De Menil Research Articles

Review: Avant-Garde in the Cornfields: Architecture, Landscape, and Preservation in New Harmony

Review: <i>Avant-Garde in the Cornfields: Architecture, Landscape, and Preservation in New Harmony</i>

Exhibition Review: Niki de Saint Phalle: Structures for Life

Exhibition Review: <i>Niki de Saint Phalle: Structures for Life</i>

Bob Bilyeu Camblin: An Iconoclast in Houston's Emerging Art Scene by Sandra Jensen Rowland

Reviewed by: Bob Bilyeu Camblin: An Iconoclast in Houston's Emerging Art Scene by Sandra Jensen Rowland Caleb Bell Bob Bilyeu Camblin: An Iconoclast in Houston's Emerging Art Scene. By Sandra Jensen Rowland. (Denton: University of North Texas Press, 2020. Pp. 320. Illustrations, notes, references, index.) Written by art historian Sandra Jensen Rowland, this monograph chronicling the life and art of the late Houston artist Bob Camblin offers readers a true insider's look into a complex individual's world. Rowland, a former student of Camblin's as well as his one-time companion, provides an intimate account of much of his life while also discussing the evolution of his art and placing it within larger artistic movements. Laid out chronologically, the twenty-one-chapter biography opens with the artist's upbringing in Ponca City, Oklahoma. Despite touching on his hometown community, its influential individuals, and various related occurrences, however, personal details about Camblin's rearing are somewhat lacking. But Rowland does a good job of discussing major international events and their impact on him, a shining hallmark found throughout the book. The Great Depression and World War II establish the framework for Camblin's trajectory. The real look into his life begins in 1947, when the artist joined the army. His military service, enrollment at the Kansas City Art Institute, a Fulbright-sponsored year in Italy, and introduction to academia at the Universities of Illinois and Utah preceded his move to Texas in the 1960s, a significant event in his life and career. Camblin accepted a position with [End Page 478] the art department at Rice University in Houston and joined artists John O'Neil, David G. Parsons, and Earl Staley. His connection to Staley was almost instant. Even though they only worked together at Rice for a year, Camblin remained in Houston through the 1980s, and the two remained longtime collaborators, forming B&E Productions, B, E & J Productions, and the Holding Firm. Their relationship is well documented, and Rowland includes Staley's insightful words about Camblin in the book's epilogue. It was also during Camblin's stint at Rice University that he and Rowland, a student at the time, first met. She describes her firsthand experiences with the artist, including the end of their relationship, offering readers information only she could. Mentored herself by Dominque de Menil during the 1970s, Rowland expands readers' view of the Houston art scene at the time and aptly describes Camblin's position in it. The book also offers insights into his relationships with various Texas artists and key players as well pivotal exhibitions. It discusses in some depth his connection to Penny Cerling and Dave Folkman of Little Egypt Enterprises, the now-defunct printmaking studio. The inclusion of a thorough timeline provides a succinct overview of Camblin's major exhibitions and life events. The author's notes are a great resource as well, offering interested readers even more details and facts. While the book could benefit from more imbedded images or an additional appendix of artworks, those provided do a good job of illustrating the narrative and providing a sense of Camblin's artistic evolution. The image selection, much like Rowland's text, offers a nice balance between his art and personal life. Her writing style is accessible and guides one through Camblin's story, including his cast of alter egos, with ease. Overall, the book serves as a detailed account of the life and times of Bob Bilyeu Camblin, an iconoclast, as the book's title says, in Houston's emerging art scene. Caleb Bell Tyler Museum of Art Copyright © 2021 The Texas State Historical Association

