Hot Space, Cool Space

The Reinstallation of the African Collection in the Louis Kahn Building at Yale University

Frederick John Lamp Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021

ould African art live and breathe freely in a sleek, spare, and quiet Modernist building created in the 1950s? This is the question the Afri- can curatorial staff confronted in turning a second-floor space—surrounded on two sides with all-glass walls, and on the other two sides by exposed brick—into a gallery devoted to the warmth and exu- Cberance of African forms. Could the art be seen not as modernist form, as it often is in Western art museums, but rather situated with contextual performative meaning and of an integrity in its own right? African art has, indeed, found a glorious new home in the newly renovated Louis Kahn Building of the Yale Univer- sity Art Gallery (YUAG), and while contradictions obviously remain, we were able to resolve some of the questions inherent in exhibiting African art in our own context. The collection of African art, including the Charles B. Benen- 1 Installation, Laura and James Ross Gallery of African Art, son gift of 2005, now numbers approximately 1,200 objects. For Yale University Art Gallery: the tools of Ifa divination, Yoruba. the reinstallation of the collection in the Kahn Building, we chose 135 objects, selected for their aesthetic excellence, historic interest, simple beauty or strength, formal variation, geographi- cal and chronological representation, variation in medium, and sometimes simply because we find them intriguing. The collection occupies the exquisite open space against the western glass curtain wall, with approximately 3275 square feet, in the new James and Laura Ross Galleries of African Art.

Cultural Definition In drawing four walls around one body of art to the exclu- sion of others, definitions, obviously, have to be made. Africa is defined for our purposes as a broad art historical and cultural (opposite) expanse of connectedness and not strictly by land mass. Art is 2 Installation, Laura and James Ross Gallery of African Art, Yale University Art Gallery: Baga D’mba Mask enclosure. about people and their culture and cultural alignments. The defi-

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CMYK p36 09293 • 20702419 nition takes into consideration African self-definition. Cultural and leatherwork. Of these, the first two are primarily women’s orientation principally toward and within the continent, rather arts, while the third is produced by both men and women, and than toward the outside, is a factor of inclusion. This definition they are often at their aesthetic pinnacle in northern, southern, expands the parameters previously given in museum displays of and eastern Africa. We have just received a collection of hun- African art in its inclusion of Ethiopian peoples in our display, dreds of examples of metalwork, especially iron currencies, that which is the current pattern throughout art museums with Afri- will go on display on another round. The collections through- can collections. out Yale University will enable us ultimately to represent Nubian, Part of the Kahn aesthetic has to do with simple flexibility, Swahili, and Saharan peoples. There is already some inclusion of with movable panels and open spaces. The plan for the reopen- the global diaspora of African cultural form in various Art Gal- ing of Kahn has always included the possibility of continued lery departments, and we would want to allude to that with some rotation, to change the display to respond to shifting needs and representation within the African gallery as well as in the galler- expectations. The African collection of the YUAG will allow us ies devoted to American art. Although ancient Egypt justifiably to introduce many other forms and media. It is largely because resides in the Department of Ancient Art, we eventually want to of the emphasis given to masks and sculpture in wood, clay, and suggest its connection with the rest of Africa through some rep- metal that eastern, northeastern, and southern Africa have been resentation in the African gallery. Fortunately, the collections in ignored throughout Western collecting. Our collecting mission is ancient Nubian and Egyptian art are rich at Yale, principally at to attract items that are not traditionally seen in museum African the Peabody Museum of Natural History. Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021 collections, such as beadwork, pottery, basketry, textile, jewelry,

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CMYK p37 09293 • 20702419 26 Installation, Laura and James Ross Gallery of African Art, Yale University (this page) Art Gallery: West African display with the Yoruba Shrine Figure facing the Baga 3 Mask with superstructure representing a beautiful mother (D’mba) D’mba Mask enclosure.v Baga (Sitem subgroup), Bulungits, or Pukur. Guinea, late 19th–early 20th century Wood, brass, 132.08cm x 39cm x 61.5cm (52" x 15⅓" x 24¼"); 37.4 kg (82.5 lb.) Charles B. Benenson, B.A. 1933, Collection. 2006.51.390

