Mary Nooter Roberts
Datos Biográficos
| ID | 213428 |
|---|---|
| NOMBRE | Mary Nooter Roberts |
| NOMBRES | Mary Nooter |
| APELLIDO | Roberts |
| FIRMA | ROBERTS M N |
| AFILIACIONES | Institute of Art |
| VERIFICADO | No |
| TOTAL DE OBRAS | 34 |
| TOTAL DE CITAS | 67 |
| TOTAL COMO AUTOR | 34 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1996 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2024 |
| ÍNDICE H | 5 |
Pape Diop's Mystical Graffiti
Contemporary Dakar has long been a compellingly cosmopolitan city situated at the westernmost point of the African continent (Diouf 2001). Transactional geographies have made the region important to the Black Atlantic, especially during early phases of the transatlantic slave trade (see Barry 1998). Global networking has continued, such as during French occupation when Senegalese intellectuals joined progressive anticolonial debates around the wo…
The Inner Eye
The Inner Eye: Vision and Transcendence in African Arts” features a cross-cultural constellation of sculptures—many of them iconic in the corpus of African art—and eye-catching textiles. The exhibition explores how works of art and the visual regimes through which they have been created and performed enable transitions from one stage of life to the next and from one state of being to another. Themes address diverse ways of seeing: “Envisioning Or…
The path of sainthood
The great majority of Senegalese are Muslims, and most follow three Sufi orders—the Tijaniya, Muridiya, and Layennes. The first was introduced from north Africa, and the other two were founded in Senegal itself.1 Each has its specificities of practice and history, but all share a visual performative, the study of which permits one to grasp the dynamic nature of expressive commonalities as well as singularities.2 Understanding such a perspective b…
Senses of Time
More than fifty years ago, the art historian George Kubler wrote that time is, “like mind, not knowable as such” (1962:13).1 Kubler was concerned with human difficulties in understanding time other than by looking back upon the material record to assess processes of change and permanence. He did not, however, question how time is conceived in situation-specific modes or how it might play out differently based on location. We do live in a world ma…
Museum as Twenty-first Century Memory Theater
The King is a Woman
all photos courtesy the royal MuseuM for central africa, tervuren, except where otherwise noted Men are chiefs in the daytime, but women become
Tradition Is Always Now
Ernest Dükü
March 01 2011 Ernest Dükü: Writing Identities Mary Nooter Roberts, Mary Nooter Roberts Search for other works by this author on: This Site Google Scholar Gassia Armenian Gassia Armenian Ernest Dükü was born on November 7, 1958, in Bouaké, Côte d'Ivoire. He was trained in both architecture and fine arts, with degrees from the Ecole d'Architecture la Défense and Université de Paris I, Panthéon Sorbonne, Ecole Nationale Supériere des Arts Décoratifs…
Memory and Identity at the Threshold in Gregory Maqoma's Beautiful Me
December 01 2011 Memory and Identity at the Threshold in Gregory Maqoma's Beautiful Me Mary (Polly) Nooter Roberts Mary (Polly) Nooter Roberts Mary (Polly) Nooter Roberts is Professor in UCLA's Department of World Arts and Cultures. She is author and curator of thematic books and exhibitions on African visual arts and expressive culture, such as Secrecy: African Art that Conceals and Reveals (1993), Memory: Luba Art and the Making of History (199…
Dancing Identity
Flickering images, floating signifiers
A Sufi movement of Senegal known as the Mouride Way possesses a vibrant visual culture made manifest in all manner of popular, devotional, and healing arts. Portraits of Sheikh Amadou Bamba (1853–1927), the saint around whose writings and life lessons the Mouride movement has been created, appear in every imaginable medium, but all are derived from the only known photograph of Bamba, taken by French colonial authorities in 1913. In 2003, lenticul…
Inscribing Meaning
