Okeke-Agulu: Karen, if I could take you up on your comment that, “if an artist’s work is good, I will like it wherever I see it.” While this may well be the case, it sidesteps the work of the curator within the space of the museum, that is to say the very question of “framing” this thread is meant to examine. My first assumption is that art does not just happen or install itself in a museum space. As such, while the manner in which a work is displayed may not necessarily diminish its likeability, the fundamental question is what kind of knowledge about the work is produced in the different museological spaces one might encounter them; this leads to my second assumption, which is that the nature of that knowledge must depend on what the curator does with the work in the specific space. What I miss in these deliberations is not so much whether or not different kinds of museums produce different kinds of knowledge about works by contemporary African artists, but the type of knowledge. And this is where I think the question raised by a commentator Antawan I. Byrd—he asks [Chris] what is meant by “contemporanizing” the BM’s African Galleries with the work of contemporary African artists—is quite crucial.

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