4 Processional cross Ethiopian Orthodox Tawahido Church. Ethiopia, 19th century Copper alloy, 44.5cm x 37.2cm x 3.5cm (17½" x 14⅔" x 1⅓") Gift of Mr. and Mrs. Valerian Lada-Mocarski. 1977.67.94

(opposite) 5 Staff with a human figure Suku or Yaka. Congo (Kinshasa), Angola, late 19th–early 20th century Wood, brass, copper, glass beads, shells, seed pods, cloth, animal claws, horn, feathers, fiber, coin, 96.5cm x 18cm (38" x 7") Charles B. Benenson, B.A. 1933, Collection. 2006.51.145 Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021

Diversity of Cultures Kongo of Central Africa. A wide range of objects is displayed in We aim to show through the installation and the selection of each focus area in order to give the visitor a sense of a somewhat objects that Africa is not one country and one culture, but com- borderless, somewhat discrete cultural system in which objects prises many diverse peoples and cultures. Visitors will be made participate. In addition, one display features exclusively figura- aware that the continent is vast, containing cultures and artistic tive staffs from throughout Africa, to give the viewer an oppor- styles that differ widely, from highly centralized Islamic states in tunity to view these minutely detailed miniature carvings free of the west to small nomadic herding groups in the east, to an Afri- distraction from larger, more imposing pieces, and to examine canized Byzantine Christian Ethiopia. them as a special art form for a cluster of related uses. The installation, though representing as many cultures as our collection permits, contains several focus areas that explore spe- Contextualization cific cultures chosen for their disparate character. We are able to The reopening of the Louis Kahn Building is meant to celebrate show in some depth the arts of the Yoruba of Nigeria, the Igbo the work of this renowned architect, particularly as this building of Nigeria, the Dan of Liberia, the Cameroon grasslands, the was his first commission, so there is a legacy here to commemo- Akan of Ghana, the Baga of Guinea, the Dogon of Mali, and the rate. In keeping with the Kahn aesthetic of simple, clean, spare