September 01 2007 Inscribing Meaning: Writing and Graphic Systems in African Art Christine Mullen Kreamer, Christine Mullen Kreamer CHRISTINE MULLEN KREAMER is a curator at the National Museum of African Art, Smithsonian Institution, Washington, DC. [email protected] Search for other works by this author on: This Site Google Scholar Mary Nooter Roberts, Mary Nooter Roberts MARY (POLLY) NOOTER ROBERTS is deputy director and chief curator at the Fowl…
Mystical Graffiti and the Refabulation of Dakar
Since late 2003 or early 2004, Pape Diop has been adorning the walls of inner-city Dakar with graffiti depicting Cheikh Amadou Bamba (1853–1927), the Senegalese holy man whose writings and life lessons are central to the Sufi movement known as the Mouride Way. What differentiates Diop's works from those of Dakar's other street artists is the layering of his portraits: he paints image upon image. In doing so, he produces astonishing effects, among…
New Directions in African Art(s)
Voir la ville invisible
Les musées, au sens classique, sont souvent des espaces de violence épistémologique. Les musées de l'ère coloniale tendaient notamment à justifier la mainmise européenne. Les musées informels de l'après-colonisation, dans les interstices du tissu urbain, tendent, eux, à casser les rigidités : multipliant astuces et simulations polymorphes, qui contournent l'ordre établi, ils sont par nature instables et éphémères. Le sort des fresques de Papisto …
A Saint in the City
A Saint in the City: Sufi Arts of Urban Senegal. By Alien F. Roberts and Mary Nooter Roberts; with Gassia Armenian and Ousmane Gueye. Los Angeles: University of California Fowler Museum of Cultural History, 2003. Pp. 284; 274 illustrations. $45.00 paper. The exhibition catalog A Saint in the City focuses on the visual culture of the Mouridiyya, one of the four main Sufi traditions in contemporary Senegal. Founded upon the teachings of Sheikh Amad…
L'aura d'Amadou Bamba. Photographie et fabulation dans le Sénégal urbain
L'aura d'Amadou Bamba. Photographie et fabulation dans le Sénégal urbain Depuis 1988, le Sénégal urbain a vu proliférer les arts populaires. Un sujet se détache en nombre et en importance : Amadou Bamba (1853-1927), saint soufi du Sénégal autour de qui a été créée la Voie mouride. Toutes les images de Bamba renvoient à une seule photographie prise vers 1913, photographie dont les particularités offrent une suite sans fin d'occasions de reconnaîtr…
A Saint in the City
Ucla Fowler Museum of Cultural History
Visual Tactics of Contemporary Senegal
Paintings Like Prayers
Les AA. examinent la relation entre narration et arts visuels a partir de l'exemple des peintures mourides du Senegal realisees sur la face arriere, en miroir, de carreaux de fenetres et, plus rarement, de tessons de vaisselle ou de pare-brise automobiles recycles (reverse-glass painting). La popularite de ces peintures est en partie du au fait qu'elles cachent des themes narratifs inaccessibles pour les non-inities. Les AA. discutent d'abord l'o…
Papisto Boy
Inventing Masks
1: The Process of Invention 1: Dancing the Masks: Introduction to the World of Pende Masquerading 2: Who Invents Masks Anyway? 3: Costuming for Change 4: Birth of an Atelier, Birth of a Style 5: Pende Theories of Physiognomy and Gender 6: Learning to Read Faces, Learning to Read Masks Coda Pt. 2: The History of Invention 7: A Precolonial Pende Art History? 8: Masks in the Colonial Period Conclusion: The Role of the Audience in Invention and Reinv…
A Sense of Wonder
maconde, which recapitulates many of the same points already presented in other essays. One small observation deserves repeating: because they are generally carved from the lightweight wild kapok, the mapico masks are easily broken. Duarte asserts that it was the practice to bum masks once they suffered damage. This would have had the effect of keeping new masks in demand and would help explain the large number of active carvers. Taken as a whole…
Remembering the Present
A Saint in the City
Memory
