on the fluctuation of meaning and au
in the portraiture of Seydou Keita,
Bigham (1999) identified four possib
agents: the client, the photographer, t
tor/curator, and the viewer. These ag
to illustrate the fluidity of authorshi
role specific authors have had in the f
and interpretation of meaning in each
collections. Okwui Enwezor addre
issue in Life & Afterlife in Benin. It w
tute a major thread throughout my an
both books.
Life & Death in Benin is an intriguing and
important publication both in terms of its cap
tivating imagery and the analytical issues it en
gages. Nearly eighty prints, dating from the
1950s to the 1970s, by nine photographers work
ing in present-day Republic of Benin comprise
the bulk of the catalog. Designed to accompany
the 2005 exhibition of Alex Van Gelder's collec
tion at the Fotomuseum Winterthur in Zurich,
it features photographs by Benoit Adjovi, Jean
Agbetagbo, Joseph Moise Agbodjelou, Leon
Ayekoni, Sebastien Mehinto a.k.a. Pigeon, and
Camille Tchawlassou. However, most are the
work of three photographers: Bouraima Akodji,
Edouard Mehome, and Christophe Mahoukpe.
Several authors in this catalog stress that
Van Gelder's anthology concentrates on pho
tographs that capture moments of rural life
in modem Benin (p. 22 and inside dust jack
et). This focus reflects his conscious attempt
to amass a collection of African photography
that is distinct in style and subject matter from
that of Jean Pigozzi and his curator Andre
Magnin. It is important to note, however, that
although a few traveled to nearby villages
for work, several photographers were based
in the capital, Porto-Novo, or in other cities
such as Cotonou or Abomey. Nevertheless, by
focusing on photography in Benin, including
rural as well as urban realities, this catalog
helps to expand the scope of African photog
raphy. Images by some of these photogra
phers have been previously exhibited-for
example, Joseph Moise Agbojelou's photo
graphs in Revue Noir's substantial catalog An
thology of African & Indian Ocean Photography
(1999). Likewise, an abbreviated sampling of
Van Gelder's collection was featured in the
fifth "Rencontres" biennial of African photog
raphy in Bamako (2003). To my knowledge,
this is the first instance in which these pho
tographs have been the sole focus of a publi
cation or an exhibition.
By incorporating images that depict fu
nerary contexts, weddings, and criminal mug
shots, the collection illustrates that photogra
phers often work in more than one genre. This
is a reality that the current emphasis on studio
portraiture, with the exception of Erika Nimis's
work (see, for example, Nimis 1998,2005), has
not yet come to terms with. Perhaps more
importantly, these images illustrate that pho
tography has been incorporated into estab
lished cultural, religious, and artistic practices
in Benin. It therefore, if unintentionally, under
scores that "African photography," far from
umbrella category, is
arts 83