UCLA Occasional Papers Series
Title Crossing Boundaries: Gender Transmogrification of African Art History
Permalink https://escholarship.org/uc/item/9c62v33t
Author Nzegwu, Nkiru
Publication Date 2000-05-01
eScholarship.org Powered by the California Digital Library University of California At a 1997 international symposium organized at the National Museum of African Art in conjunction with the exhibition, The Poetics of Line: Seven Nigerian Artists , the white 1 American curator and retired Professor Emeritus of anthropology, Simon Ottenberg, briefly recounted the history of the exhibition. He described how Professor Roy Sieber, the white deputy director of the National Museum of African Art, lured him from retirement with an offer of a Smithsonian Institution’s Regent fellowship.2 On receivin g the 1994 fellowship, Ottenberg surprised the museum by choosing as his project the research and organization of an exhibition on contemporary Nigerian art. 3 The choice was surprising since it had been assumed that he would maximize his wealth of professi onal experience in anthropology, focus on an area of disciplinary strength, and possibly, organize an exhibition on some aspect of traditional African art. After extensive discussions with the late black director, Sylvia Williams, he received the mandate t o curate an exhibition on the modern art of the Igbos, a group that included the Afikpo people, whom he had studied in the late 1960s. What Ottenberg had going for him in terms of disciplinary strength was the geographical and cultural contiguity of the Af ikpo area to the University of Nigeria