The author explores the uncertain history of the modern artist Suzanna Ogunjami Wilson, whose birth and death details are uncertain. She acquired a bachelor’s and a master’s in art education in 1928 and 1929, respectively, from Teacher’s College, Columbia University, and from 1928 to 1934 she exhibited in the eastern United States, often with African Americans. If born in Nigeria of Igbo parentage, as all published accounts to the present attest, she would be the first African to exhibit modern art in the United States. If born in Jamaica, as U.S. Census records suggest, she would be the first Jamaican to do so. No actual birth records are available from either country. The author follows her marriage to a Sierra Leone Krio in New York City and their movement to that country, where she was the first person of African descent to exhibit modern art, and where she founded two children’s art schools. Regardless of her birthplace, her remarkable record is important to African and African-American art historians and other scholars.résumé:L’auteur explore l’histoire méconnue de l’artiste moderne Suzanna Ogunjami Wilson, dont les dates et circonstances de naissance et de décès sont incertaines. Elle a obtenu un baccalauréat et une maîtrise en éducation des arts, en 1928 et 1929, respectivement, du du Teacher’s College, Columbia University, et elle a exposé dans l’est des États-Unis de 1928 à 1934, souvent avec des Africains-Américains. Si elle est effectivement née au Nigéria de parents igbos, tel que l’attestent tous les témoignages écrits, elle aurait été la première Africaine à exposer de l’art moderne aux États-Unis. Si elle est née en Jamaïque, comme le suggèrent les données du bureau de recensement des États-Unis, elle aurait été la première Jamaïcaine à le faire. Aucun certificat de naissance n’est disponible dans chacun de ces deux pays. L’auteur retrace le mariage de l’artiste avec un Krio du Sierra Leone à New York et leurs déplacements dans ce pays, où elle fut la première personne d’origine africaine à exposer de l’art moderne, et où elle a fondé deux écoles d’art pour les enfants. Quel que soit son lieu de naissance, sa vie remarquable est importante aux yeux des historiens de l’art et autres chercheurs africains et africains-américains.

December 01 2013 African Art Studies: Are They No Longer Taking the Paths Less Traveled? Simon Ottenberg Simon Ottenberg Simon Ottenberg is Emeritus Professor, University of Washington, Seattle. otten@u.washington.edu Search for other works by this author on: This Site Google Scholar Author and Article Information Simon Ottenberg Simon Ottenberg is Emeritus Professor, University of Washington, Seattle. otten@u.washington.edu Online ISSN: 1937-2108 Print ISSN: 0001-9933 © 2013 by the Regents of the University of California.2013 African Arts (2013) 46 (4): 7. https://doi.org/10.1162/AFAR_a_00103 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Simon Ottenberg; African Art Studies: Are They No Longer Taking the Paths Less Traveled?. African Arts 2013; 46 (4): 7. doi: https://doi.org/10.1162/AFAR_a_00103 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsAfrican Arts Search Advanced Search This content is only available as a PDF. © 2013 by the Regents of the University of California.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

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June 01 2012 Objects from a Colonial War: The Dyer Collection Simon Ottenberg Simon Ottenberg Emeritus Professor, Anthropology, University of Washington and author of Masked Rituals of Afikpo (1975) and three other books on the Afikpo of southeastern Nigeria. He has carried out research on the Limba of northern Sierra Leone and studies of modern African artists in southeastern Nigeria and in Sierra Leone. otten@u.washington.edu Search for other works by this author on: This Site Google Scholar Author and Article Information Simon Ottenberg Emeritus Professor, Anthropology, University of Washington and author of Masked Rituals of Afikpo (1975) and three other books on the Afikpo of southeastern Nigeria. He has carried out research on the Limba of northern Sierra Leone and studies of modern African artists in southeastern Nigeria and in Sierra Leone. otten@u.washington.edu Online ISSN: 1937-2108 Print ISSN: 0001-9933 © 2012 by the Regents of the University of California.2012 African Arts (2012) 45 (2): 70–81. https://doi.org/10.1162/afar.2012.45.2.70 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Simon Ottenberg; Objects from a Colonial War: The Dyer Collection. African Arts 2012; 45 (2): 70–81. doi: https://doi.org/10.1162/afar.2012.45.2.70 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsAfrican Arts Search Advanced Search This content is only available as a PDF. © 2012 by the Regents of the University of California.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