The Luba are one of the oldest recorded tribes in equatorial Africa. A Bantu-speaking people, they had already expanded their empire throughout central Africa by the 9th century AD. Much of this progress was probably due to their advanced skills in metalwork. The Luba had a wide network of kings governed by a central ruler who succeeded through the mother's line. Much more is known about the Luba than many of the other tribes on the African conti…
Mystical Graffiti and the Refabulation of Dakar
Since late 2003 or early 2004, Pape Diop has been adorning the walls of inner-city Dakar with graffiti depicting Cheikh Amadou Bamba (1853–1927), the Senegalese holy man whose writings and life lessons are central to the Sufi movement known as the Mouride Way. What differentiates Diop's works from those of Dakar's other street artists is the layering of his portraits: he paints image upon image. In doing so, he produces astonishing effects, among…
L'aura d'Amadou Bamba. Photographie et fabulation dans le Sénégal urbain
L'aura d'Amadou Bamba. Photographie et fabulation dans le Sénégal urbain Depuis 1988, le Sénégal urbain a vu proliférer les arts populaires. Un sujet se détache en nombre et en importance : Amadou Bamba (1853-1927), saint soufi du Sénégal autour de qui a été créée la Voie mouride. Toutes les images de Bamba renvoient à une seule photographie prise vers 1913, photographie dont les particularités offrent une suite sans fin d'occasions de reconnaîtr…
Tradition Is Always Now
Memory
Chez les Luba du Sud-Est du Zaire, la memoire (dont l'etymologie est etudiee) n'est pas passive. La representation visuelle, dont la principale est le « lukasa » (objet de bois), est un des moyens pour faire les histoires de la royaute, des relations politiques mais aussi de la famille. Dans la production de cette memoire, les lieux et le corps (esprit) ont egalement leur importance. Le processus memotechnique est performatif et le recit historiq…
The King is a Woman
all photos courtesy the royal MuseuM for central africa, tervuren, except where otherwise noted Men are chiefs in the daytime, but women become
New Directions in African Art(s)
Inscribing Meaning
September 01 2007 Inscribing Meaning: Writing and Graphic Systems in African Art Christine Mullen Kreamer, Christine Mullen Kreamer CHRISTINE MULLEN KREAMER is a curator at the National Museum of African Art, Smithsonian Institution, Washington, DC. [email protected] Search for other works by this author on: This Site Google Scholar Mary Nooter Roberts, Mary Nooter Roberts MARY (POLLY) NOOTER ROBERTS is deputy director and chief curator at the Fowl…
Paintings Like Prayers
Les AA. examinent la relation entre narration et arts visuels a partir de l'exemple des peintures mourides du Senegal realisees sur la face arriere, en miroir, de carreaux de fenetres et, plus rarement, de tessons de vaisselle ou de pare-brise automobiles recycles (reverse-glass painting). La popularite de ces peintures est en partie du au fait qu'elles cachent des themes narratifs inaccessibles pour les non-inities. Les AA. discutent d'abord l'o…
The Naming Game
L'A. explore les significations multiples des processus de nomination interne (locale) et externe (coloniale) qui ont affecte l'art de la sculpture Luba en Afrique centrale. Son objectif est d'identifier la conception Luba de l'identite artistique et des processus d'echange artistique, et de montrer ensuite comment les representations Luba entrent en relation avec les processus occidentaux de nomination dans le cadre des appropriations multiples …
The Inner Eye
The Inner Eye: Vision and Transcendence in African Arts” features a cross-cultural constellation of sculptures—many of them iconic in the corpus of African art—and eye-catching textiles. The exhibition explores how works of art and the visual regimes through which they have been created and performed enable transitions from one stage of life to the next and from one state of being to another. Themes address diverse ways of seeing: “Envisioning Or…
Flickering images, floating signifiers
