African art, long resident in the ethnographic and natural history museums, has in recent years achieved new status and importance as Until recently, things African were displayed and treated as material evidence of one of the world's many and varied cultures, but few ventured to admit that they were legitimate artistic manifestations in their own right. Much has been said and written about the influence of African sculpture on the of many twentieth century Western artists. There is no doubt that this is true. The assertion, however, seems more a backhanded compliment than a positive affirmation of the beauty, power and integrity of those African works. It is like noting the of a minor painter because he is the teacher of a more gifted artist. The recognition is historical, not aesthetic. African is certainly a major, rather than a minor, artistic expression. What may be pertinent, is the impact of modern and its acceptance by a wide audience, which, in turn, allowed greater understanding and appreciation of those African works which contributed to its development. Prior to the nineteenth century, there was very little doubt about what was or wasn't a work of Individual aestheticians and groups diligently guarded acceptable artistic norms, and their decisions were largely based on Greek, Roman and Renaissance ideals of beauty. The taste makers still exist, but there is no longer a united front which automatically eliminates any deviation. Coupled with this tunnel view were theories concerning the linear evolution of man which unabashedly placed Western man at the top of the heap. Western man defined civilization, and every other cultural manifestation was ranked according to its similarity to Western culture. There was no committee formed, no consultation. It was done. Given this situation, art museums collected and displayed those works originating from the so-called high civilizations, while material (African works included) was placed in natural history and purely anthropological institutions. Largely based on ethnocentric precepts, these attitudes are the subject of increasing scepticism by a large segment of the world's population. Ever growing numbers have accepted African cultural manifestations as art: witness the tremendous number of African exhibitions, the proliferation of publications and the ever increasing number of collectors and dealers. All these changes have not been motivated by pure altruism, although this is certainly true in many cases. Legitimate demands for social reform and change, a re-thinking of the role and function of museums, and an increasing number of people interested in culture are only a few of many divergent causes for the current status of African art. Many people have contributed to this change. It has been gradual, sparked by anthropologists, painters, historians, museum curators, students (especially Afro-Americans), critics and other individuals struck by its beauty, strength and vitality. As a result, we are currently witnessing a rather remarkable metamorphosis. The installations of many natural history and anthropological institutions are undergoing a face lifting, in part dictated by a desire to display their holdings as art. In addition, the list of museums engaged in the acquisition or display of African material is rapidly expanding. In Los Angeles three institutions are currently engaged in the active display of African art. In addition, excellent exhibitions are periodically mounted throughout the entire southern California area. Permanent collections are housed at the UCLA Museum of Cultural History and the Los Angeles County Museum of Natural History. The third major institution to join the ranks is the Los Angeles County Museum of Art. In the fall of 1969 the Los Angeles County Museum of Art
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