THE INNER EYE 91 FIG. 12 (left): Ceremonial textile panel. Shoowa, Kuba, DR Congo. Late 19th–early 20th century. Raffi a palm: plain weave, cut pile, and embroidery. 71.8 × 66.7 cm. Ex. Georges Meurant, Etterbeek. Los Angeles County Museum of Art, gift of the 2009 Collectors Committee, inv. M.2009.43.5. Photo © Museum Associates/ LACMA. FIG. 13 (lower left): Royal throne. Luba, DR Congo. 18th–19th century. Wood, glass, fi ber. H: 42.4 cm. Ex Charles Vignier, Paris, 1919. University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, inv. AF5121. Photo courtesy of Penn Museum, image #150628. FIG. 14 (right): Mask, kidumu. Teke/Tsaye, DR Congo. C. 1850. Wood, polychrome. H: 29.8 cm. Private collection. program in the arts of Africa at LACMA while continuing to teach full time at UCLA. Since her appointment, she has curated four exhibitions for the museum, including the important 2013 inaugural exhibition to dedicate a new gallery for the arts of Africa. Titled Shaping Power: Luba Masterworks from the Royal Museum for Central Africa, it featured outstanding Luba and related works never before seen on the West Coast. African art is now very much part of the LACMA agenda, and together with Nancy Thomas, Polly Roberts has been presenting rotating African exhibitions, of which her present installation is the largest and most recent. The presence of The Inner Eye in the Resnick Pavilion, which LACMA uses for major temporary shows, speaks to the museum’s commitment to African art. The same spirit of commitment has been refl ected in acquisitions. In 2009, a striking selection of 117 outstanding Kuba textiles formerly in the Georges Meurant Collection was purchased through the museum’s Collectors Committee (fi g. 12). Highlights from these were presented
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