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CMYK p38 09293 • 20702419 lines and open space, we have kept the We are now engaged in a major collab- number of objects to a minimum, and we orative research project, funded by the have maintained the stripped-down clarity National Endowment for the Humanities of the objects themselves as they currently and private donors, involving an interna- appear in our collection—as sculpture. tional team of scholars from five different This may seem antithetical to the spirit of disciplines in the arts to study the Baga African art, but it is, in fact, the custom- D’mba mask in performance. The research ary way of showing African art in West- will address the movement, the music, the ern museums. The time to ratchet up the narratives, and the historical aesthetic, sense of performance and the complexity with the goal of a monograph and an of the ensemble will come as we rotate and exhibition focusing just on this one per- adjust the installation periodically. formance genre. This exhibition would be Movement is more subtly suggested, a prototype for future examinations of the nevertheless, by the placement of the performance context of other objects in object. Boxes and pedestals, which create the collection. a sense of immobility and groundedness, are avoided in the case of objects meant to Focus on Highlights Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021 move; the use of slender armatures sug- The YUAG has a number of objects gests weightlessness, and objects are sus- that are widely regarded as world class. In pended from the ceiling in some cases. order to draw in the visitor, to guide the The great Baga D’mba mask with its four visitor to our most exquisite objects, and legs (Fig. 2) is placed not on a pedestal, as to create visually exciting spaces, object is customary, but rather balanced on a sin- grouping and space assignment is varied. gle vertical rod that supports the under- Vistas are created in front of some spec- side of the huge chest, as the dancer’s head tacular, large objects, such as the Baga would in performance (Fig. 3). This will D’mba mask, a Senufo female rhythm allow us eventually to attach a costume of pounder, a Loma mask and costume (Fig. cloth and raffia, restoring it to its original 7), a Yoruba Epa mask (Fig. 8), a complex appearance. Objects are seen at the level Yoruba shrine figural group, and a large, and the position they would appear in the white Kongo maternity figure (Fig. 9). original context as much as possible—for At the same time, we decided to focus on example, a mask at eye level (even when a two objects even after we concluded that tall superstructure surmounts the mask); their authenticity is problematic, in two horizontal or vertical, as the context may interesting ways. The history of African be (sometimes opposed to the way West- art is one not only of uncontested master- erners would view the sculpture); angled pieces but also of disputed and question- in all dimensions rather than straight; or a able objects. Perhaps we are dealing in a shrine object placed low on a platform or kind of “installation verité” in keeping seemingly stuck into the ground. with the honesty of the Kahn building. In Information on performance and the one case, that of an Asante Akua’ba fig- ritual context is included in label narra- ure, the issue is very straightforward. The tive, along with contextual photographs for thirty percent of the figure is in the classical style, with exquisitely beautiful designs objects in the installation. Where photographs are not available, carved in the surface, suitable for a mother who would carry it artist’s renderings help to illustrate the original context. Photo- on her back to encourage the birth of a beautiful child. The catch graphic murals are mounted for particular objects, such as the is that it was not destined for an Akan mother, but rather for Baga D’mba, the Ethiopian Christian crosses (Fig. 4), the figura- expatriates from Europe and America, carved in the workshop tive staffs (Fig. 5), and a large, 54'-long appliquéd banner from the of Francis Osei Akwasi in Kumasi, Ghana, sometime within the Fante of Ghana (Fig. 6). Photographic rollouts are provided for two past thirty years and aged artificially through scrubbing, break- objects, the Kongo ivory tusk with a scene spiraling around it and ing, repainting, and intentional mishandling. We think it is a the Fante banner too long to be displayed in its entirety. A lami- beautiful object and the work of a superb artist who knew the nated brochure is available for extended narrative on the Kongo demands of his market. tusk. Further narrative and music is presented through the elec- Another case is more complicated. A beautiful old whitened tronic Antenna Guide that visitors can carry with them through mask is decorated with a panache of iridescent blue feathers and the galleries and play selectively at their own pace. All objects or is completed with a costume of the same feathers that would fall groups of objects will ultimately have interpretive labels of one or to the knees, ornamented from the neck with a hanging panel of two paragraphs, with photographs, when possible, to illustrate the cloth with cowrie shells (Fig. 7). It is exactly the kind of object we use, the creation, or other context of the object. want to display in its physical entirety as it would have appeared

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CMYK p39 09293 • 20702419 6 Banner. Fante, Asafo Military Company. Ghana, mid-20th century, before in the original performance context. But wait—something is 1958. Cloth, synthetic fiber, 124.45 x 1666.65cm (4' x 54' 8") incongruous here. The mask is that of the spirit Kpakologi, Stephen Carlton Clark, B.A. 1903, Fund. 1995.53.1 among the Loma of Liberia and Guinea, and it is customarily 7 Bird headdress with mask (Kpakologi) and with Costume (Onilegagi) topped by a bundle of feathers. But Kpakologi masks are always Loma, Pòrò association. Liberia or Guinea, early–mid-20th century black, with a similar panache bound at the forehead not with a Feathers (including touraco), fiber, pigment, 195.6cm (77") Charles B. Benenson, B.A. 1933, Collection. 2006.51.556 whitened fiber headband but with a red cloth ornamented with Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021 cowrie shells. Their costumes are of cloth and raffia decorated (opposite) with an ornament of square designs hanging from the neck. Our 8 Helmet mask (Epa) Yoruba, Epa association. Nigeria, late 19th–early 20th century costume of feathers instead is identical to that used by the Onilé- Wood, fiber, hide, nails, encrustation, 111.76cm x 48.26cm x 63.5cm (44" x 19" x 25") gagi (Bird Spirit) dancers among the Loma, who wear no mask Charles B. Benenson, B.A. 1933, Collection. 2006.51.253 but paint their faces white. The Onilégagi costume does not include the hanging ornament that appears here. At some point unknown to us, someone blended the mask of Kpakologi with its long rectangular ornament together with the unrelated headdress and costume of the Onilégagi. The merging of the mask with the headdress is so intricately done that it seems absolutely right. Could this have been the work of a spiritually knowledge- able Loma practitioner who understood the manifestations of the Loma spiritual world better than we, or an imaginative Loma artist creating a new art form out of found forms in a perfectly respectable tradition of the West (or of Africa, for that matter) for his international clientele, or was it the work of a disreputable dealer trying to enhance his chances in the market, or someone else? After many months of discussion with two scholars inter- nationally known for their work on the Loma, Christian Kordt Højbjerg of the University of Copenhagen and William Sieg- mann of the Brooklyn Museum of Art, we decided unanimously that the work was indeed a hybrid but that it presents a fasci- nating conundrum for the history of African art and should be shown.

