June 9th, 2016
Introduction to Research Questions and Observations with Laura
10am-12pm
To be honest, this meeting was not as boring as I thought it would be. I learned a lot about how people in the field go about constructing their research projects. I'm looking forward to seeing how we decide to structure our observations. It seems like the general process includes constructing our research questions, making guided observations, conducting interviews based on what's observed and analyzing the findings. I'm definitely interested in expanding upon the examples Laura presented. They seem very rigid and safe. I was bothered by another thing in her presentation. I don't like the idea of not observing large groups or school groups. I'm really interested in examining the ways in which people make meaning together and how the ways in which someone may interact with the art/artifacts may be influenced by the presence of people they know. Being that my first experiences with art, specifically African art, occurred during trips I took to museums with the Princeton University Preparatory Program while I was in high school, I think it's really important to include these audience members. Students who may not have the ability to visit these institutions otherwise, especially students of color, often use these opportunities to use art to make sense of their own worlds and the ways they define themselves in relation to others. The museum can provide many important images that these students may not encounter otherwise. These experiences are important to me and should be important to the museum.
PMA's Collections and History Presentation
1pm- 3pm
I'm curious as to why the agreement with the Penn Museum to not include African artifacts in the PMA's collection translated to the inability to include contemporary African art in the collection. I was annoyed by the presenter's insistence on equating contemporary and historical African art. I'd be interesting in finding out whether or not the museum intends on acquiring a permanent African collection that includes the works of both historical and contemporary artists of the diaspora. Overall the current collection is super white and speaks to what the museum considers "high art" or valuable. The museum needs to correct its mission statement to read, "We are committed to inviting visitors to see the world (except Africa or indigenous communities)—and themselves (unless you're of African and/or indigenous descent)." I don't see how the lack of a permanent collection of these works supports the museum's mission.
I appreciated the opportunity to learn about the architectural and economic history of the city. I wish I had heard more about the museum and how it's changed over the years (ie. directors, curators, mission). However, I was intrigued by the presenter's description of the shift from private to public art and how wealthy families began giving their art, and the art they acquired, to the museum for public consumption. I'm also interested in exploring the relationship between the city and the museum and gaining a better understanding of how much of the museum's historical and current endeavors were/are connected to the city's aspirations.
Vlisco Research
3pm- 4pm
Maeve and I decided to use the hour to take a closer look at the Vlisco exhibit. I found it interesting how the clothing and designs underwent the process of becoming "Africanized." This was exemplified in the company's practice of naming and designing the clothing according African proverbs, current events, religious practices, politics, etc. The company reimagined African aesthetics by integrating or appropriating these cultural symbols into the clothing. I would label this as appropriation because the Dutch company profited most. The African people who inspired the designs were rarely able to profit directly or practice agency. It was interesting to see how the company used the colonial foundation in many of the African countries to which they sold their clothing as a means for accessing their markets. For example, in terms of structural design, the company exploited the fact that missionaries had already been promoting Western-style dress in many of these countries. Over the years, Vlisco has attempted to make-up for the ways in which they have profited from the appropriation of African aesthetics and continues to be a symbol the "new African identity" for many, such as designer Ikiré Jones (Nigerian/Philadelphian designer included in the exhibit) who stated that he added a Vlisco scarf to his mannequin to symbolize how the African identity is ever-changing.
I'd be interested in putting Vlisco's work in conversation with the work of Yinka Shonibare as shown below:
How to Blow Up Two Heads At Once (2006)
Scramble for Africa (2003)
Badges
4pm
We're finally researchers!
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