Rarely do we get the chance to stand in another’s shoes, and almost never do we get to see what they see.

When I first saw Dave Rainey’s video, it struck me as a profound commentary on interactions between visitors in the gallery. In the video Dave shares with us how he looks, what catches his eye. He follows skeins of color cascading downward. Then, a bending, warping edge leads the way. A field of crumpled texture dissolves into cracked paint, which fades into metallic lace. These are all personal discoveries, but they are shared with us on the screen. I wouldn’t have noticed them otherwise.

This is just what happens in the galleries. “Come, look at this … look what he used here … see what I found.” Look for yourself, then share, and see through someone else’s eyes as well.

El Anatsui: When I Last Wrote to You about Africa closes July 29.

This exhibition does just that. Throughout his career El Anatsui has used a multitude of materials, and it is through their use that we can see thoughts emerging and forming. We can see these thoughts are not random or fleeting. Ideas and images of the artist’s life and culture are consistently involved.

On view now are works made with a wide variety of materials and techniques. Wood has been carved, assembled, painted, and burned. Metals and fabrics are brought together and blended. Acrylic paints are applied to Masonite and paper and wood. These paints have been applied in a loose and running style—and in other works he uses a more controlled technique and precise style. There are works of ink on paper that relate to works he made in other mediums. One example of this, titled Omen, is part of a series of drawings from 1980 and 1981 exhibited next to a work of the same title made of ceramic and manganese in 1978.

El Anatsui produced other drawings in the more esoteric method of drypoint and aquatint. These are exhibited next to a wall sculpture woven together with aluminum and copper wire. Very different, both are equally beautiful and demonstrate a mastery of materials.

The depth and breadth of materials in this exhibition is impressive, and all are held together by the steady, focused vision of El Anatsui.

—Kathryn Briggs led the design production team for the El Anatsui exhibition.

Image:
El Anatsui, Omen, 1978, ceramic, H. 15 1⁄2 x W. 21 x D. 16 1⁄2 in., Photo courtesy Museum for African Art / Kelechi Amadi-Obi

What I didn’t expect was to be equally, if not more, amazed by the artist’s wooden sculptures.

Like his metal pieces, Anatsui’s wooden works are intricate, beautiful, and imbued with a profound symbolism that relates not only to African culture but to humanity as a whole. I was most awed, however, by the way they echo the wall hangings’ sense of movement and dynamism. Wood loses all of its stiffness and takes on an energetic, lifelike quality: the sculptures that refer to cloth appear to crumple and fold, and another, titled Imbroglio, seems to be actually writhing.

These wooden treasures excited me in a way that sculptures rarely had before. I now have a more open mind about art and look forward to taking many more non-Western courses. I also recognize how important it is to take a deeper look into an artist’s body of work, because sometimes your favorite piece may not be the most well known. Finally, I see how even the most unexpected materials can be turned into something incredibly beautiful—and this, I think, was exactly El Anatsui’s goal in the first place.

—Elana Hain, an art history student at UNC–Chapel Hill and a curatorial intern at the NCMA, is working this summer on research for upcoming contemporary art exhibitions.

Image: El Anatsui, When I Last Wrote to You about Africa, 1986, wood, Private collection, Germany

In some ways Rhythms of the Heart: The Illustration of Ashley Bryan is an ideal exhibition for the NCMA, allowing viewers to make associations between it and El Anatsui: When I Last Wrote to You about Africa. Both are retrospectives of the careers of prolific men—one from North America, the other from Africa. Both El Anatsui and Ashley Bryan are true artistic masters with firm grasps of very different mediums. In El Anatsui’s case, visitors can explore wood sculptures, metal wall sculptures, and drawings, noting that the artist understands and has talent for each mode of creation; Ashley Bryan’s illustrations shine whether made from construction paper cutouts, linoleum prints, or poster paint. And finally, both artists share a deep connection to Africa, which comes across in the colors, subject matter, and design in each of their works.

While you’re visiting these exhibitions, don’t forget to ponder how these exhibitions connect to our permanent collection in West Building, too—the African Gallery and the Modern and Contemporary Galleries provide great starting points for comparison.

Have you visited Rhythms of the Heart yet? What other connections to our permanent collection or Spring–Summer 2012 exhibitions can you make? Leave us a comment below.

Jennifer Dasal is associate curator of contemporary art.

Rhythms of the Heart: The Illustration of Ashley Bryan is organized by the National Center for Children’s Illustrated Literature. This exhibition is made possible, in part, by the North Carolina Department of Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions.