African Spatial and Sensory Considerations As much as possible, the installation is meant to express African concepts of space over Western concepts. Essentially, this means eschewing a geometric rigidity. Ninety-degree angles give way to more rounded and oblique lines. Heavy casework that competes with and overshadows the objects is avoided in favor of few pedestals and a greater number of floating platforms with a large, bi- level island at one end. Most objects can be seen in the round. Vivid color is mixed to give a suggestion of vitality. And some objects blend into a complex photographic background within a performance extravaganza of excitement, movement, and color. The display as it circles around the gallery is organized by geo- graphic region, in order best to communicate the diversity of Africa and the coherence within individual groups. Architectur- ally, two large areas at the south and north halves of the gallery distinguish the areas of West Africa from Central, Southern, and

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CMYK p40 09293 • 20702419 East Africa. Around the periphery, individual cultural areas are grouped, with spaces between wall panels acting as side chapels along the nave, or as eddies in the flow, inviting the viewer to contemplate the unity and disjunction within the art of cultural circles. One grouping includes the Loma costume surrounded by a large Loma figure on one side and the masks of the Dan, Loma, Mano, and Wè on the other. Another grouping exhibits varied Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021 works of the Yoruba in ceramic, metal, ivory, and wood, with a cluster of objects from Ifa divination. In our basic design of the space we decided to employ a scheme of hot and cool as it is expressed in the African religion of the Americas, Vodou, in their schematic categorization of African ritual as they look back analytically at Africa. We distinguish West Africa from Central Africa in both color and formal configurations accordingly. A round, semi-enclosed space situated at the south-center of the gallery (Fig. 2), representing West Africa, is devoted to one of our most important objects, the Baga D’mba. This space is a sort of circular “chapel” defined by five panels in a hexagon, fol- lowing the tetrahedron pattern of the ceiling and echoing the form of the gentle rotunda staircase nearby. From the center of the gallery the D’mba can be viewed from a long vista, and yet be separated visually from the rest of the installation, only glimpsed through the spaces between the panels from other perspectives in the gallery. The interior of the panels are lined with floor-to- ceiling photographs of the Baga D’mba ceremony with D’mba masked performers, the orchestra of drummers, and the audi- ence of men and women that would surround D’mba in a performance in a Baga village. This space is designed to be a rotating contextual display that would be changed periodically to focus on the performative aspects of other objects in the collection. The space would include other objects associated with the central object, and would receive special interpretive treatment, including video, focused sound, wall murals, and text. As a contraposition to the cool gentleness of the rounded enclosure in the West African area (Fig. 9), at the opposite end of the gallery space is a floating platform with two levels, the lower level in the form of a diamond and the upper in the form of a tri- angle, both again mirroring the tetrahedron pattern of the ceiling, but also suggesting the hot, more aggressive character of the works from Central Africa (Figs. 10–11), again from the African- American philosophical viewpoint. Here we have the muscular forms of the Fang reliquary figure (Fig. 12), the giant Songye figure bristling with metal and feathers (Fig. 2), and the grotesque Mfunte figure (Fig. 13), among others. Do the visitors get the messages that are encoded in the con- figuration of space, the architectural staging, the color, the light-

