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Chant Avedissian:
A Contemporary Artist of Egypt
November 19, 2000–February 19, 2001
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A series of panels begun in 1991 by contemporary artist Chant Avedissian address the multilayered visual history
and social memory of modern Egypt. Drawing subject matter from billboard advertisements and popular media of 1950s
Cairo, the artist creates nostalgic, whimsical, and at times, satirical commentaries on the strength of the visual
in public culture.
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Transatlantic Dialogue:
In and Out of Africa
May 21–September 3, 2000
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Over the centuries, a dialogue evolved across the Atlantic as Africans came to the New World and blacks from America
returned to their continent of origin. An aesthetic conversation has recently developed between African and African
American artists as they work from different perspectives to reconcile their African identity and heritage within
the currents of contemporary art. This exhibition explores the varied ways that African and African American artists
interpret their ideas and identities. Similarities of style as well as diversity of expression emerge from a shared
African heritage.
The exhibition was organized and circulated by the Ackland Art Museum, The University of North Carolina at Chapel Hill.
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A Concrete Vision:
Oshogbo Art in the 1960s
January 23–October 22, 2000
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During the early 1960s, a major artistic transformation occurred in Oshogbo, a Yoruba town in western Nigeria. Here visual,
literary and performance artists drew on traditional ideas to create new forms. A Concrete Vision features works by 11 visual
artists from the earliest days of the Oshogbo school. Accompanying the installation of the large openwork concrete screens
by Adebisi Akanji is a discussion of the museum's conservation treatment.
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Claiming Art/Reclaiming
Space: Post-Apartheid Art from South Africa
June 20–September 26, 1999
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Contemporary South African art takes many forms and expresses a range of ideas and emotions.
The system of repression that ruled in South Africa until recently denied black artists opportunities for creative expression.
With the relaxation and elimination of barriers since 1989, the strictures on artists have lifted. Many of the 54 works on
view by both black and white artists contain strong political and social statements.
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Sokari Douglas Camp:
Church Ede, A Tribute to Her Father
March 21–June 20, 1999
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Sokari Douglas Camp (b. 1958) has sculpted figurative works in steel that evoke memories of her youth in southeastern Nigeria. In 1984, on the death of her father, she created Church Ede, a monumental kinetic sculpture reminiscent of a Kalabari funeral bed, as a tribute to her father.
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The Poetics of Line:
Seven Artists of the Nsukka Group, Nigeria
October 22, 1997–April 26, 1998
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The 64 paintings, drawings, prints, wood sculptures and mixed-media works on view were
created by seven Nigerian artists who studied or taught in the Department of Fine and Applied Arts at the University of
Nigeria, Nsukka. New Traditions from Nigeria: Seven Artists of the Nsukka Group by Simon Ottenberg was published in conjunctrion with the exhibit.
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