Carlee S Forbes
Biographic Data
| ID | 5456079 |
|---|---|
| NAME | Carlee S Forbes |
| GIVEN NAMES | Carlee S |
| FAMILY NAME | Forbes |
| SIGNATURE | FORBES C S |
| AFFILIATIONS | University of North Carolina at Chapel Hill |
| ORCID | 0000-0003-1176-2855 |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Expanded Range: Projects on African Material from Welcome's Historical Medical Museum
As you will see throughout this issue, addressing the collections formerly in Henry S. Wellcome's Historical Medical Museum (WHMM) is a task that may never be fully accomplished. Encapsulating an unfathomable range of material including books, manuscripts, paintings, sculpture, medical tools, scientific apparatus, natural specimens, weapons, and ethnographic objects that today we call art—even in selecting a focus on the African material from the…
Beyond Narratives: Interstitial Provenance as a Methodology for Transfers of African Arts
It is far from revelatory to note that provenance records for nearly all non-contemporary works of African art residing in collections outside of the African continent today lack complete information that tracks an object from creation to current location. To research the provenance of African art is to become exceedingly comfortable with shards of information, as artist and author Edmund de Waal terms them.1 Of course, we have instances of relat…
We Write to You About Africa curated by Laura De Becker and Ozi Uduma; Wish You Were Here: African Art and Restitution curated by Laura De Becker, Bridget Grier, Timnet Gedar, and Ozi Uduma
Readers of this journal are well-versed in the challenges of presenting African art in a long-term museum exhibition with collections spanning many geographies and periods. We Write to You About Africa at the University of Michigan Museum of Art (UMMA) addressed these challenges by acknowledging the limitations of museum exhibitions, while still presenting an impressive collection and diverse visual experiences. A short-term exhibition, entitled …
Asking Different Questions: Case Studies in Collaborative Research from the Fowler Museum at Ucla
Creative Mediations: The Figurative Ceramics of Voania (from) Muba
Senufo: Art and Identity in West Africa
With nearly 160 works on display, Senufo: Art and Identity in West Africa explored and challenged established definitions of “Senufo,” perhaps one of the most well-known categories of African art. Working through the five galleries, visitors learned of the historical underpinnings of Senufo as an ethnic, linguistic, and stylistic classification. Visitors were encouraged to challenge their understandings of these classifications through close look…
Room to Grow: Re-Installing the NCMA Permanent Collection
all photos courtesy of the North Carolina Museum of Art, except where otherwise notedAn ephemeral gesture: What better or more poetic way to open a permanent installation of African art? The conceptual complexity of African art cries out for subtle contradictions that engage the public in a dialogue, a reflection upon what has been erased and what remains.In June 2017, Washington, DC-based, Nigerian-born artist Victor Ekpuk will install a 30 × 18…
Exhibition Reviews
Reflecting its global reach and reputation for authoritative exhibitions in an array of fields, the Metropolitan Museum of Art's “Kongo: Power and Majesty” brought together an impressive selection of 146 of the finest Kongo objects from over 50 European and American collections. While acknowledging the trans-Atlantic slave trade and colonialism as cataclysmic events in Kongo's history, the exhibition continually drew attention to Kongo creative e…
Kongo Atlantic Dialogues: Kongo Culture in Central Africa and in the Americas
The 2014 Gwendolen M. Carter Conference, organized by the University of Florida’s Center for African Studies and hosted by the Samuel P. Harn Museum of Art on February 21–22, was an unprecedented opportunity for international scholars from diverse disciplines to explore the Kongo Kingdom, its legacy, and its role in the diaspora. This two day conference comprised five panels—a total sixteen papers—that focused on three themes: “Kongo in Africa,” …
No prominent works on this page.
Kongo Atlantic Dialogues: Kongo Culture in Central Africa and in the Americas
The 2014 Gwendolen M. Carter Conference, organized by the University of Florida’s Center for African Studies and hosted by the Samuel P. Harn Museum of Art on February 21–22, was an unprecedented opportunity for international scholars from diverse disciplines to explore the Kongo Kingdom, its legacy, and its role in the diaspora. This two day conference comprised five panels—a total sixteen papers—that focused on three themes: “Kongo in Africa,” …
Exhibition Reviews
Reflecting its global reach and reputation for authoritative exhibitions in an array of fields, the Metropolitan Museum of Art's “Kongo: Power and Majesty” brought together an impressive selection of 146 of the finest Kongo objects from over 50 European and American collections. While acknowledging the trans-Atlantic slave trade and colonialism as cataclysmic events in Kongo's history, the exhibition continually drew attention to Kongo creative e…
Room to Grow: Re-Installing the NCMA Permanent Collection
all photos courtesy of the North Carolina Museum of Art, except where otherwise notedAn ephemeral gesture: What better or more poetic way to open a permanent installation of African art? The conceptual complexity of African art cries out for subtle contradictions that engage the public in a dialogue, a reflection upon what has been erased and what remains.In June 2017, Washington, DC-based, Nigerian-born artist Victor Ekpuk will install a 30 × 18…
Senufo: Art and Identity in West Africa
With nearly 160 works on display, Senufo: Art and Identity in West Africa explored and challenged established definitions of “Senufo,” perhaps one of the most well-known categories of African art. Working through the five galleries, visitors learned of the historical underpinnings of Senufo as an ethnic, linguistic, and stylistic classification. Visitors were encouraged to challenge their understandings of these classifications through close look…
Creative Mediations: The Figurative Ceramics of Voania (from) Muba
Asking Different Questions: Case Studies in Collaborative Research from the Fowler Museum at Ucla
We Write to You About Africa curated by Laura De Becker and Ozi Uduma; Wish You Were Here: African Art and Restitution curated by Laura De Becker, Bridget Grier, Timnet Gedar, and Ozi Uduma
Readers of this journal are well-versed in the challenges of presenting African art in a long-term museum exhibition with collections spanning many geographies and periods. We Write to You About Africa at the University of Michigan Museum of Art (UMMA) addressed these challenges by acknowledging the limitations of museum exhibitions, while still presenting an impressive collection and diverse visual experiences. A short-term exhibition, entitled …
Expanded Range: Projects on African Material from Welcome's Historical Medical Museum
As you will see throughout this issue, addressing the collections formerly in Henry S. Wellcome's Historical Medical Museum (WHMM) is a task that may never be fully accomplished. Encapsulating an unfathomable range of material including books, manuscripts, paintings, sculpture, medical tools, scientific apparatus, natural specimens, weapons, and ethnographic objects that today we call art—even in selecting a focus on the African material from the…
Beyond Narratives: Interstitial Provenance as a Methodology for Transfers of African Arts
It is far from revelatory to note that provenance records for nearly all non-contemporary works of African art residing in collections outside of the African continent today lack complete information that tracks an object from creation to current location. To research the provenance of African art is to become exceedingly comfortable with shards of information, as artist and author Edmund de Waal terms them.1 Of course, we have instances of relat…
Art (6 works) · Visual arts (6 works) · History (5 works) · African history and culture studies (4 works) · Archaeology (4 works) · Computer Science (4 works) · Aesthetics (3 works) · Sociology (3 works) · The arts (3 works) · African history and culture analysis (2 works)