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CMYK p41 09293 • 20702419 ness, the enclosed or open areas, the circular or angular forms, risks both in a big way.) And they are workshops where intellec- and the off-balance placement of objects? Comments we have tual space and ethical light should be abundant, which is why the received from visitors, both novice and well-informed, suggest reopened Kahn building feels so right.” that they do, sometimes cognitively, sometimes viscerally. With- out text panels to explain our intentions, we have taken the risk Frederick John Lamp, the Frances and Benjamin Benenson Founda- to appeal to sensory experience. The security staff tells me that tion Curator of African Art, holds a Ph.D. in art history from Yale (1982). the art and architecture students head straight for the African From 1981 to 2003, he was a curator at the Baltimore Museum of Art and gallery because it speaks to them about form and meaning in a taught at Johns Hopkins University and Maryland Institute College of Art. whole new way. Holland Cotter, citing “the compelling reason He has conducted field research in Sierra Leone and Guinea. His publica- (Kahn apart) for making a visit: a big new permanent gallery tions include See the Music, Hear the Dance: Rethinking Africa at The devoted to the arts of Africa,” said in his New York Times review Baltimore Museum of Art, Art of the Baga: A Drama of Cultural Rein- (January 10, 2007), “University art museums … are safe houses vention, and numerous articles. [email protected] for success and failure alike. (I hope the new African gallery

9 Installation, Laura and James Ross Gallery of African Art, Yale University Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021 Art Gallery: West African display with the Yoruba Shrine Figure facing the Baga D’mba Mask enclosure.

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CMYK p42 09293 • 20702419 Our Support We are indebted to a great many people who have given gen- erously and have worked tirelessly with great affection for the opening of this new installation of African Art at Yale. Most importantly, the gift of the late Charles B. Benenson, of Greenwich, Connecticut, of both his African art collection and an endowment for the Department has made it possible for us to finally represent African creativity more comprehensively than ever before. James and Laura Ross, of New York City, have contributed magnanimously to the ren- ovation of the Louis Kahn Building, and the African gallery is named in their honor.

(clockwise from upper left) Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021 10 Installation, Laura and James Ross Gallery of African Art, Yale University Art Gallery: Baga D’mba Mask enclosure facing Central African display.

11 Installation, Laura and James Ross Gallery of African Art, Yale University Art Gallery: the Central African platform.

12 Installation, Laura and James Ross Gallery of African Art, Yale University Art Gallery: Fang Reliquary Figure on the Central African platform.

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CMYK p44 09293 • 20702419 (opposite page, clockwise from top left)

13 Female figure Mfumte. Cameroon, late 19th–early 20th century Wood, pigment, 65cm x 18.5cm x 19cm (25⅔" x 7¼" x 7½") Charles B. Benenson, B.A. 1933, Collection. 2006.51.169

14 Helmet mask (a-Ròng-a-Thoma) Temne. Sierra Leone, early 20th century Wood, raffia, metal, pigment, 31.8cm x 47cm x 50.8cm (15" x 18½" x 20") Gift of Mr. and Mrs. James M. Osborn for the Linton Collection of African Art. 1955.61.19

15 Kneeling female figure Kongo. Congo (Kinshasa), Congo (Brazzaville), Cabi- nda, or Angola, late 19th century Wood, glass, black paint, and white kaolin, 55.5cm x 25.5cm x 25.5cm (21¾" x 10" x 10") Charles B. Benenson, B.A. 1933, Collection. Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021 2006.51.61

16 Male figure Mambila. Cameroon, late 19th–early 20th century Wood, fiber, pigment, feather, 30cm x 16cm x 12.5cm (11¾" x 6⅓" x 5") Charles B. Benenson, B.A. 1933, Collection. 2006.51.54

(this page) 17 Equestrian shrine figure Bamgboye of Odo-Owa, Yoruba, c. 1895–1978. Nigeria, Odo-Owa, Ekiti region, late 19th–early 20th century Wood, pigment, 74cm x 35.5cm (29⅛" x 14") Charles B. Benenson, B.A. 1933, Collection. 2006.51.86

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(opposite page, clockwise from left) (this page)

