BOOKS 146 Invention and Tradition: The Art of Southeastern Nigeria By Herbert M. Cole. Edited by Dierk Dierking Published in English by Prestel, 2012 9.5 x 12”, 240 pages, 315 illustrations, many of which are full plates ISBN-13: 978-3791346007 Hardcover, $75 This is an absolutely sumptuous volume that addresses a number of art traditions which are rarely considered sumptuous, that being those of the Igbo, Isoko, Urhobo, Ijo, Ogoni, Ibibio/Oron/Eket, Ejaghan/Efut, Mbembe, Bokyi, Tiv, Idoma-Akweya, and Igala. Most of the objects are sculptures and masks, which are satisfyingly presented in large format. Many are icons of their type, while others are less known (in some cases justifiably) but the object photographs—primarily by Thomas Scheidt—make every piece shine and provide a fresh take on frequently overlooked art traditions. The title refers to a duel lens through which these objects must be viewed: the familiar notion of tradition in African art and the slightly less comfortable one of innovation, which is rarely a positive term in today’s art market. The importance of both is cogently addressed in the in-depth text, which addresses subjects ranging from aesthetics to inventive qualities to meaning and use. Field photos by the author provide additional dimension. This book casts welcome light on a particular niche of African art and should be a welcome addition to any collection or library. Collecting Tribal Art: How Northwest Coast Masks and Easter Island Lizard Men Become Tribal Art By Paula G. Rubel and Abraham Rosman Published in English by Infinity Publishing, 2012 6 x 9”, 204 pages, 20 black-and-white illustrations ISBN-13: 978-0741480590 Softcover, $15.95 Written by two professors emeriti of anthropology, one from Barnard College and one from Columbia University, this small book delves into the peculiar anthropology of the tribal art market, from collectors to dealers to museums. It traces how tribal art moved from something once believed to have been created by quasimythical beings to being seen as powerful sculpture that inspired modernist artists, including a discussion of why African art appealed to Cubists and Oceanic and American Indian art was more attractive for Dadaists and Surrealists. It looks at the many different incarnations of collecting, from self-diagnosed sickness to sweeping acts of public beneficence, and it peeks behind the veil at some of the vagaries and contradictions of the art market. The authors’ analysis is detailed and thorough. You may not always agree with their conclusions, but you’ll enjoy the debate. Kastom: Art of Vanuatu By Crispin Howarth Published in English by the National Gallery of Australia, 2013 21.5 x 27 cm, 118 pages, more than 50 color plates supplemented with field photos ISBN-13: 9780642334336 Softcover, $50 This is the catalog to the eponymous exhibition on display at the National Gallery of Australia until June 16. It was also the subject of a recent feature in this magazine. If you liked that article, you’ll love this book. It features more than fifty sculptures (and a couple of textiles and paintings) from the island group of Vanuatu, formerly known as the New Hebrides. Many—although not all—of the works were collected in the early 1970s by Jean-Michel Charpentier, a field collector who was working on Ambrym and Malakula on behalf of the Commonwealth Art Advisory Board. Although Charpentier was engaged in this process relatively late, he acquired a group of remarkable objects of which this is the first formal presentation. The photography is exceptional and the text is both informative and engaging. For anyone interested in Oceanic art, or even art in general, this beautiful catalog is a must, especially if you can’t get to Canberra to see the exhibition.
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