Image: Ashley Bryan, Mountain View, 1967, from Moon, for What Do You Wait? (Atheneum, 1967), linoleum print, 16 ½ x 8 in., Courtesy of the artist, © 1967 Ashley Bryan

The moments on the Eastern Cape where I discovered reminders of some of my favorite works of art from El Anatsui: When I Last Wrote to You about Africa were surprising. The rocks on the beach at Cape Vidal looked to me like Akua’s Surviving Children—deep brown formations being battered by the sea. The houses scattered on the hillsides in KwaZulu-Natal brought to mind the placement and shapes of Open(ing) Market; the colorful beadwork by native craftspeople, reminiscent of those spectacular wall sculptures. And most enchantingly, the tin can tops of Peak Project turned into musical instruments, strapped to the ankles of the revered Sangomas (traditional Zulu healers) as they danced.

This is not to suggest the homogeneity of the continent, rather the connections that help us relate—people to people. As Anatsui said, “I think the most important thing is that one is able to reach or communicate but not necessarily on the basis of one’s geography.” Through my American eyes, these small jewels of resonance were sweet reminders of home.

Melanie Davis-Jones recently returned from a trip to South Africa.

Wait a minute, I can hear you say. An illustration exhibition by a children’s book author? But what about me—I’m a grown-up!

I’ve got a good answer for you. Rhythms of the Heart holds its own, allowing viewers of all ages to enjoy a colorful trip through Bryan’s inspirational and energetic illustrations. Works in this exhibition feature Bryan’s unique artistic style, combining references to poetry, rhythm, African storytelling traditions, and African American spirituality. And it’s free!

Don’t let the subject matter fool you: though aimed at families and children, this exhibition can be enjoyed by all ages. Come explore over 60 energetic works of art that will surely add a bit of levity to your day. Just a “children’s book illustrations” exhibition? Check it out for yourself—this show, and its diverse subject matter, might surprise you.

Have you visited Rhythms of the Heart yet? What did you enjoy most? Did anything surprise you? Leave a comment below.

Jennifer Dasal is associate curator of contemporary art.

Rhythms of the Heart: The Illustration of Ashley Bryan is organized by the National Center for Children’s Illustrated Literature. This exhibition is made possible, in part, by the North Carolina Department of Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions.

Image: Ashley Bryan, Hen and Frog, 1980, from Beat the Story-Drum, Pum-Pum (Atheneum, 1980), tempera on paper, 7 x 10 ½ in., Courtesy of the artist, © 1980 Ashley Bryan

Your art museum commissioned El Anatsui to create an extraordinary wall hanging for the new West Building. It is front and center, and you enjoy it every time you enter the building. It is one of his best.

The success and popularity of our work by this master inspired us to present the exhibition El Anatsui: When I Last Wrote to You about Africa. It is a fantastic review of the great work from his 40-year career. There are, of course, the breathtaking wall hangings woven from found metallic elements. But you might be surprised by the power of his sculptures, drawings, and paintings incised in wood.

You should not miss this exhibition. It is one of the most alluring and captivating shows the Museum has ever presented. And it is yours until July 29. The art world is envious of you.

Larry Wheeler is director of the North Carolina Museum of Art.

I look at them and think, “I want to wear them.”

The sartorial quality of his work struck me from my first gallery visit, and I continue to see the rich textures, colors, and languages of Africa embodied by his work (and not just the wall sculptures) all around me. Click through the image below to see the “Anatsui Style” Pinterest board, a visual sampling of my mind since the exhibition’s opening.

The result has emboldened my own fashion sense, boosted my creativity, and changed (erased?) my concept of what constitutes a coordinated outfit.

Can I pull off bright red with bright yellow? Mixed metals? Pattern on pattern?

Why, sure. That’s very Anatsui of you, Natalie.

Are you on Pinterest? Follow ncartmuseum. Join us for a Pinterest-themed meetup on Thursday, May 10.

How do YOU say…El Anatsui from the North Carolina Museum of Art on Vimeo.

NCMA staff members show off the many variations of “El Anatsui.”

ncartmuseum.org/elanatsui

As part of his study of Anatsui’s work, Perry created a small model of a metal wall sculpture using similar materials (metal wine bottle caps and 24-gauge wire). He cut and flattened the caps into strips about 2 inches long by ¾ inch wide, then poked holes in the strips and joined them with the copper wire.

This not only gave him insight into the artist’s processes but also provides a useful educational tool that can be handled by the public (unlike Anatsui’s work or any other art in the Museum). Examining Perry’s creation, one can experience firsthand the skill and ingenuity behind the construction—as well as its fragility.

The piece has sharp edges that can’t be removed or filed down, as the metal bottle caps are too thin. Perry has found that sharp edges are part of the handling experience of a real El Anatsui work, too; gloves can be shredded, clothing gets snagged, and the wall sculpture can snag on itself when being moved.

Each section of the finished model fits into a 1-gallon plastic zipper bag to protect the “viewer” from the sharp edges and to permit handling of the work in educational settings.

The exhibition El Anatsui: When I Last Wrote to You about Africa is on view in East Building through July 29; the Museum’s own El Anatsui work, Lines That Link Humanity, is part of the permanent collection in West Building. For more on Perry’s work with El Anatsui, check out the interview on nc artblog (Part I and Part II).