18 Tusk carved in relief 21 Female figure Yoruba, Owo Kingdom. Nigeria, 15th century Mende. Sierra Leone or Liberia, late 19th–early 20th century Elephant ivory tusk, 132.08cm x 40.64cm x 10.16cm (52" x 16" x 4") Wood, 65cm x 12cm x 11cm (25⅔" x 4¾" x 4⅓") Charles B. Benenson, B.A. 1933, Collection. 2006.51.143 Charles B. Benenson, B.A. 1933, Collection. 2006.51.178

19 Headdress in the form of a female head 22 Female figure Ejagham, Asirikong association. Nigeria, late 19th–early 20th century Luba. Congo (Kinshasa), late 19th–early 20th century Wood, hide, rattan, metal, pigment, 58.42cm x 55.88cm ((23" x 22") Wood, brass, iron, 23.5cm (9¼") Charles B. Benenson, B.A. 1933, Collection. 2006.51.77 Charles B. Benenson, B.A. 1933, Collection. 2006.51.199

20 Human figure Songye. Congo (Kinshasa), 19th century Wood, leather, brass, feathers, animal fur, lizard skin, animal claws, glass beads, cotton cloth, fiber, encrustation, 124.5cm x 36.5cm x 36.5cm (49" x 14⅓" x 14⅓") Charles B. Benenson, B.A. 1933, Collection. 2006.51.148

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23 Equestrian figure Bamana. Mali, Segou area, late 19th century Wood, metal, 59cm x 14.5cm x 17.5cm (23¼" x 5¾" x 6¾") Charles B. Benenson, B.A. 1933, Collection. 2006.51.203

24 Mask (Kakuungu) Suku. Congo (Kinshasa), late 19th–early 20th century Wood, raffia, pigment, animal hair, tortoise shell, 114.5cm x 55.88cm x 40.64cm (45" x 22" x 16") Charles B. Benenson, B.A. 1933, Collection. 2006.51.226

25 Headdress Ijo. Nigeria, early 20th century Wood, metal, 23.5cm x 24cm x 74cm (9¼" x 9½" x 29⅛") Charles B. Benenson, B.A. 1933, Collection. 2006.51.228 Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021

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26 Stool or headrest Zulu. South Africa, late 19th–early 20th century Wood, metal, pigment, 22.5cm x 17cm x 51.5cm (8¾" x 6⅔" x 20¼") Charles B. Benenson, B.A. 1933, Collection. 2006.51.444

(this page)

27 Headdress representing a water spirit Temne, Ode-Lay association. Sierra Leone, mid–late 20th century Wood, textiles, paint, cardboard, nails, metallic thread, 181cm x 50.8cm x 45.72cm (71¼" x 20" x 18") Charles B. Benenson, B.A. 1933, Collection. 2006.51.275

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28 Panel from boys’ initiation house Nkanu. Congo (Kinshasa), early 20th century. Wood, pigment, rattan, 85cm x 72.5cm x 17.78 x 60.96cm (33½" x 28½" x 7" x 24") Charles B. Benenson, B.A. 1933, Collection. 2006.51.561

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29 Female figure with bowl (Mboko) Luba. Congo (Kinshasa), late 19th–early 20th century Wood, 31.8cm x 31.8cm x 36.2cm (12½" x 12½" x 14¼") Gift of Mr. and Mrs. James M. Osborn for the Linton Collection of African Art. 1954.28.26

30 Mask Dan. Liberia or Ivory Coast, late 19th–early 20th century Wood, copper, iron, fiber, 28.6cm x 21cm x 10.8cm Downloaded from http://direct.mit.edu/afar/article-pdf/40/2/36/1734837/afar.2007.40.2.36.pdf by guest on 01 October 2021 (11¼" x 8¼" x 4¼") Gift of Mr. and Mrs. James M. Osborn for the Linton Collection of African Art. 1954.28.7

31 Female figure Kongo. Loango Coast, Congo (Brazzaville), late 19th–early 20th century Wood, porcelain, pitch, metal, 22.86cm x 8.89cm x 6.35cm (9" x 3½" x 2½") Gift of Mr. and Mrs. James M. Osborn for the Linton Collection of African Art. 1955.61.18

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