A Sufi movement of Senegal known as the Mouride Way possesses a vibrant visual culture made manifest in all manner of popular, devotional, and healing arts. Portraits of Sheikh Amadou Bamba (1853–1927), the saint around whose writings and life lessons the Mouride movement has been created, appear in every imaginable medium, but all are derived from the only known photograph of Bamba, taken by French colonial authorities in 1913. In 2003, lenticul…
Papisto Boy
African Philosophy
Preface to the second edition Introduction by Abiola Irele Part One: Arguments 1. An alienated literature 2. History of a myth 3. African philosophy, myth, and reality 4. Philosophy and its revolutions Part Two: Analyses 5. An African philosopher in Germany in the eighteenth century: Anton-Wilhelm Amo 6. The end of 'Nkrumaism' and the (re)birth of Nkrumah 7. The idea of philosophy in Nkrumah's Consciencism 8. True and false pluralism Postscript N…
Memory
Chez les Luba du Sud-Est du Zaire, la memoire (dont l'etymologie est etudiee) n'est pas passive. La representation visuelle, dont la principale est le « lukasa » (objet de bois), est un des moyens pour faire les histoires de la royaute, des relations politiques mais aussi de la famille. Dans la production de cette memoire, les lieux et le corps (esprit) ont egalement leur importance. Le processus memotechnique est performatif et le recit historiq…
Khaled Ben Slimane
Exhibition-Ism
Memory
The Luba are one of the oldest recorded tribes in equatorial Africa. A Bantu-speaking people, they had already expanded their empire throughout central Africa by the 9th century AD. Much of this progress was probably due to their advanced skills in metalwork. The Luba had a wide network of kings governed by a central ruler who succeeded through the mother's line. Much more is known about the Luba than many of the other tribes on the African conti…
The Naming Game
L'A. explore les significations multiples des processus de nomination interne (locale) et externe (coloniale) qui ont affecte l'art de la sculpture Luba en Afrique centrale. Son objectif est d'identifier la conception Luba de l'identite artistique et des processus d'echange artistique, et de montrer ensuite comment les representations Luba entrent en relation avec les processus occidentaux de nomination dans le cadre des appropriations multiples …
The Eleventh Triennial Symposium on African Art, New Orleans
Memory
The Shape of Belief
African Philosophy
Preface to the second edition Introduction by Abiola Irele Part One: Arguments 1. An alienated literature 2. History of a myth 3. African philosophy, myth, and reality 4. Philosophy and its revolutions Part Two: Analyses 5. An African philosopher in Germany in the eighteenth century: Anton-Wilhelm Amo 6. The end of 'Nkrumaism' and the (re)birth of Nkrumah 7. The idea of philosophy in Nkrumah's Consciencism 8. True and false pluralism Postscript N…
Inventing Masks
1: The Process of Invention 1: Dancing the Masks: Introduction to the World of Pende Masquerading 2: Who Invents Masks Anyway? 3: Costuming for Change 4: Birth of an Atelier, Birth of a Style 5: Pende Theories of Physiognomy and Gender 6: Learning to Read Faces, Learning to Read Masks Coda Pt. 2: The History of Invention 7: A Precolonial Pende Art History? 8: Masks in the Colonial Period Conclusion: The Role of the Audience in Invention and Reinv…
A Sense of Wonder
maconde, which recapitulates many of the same points already presented in other essays. One small observation deserves repeating: because they are generally carved from the lightweight wild kapok, the mapico masks are easily broken. Duarte asserts that it was the practice to bum masks once they suffered damage. This would have had the effect of keeping new masks in demand and would help explain the large number of active carvers. Taken as a whole…
Remembering the Present
Paintings Like Prayers
