Arcade Gallery (10 results)

Soft cover. Condition: Very Good. No Jacket. Exhibition catalogue. Minor wear.

Paperback. Condition: Very Good. Former owner's neat embossed identification on title page. 1 colour and 25 black & white photos of objects. Catalogue of an exhibition and sale Spring 1976. U.S. orders are shipped from N.Y. state.

Soft cover. Condition: Good. 1st Edition. 12pp catalogue Spring 1975, illustrated stapled card covers, 16 pieces illustrated in bw from the Grosvenor House Fair.

(24)pp. Prof. illus. Sm. sq. 4to. Wraps.

[16] pages : illustrations ; 20 x 21 cm. Exhibition catalogue.

Soft cover. Condition: Very Good. No Jacket. Tipped-in and creased picture to front cover else minor wear. Exhibition catalogue.

Soft cover. Condition: Fine. 1st Edition. 67 pages : chiefly illustrations ; 20 x 21 cm. Exhibition catalogue.

Soft cover. Condition: Good. 1st Edition. 26 pages : illustrations : 20 cm. Catalogue from the Arcade Gallery, London. Spring 1976. Content: Sculptures from Mangbetu - Ibibio - M'bole - Baule - Batchokwe - Zulu - Bena Lulua - Cameroons - Mende - Bambara - Senufo - Bakongo - Bambara - Attie - Epa Masks.

Papier / Paper. Condition: Gut. ca. 16 p.: ill. Leicht berieben, bestoßen, vergilbt, sonst guter Zustand / Slightly rubbed, scuffed, yellowed, otherwise in good condition. - Introduction: It is not easy to discuss the qualities of an African carving with its creator. The abstract and often fashionable terminology of Western art criticism does not translate well into African languages. Indeed, it is doubtful if any of those languages has a word that corresponds to our word art. And how can you be sure that even such an apparently straightforward term as beauty means the same thing in an African society as it does in America or Europe? This is not to say that Africans are not acute critics of their own sculpture. Of course they are. But the terms they use are of a different kind. The questions they are likely to raise are not whether an object is beautiful but whether it is correct; not whether its lines are slack or taut, but whether it obeys the rules that should govern a work intended for a particular purpose. And nearly all African sculpture has a purpose. A mask is carved so that a dancer may represent a certain spirit, a ceremonial staff to carry emblems that are essential for the performance of a ritual, a figure to provide an appropriate home for a mans soul. In order that his creations may perform such functions, a sculptor carves in a manner that is prescribed by tradition. Novelty is not, in itself, a virtue. Obscurity resulting from the pursuit of a private artistic obsession is a defect. A sculpture must declare its purpose and convey its message unambiguously to its intended audience. The forms that do so have been refined by generations and conform to a visual grammar understood by the whole community. The fact that such sculptures obey rules, however, does not mean that they are identical. Each can be recognised as coming from a particular tribe because of those rules, but each can be an individual and unique creation. It is only during this century that the aesthetic qualities of African sculpture have been widely appreciated outside Africa. Among the first people to do so were a few European painters who, seventy-five years ago, were struggling to free themselves from the bonds of the oppressive naturalism that had dominated Western art during the nineteenth century. They found African objects abandoned in the bric-à-brac of curio shops and recognised in them a new attitude to representational art. The unknown creators of these masks and figures had clearly not been trying to imitate the superficial appearance of things. Instead they had been striving to represent a different aspect of reality, to make visible the invisible. Braque, Vlaminck and Picasso in France, Nolde and Kirchner in Germany, experimented excitedly with this new vocabulary of shapes and began to use it in their own battles against naturalism. Sprache: Englisch Gewicht in Gramm: 550.

Soft cover. Condition: Good. Spring 1975 , 12 pp The Arcade Gallery Photos with Artifacts in it.