On April 22-26, 1992, the University of Iowa School of Art and Art History, the University of Iowa Museum of Art, and the Project for Advanced Study of Art and Life in Africa (PASALA) hosted the Ninth Triennial Symposium on African Art. This event, organized by ACASA (Arts Council of the African Studies Association), drew more than 500 registered participants from all over the world to Iowa City, including a significant number from Africa. Participants in the 20-odd panels and roundtables presented their research and debated the issues confronting the discipline. One of the special events of the symposium was the Triennial Awards Banquet, held on April 25. The Arnold Rubin Outstanding Publication Award for the period 1989-91 was presented to Enid Schildkrout and Curtis A. Keim for African Reflections: Art from Northeastern Zaire (University of Washington Press and The American Museum of Natural History, 1990). Honorable mentions were awarded to Herbert M. Cole for Icons: Ideals and Power in the Art of Afr...

The article honors two Nigerian anthropologists of Igbo background who recently passed away. Both scholars made major contributions to a broad range of scholarly thought in anthropology and in general social science to crucial issues in Nigerian politics, society and life. Nzimiro is considered in terms of his traditional anthropological training in Germany and England, through which he investigated four Niger River basin communities, and then his emergence as a Marxist anthropologist for the rest of his life in Nigeria, where he consistently critiqued neocolonialism in Nigeria. He explored issues of ethnicity, the Nigerian civil war, militarism, the state of the social sciences, the environment, Oguta culture, where he was born, ethnic conflicts, conditions at Nigerian universities, and other issues. Nzimiro generally rejected the post-colonial world, arguing that it was not revolutionary enough. Uchendu dealt with many of the same issues, but in contrast to Nzimiro he did so by accepting the existence of post-colonial Nigeria, though suggesting many ways to improve education, the environment, cultural and national transition, dependency theory, and to study urbanization and ethnicity, while also writing a major work on Igbo culture. Both authors are honored for their critiques of Nigerian society, as well as their contributions to Igbo ethnology.

December 01 2007 Decorated Hu Ronko Shirts from Northern Sierra Leone: Birth, Life, and Decline Simon Ottenberg Simon Ottenberg Simon Ottenberg carried out field research at Wara Wara Bafodea Chiefdom in 1978–80 and is the author of numerous articles and a book growing out of that work: Seeing with Music: The Lives of Three Blind African Musicians (University of Washington Press, 1996). He has also published extensively on the traditional and contemporary arts of the Igbo of southeastern Nigeria. He is an emeritus professor of anthropology at the University of Washington, where he taught for thirty-six years. Search for other works by this author on: This Site Google Scholar Author and Article Information Simon Ottenberg Simon Ottenberg carried out field research at Wara Wara Bafodea Chiefdom in 1978–80 and is the author of numerous articles and a book growing out of that work: Seeing with Music: The Lives of Three Blind African Musicians (University of Washington Press, 1996). He has also published extensively on the traditional and contemporary arts of the Igbo of southeastern Nigeria. He is an emeritus professor of anthropology at the University of Washington, where he taught for thirty-six years. Online ISSN: 1937-2108 Print ISSN: 0001-9933 © 2007 by the Regents of the University of California.2007 African Arts (2007) 40 (4): 14–31. https://doi.org/10.1162/afar.2007.40.4.14 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Simon Ottenberg; Decorated Hu Ronko Shirts from Northern Sierra Leone: Birth, Life, and Decline. African Arts 2007; 40 (4): 14–31. doi: https://doi.org/10.1162/afar.2007.40.4.14 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsAfrican Arts Search Advanced Search © 2007 by the Regents of the University of California.2007 Article PDF first page preview Close Modal You do not currently have access to this content.

Nwando Achebe. Farmers, Traders, Warriors, and Kings: Female Power and Authority in Northern Igboland, 1900–1960. Portsmouth, N.H.: Heinemann, 2005. Glossary. Index. Bibliography. No price reported. Paper. - Volume 49 Issue 3

L'A. presente et commente le parcours artistique et l'oeuvre de Obiora Udechukwu, l'un des artistes contemporains les plus reputes du Nigeria et faisant partie de la generation d'artistes influences par Uche Okeke, Bruce Onobrakpeya, et Solomon Irein Wangboje. Marque tant par la culture rurale igbo traditionnelle que par la culture urbaine d'Onitsha, Obiora Udechukwu est un artiste visuel, un poete, un enseignant et un critique d'art, un organisateur artistique, commentateur social et satiriste. Outre ses peintures et ses dessins, l'une de ses plus importantes contributions est d'avoir aide au developpement de l'art contemporain au Nigeria et d'avoir attire l'attention sur la perennite des valeurs africaines dans la vie contemporaine