Les AA. examinent la relation entre narration et arts visuels a partir de l'exemple des peintures mourides du Senegal realisees sur la face arriere, en miroir, de carreaux de fenetres et, plus rarement, de tessons de vaisselle ou de pare-brise automobiles recycles (reverse-glass painting). La popularite de ces peintures est en partie du au fait qu'elles cachent des themes narratifs inaccessibles pour les non-inities. Les AA. discutent d'abord l'o…
Papisto Boy
A Saint in the City
Ucla Fowler Museum of Cultural History
Visual Tactics of Contemporary Senegal
L'aura d'Amadou Bamba. Photographie et fabulation dans le Sénégal urbain
L'aura d'Amadou Bamba. Photographie et fabulation dans le Sénégal urbain Depuis 1988, le Sénégal urbain a vu proliférer les arts populaires. Un sujet se détache en nombre et en importance : Amadou Bamba (1853-1927), saint soufi du Sénégal autour de qui a été créée la Voie mouride. Toutes les images de Bamba renvoient à une seule photographie prise vers 1913, photographie dont les particularités offrent une suite sans fin d'occasions de reconnaîtr…
A Saint in the City
A Saint in the City: Sufi Arts of Urban Senegal. By Alien F. Roberts and Mary Nooter Roberts; with Gassia Armenian and Ousmane Gueye. Los Angeles: University of California Fowler Museum of Cultural History, 2003. Pp. 284; 274 illustrations. $45.00 paper. The exhibition catalog A Saint in the City focuses on the visual culture of the Mouridiyya, one of the four main Sufi traditions in contemporary Senegal. Founded upon the teachings of Sheikh Amad…
New Directions in African Art(s)
Voir la ville invisible
Les musées, au sens classique, sont souvent des espaces de violence épistémologique. Les musées de l'ère coloniale tendaient notamment à justifier la mainmise européenne. Les musées informels de l'après-colonisation, dans les interstices du tissu urbain, tendent, eux, à casser les rigidités : multipliant astuces et simulations polymorphes, qui contournent l'ordre établi, ils sont par nature instables et éphémères. Le sort des fresques de Papisto …
Inscribing Meaning
September 01 2007 Inscribing Meaning: Writing and Graphic Systems in African Art Christine Mullen Kreamer, Christine Mullen Kreamer CHRISTINE MULLEN KREAMER is a curator at the National Museum of African Art, Smithsonian Institution, Washington, DC. [email protected] Search for other works by this author on: This Site Google Scholar Mary Nooter Roberts, Mary Nooter Roberts MARY (POLLY) NOOTER ROBERTS is deputy director and chief curator at the Fowl…
Mystical Graffiti and the Refabulation of Dakar
Since late 2003 or early 2004, Pape Diop has been adorning the walls of inner-city Dakar with graffiti depicting Cheikh Amadou Bamba (1853–1927), the Senegalese holy man whose writings and life lessons are central to the Sufi movement known as the Mouride Way. What differentiates Diop's works from those of Dakar's other street artists is the layering of his portraits: he paints image upon image. In doing so, he produces astonishing effects, among…
Flickering images, floating signifiers
A Sufi movement of Senegal known as the Mouride Way possesses a vibrant visual culture made manifest in all manner of popular, devotional, and healing arts. Portraits of Sheikh Amadou Bamba (1853–1927), the saint around whose writings and life lessons the Mouride movement has been created, appear in every imaginable medium, but all are derived from the only known photograph of Bamba, taken by French colonial authorities in 1913. In 2003, lenticul…
Ernest Dükü
March 01 2011 Ernest Dükü: Writing Identities Mary Nooter Roberts, Mary Nooter Roberts Search for other works by this author on: This Site Google Scholar Gassia Armenian Gassia Armenian Ernest Dükü was born on November 7, 1958, in Bouaké, Côte d'Ivoire. He was trained in both architecture and fine arts, with degrees from the Ecole d'Architecture la Défense and Université de Paris I, Panthéon Sorbonne, Ecole Nationale Supériere des Arts Décoratifs…
Art (30 obras) · Visual arts (22 obras) · African history and culture studies (19 obras) · Art history (15 obras) · History (13 obras) · The arts (10 obras) · Aesthetics (7 obras) · Global Maritime and Colonial Histories (7 obras) · Psychology (6 obras) · African art (4 obras)