Disclosing a Transfer: Art and Religion in the Notebooks of Dominique de Menil

Abstract The art collector and educator, Dominique de Menil (1908–1997) has mostly been remembered as a pragmatic orchestrator of high-profile commissions in the art world. However, little attention has been paid to her role as a thinker. This article seeks to address that lacuna in the literature by attending to an overlooked source in the Menil archives, de Menil’s notebooks, which were written between 1974 and 1994. By analysing de Menil’s use of metaphor in the notebooks, we place them within the trajectory of de Menil’s intellectual development stemming back to her 1936 article: ‘Pour l’unité du monde chrétien’. The first part situates the metaphors which de Menil employed in the notebooks from the 1970s in the intellectual context of her inception of these figures of speech in Montmartre, Paris in 1936. The second part unpacks a central metaphor which grounds de Menil’s conception of tradition. The third part compares de Menil’s art historiography vis-à-vis other models which sought to reinvigorate the avant-garde art scene via pre-modern sources. The Coda critically assesses de Menil’s art historiography against other prevalent views on the relation between pre-modern and modern works of art.

Depositing memory. From the museum-warehouse to the storage

Il testo intende analizzare l’idea di museo come deposito proposta da Louis Kahn nel progetto non realizzato per la de Menil Foundation in Texas, preceduta dalle realizzazioni per la Yale University nel Connecticut e del Kimbell Art Museum a Fort Worth. Analizzando il significato etimologico della parola ‘deposito’ come atto o luogo per la conservazione e la trasmissione della memoria si vuole stabilire un ponte con alcuni fenomeni del contemporaneo nell’epoca del World Wide Web e, in particolare, con l’opera di musealizzazione dell’architettura e della città proposta dal regista britannico Peter Greenaway per interrogarsi infine, anche nell’epoca del digitale, sulla necessità dello spazio per la rappresentazione dei valori di una comunità. The paper aims to analyse the idea of ‘museum as storage’ proposed by Louis Kahn in the unbuilt project for the de Menil Foundation in Texas preceded by the constructions for Yale University in Connecticut and of the Kimbell Art Museum in Fort Worth. By analysing the etymological meaning of the word ‘storage’ (in Italian, deposito) as the act or the place for preservation and transmission of the memory, a link is established with some contemporary phenomena in the era of the World Wide Web and, in particular, with the work of musealization of architecture and the city proposed by the British director Peter Greenaway, in order to finally question, also in the digital age, the need of the space for the representation of the values of a community.

The Art of Texas: 250 Years ed. by Ron Tyler

Reviewed by: The Art of Texas: 250 Years ed. by Ron Tyler Rachel Hooper The Art of Texas: 250 Years. Edited by Ron Tyler. (Fort Worth, Tex.: TCU Press, 2019. Pp. x, 446. $60.00, ISBN 978-0-87565-703-5.) The Art of Texas: 250 Years is an ambitious survey of artists who have lived and worked in the state now known as Texas, including Spanish colonial portraitists, Minimalist sculptors, and everyone in between. The project is both an exhibition of more than one hundred paintings and sculptures at the Witte Museum in San Antonio as well as a ten-by-twelve-inch hardcover book with more than 350 full-color illustrations and fourteen essays by preeminent scholars of Texas art. The editor, Ron Tyler, also edited The New Handbook of Texas (Austin, 1996), and The Art of Texas has a similar encyclopedic feel. It is broad in scope and well researched, and it will be a useful resource for both experts and newcomers to the unique visual culture of the region. The hefty book joins a number of recently published works that celebrate Texas as a significant incubator for the arts: Pete Gershon’s groundbreaking Collision: The Contemporary Art Scene in Houston, 1972–1985 (College Station, Tex., 2018), William Middleton’s meticulously researched Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil (New York, 2018), Jay Wehnert’s reflections in Outsider Art in Texas: Lone Stars (College Station, Tex., 2018), and Katie Robinson Edwards’s award-winning Midcentury Modern Art in Texas (Austin, 2014). Whereas other books focus on art historical questions of originality and patronage, most essays in The Art of Texas situate artworks in the context of social history and a uniquely Texan culture that was formed over the centuries by a mix of indigenous, immigrant, and enslaved peoples. Half of the authors hold Ph.D.s in history or American studies, and this training gives them useful methodologies for studying regional art history. Texas may not be recognized as a major art center in most art historical texts, but The Art of Texas makes a compelling argument that culture in the state was built from the ground up by a myriad of artists who were taken with the beauty of the landscape and were strongly supported by their communities. The essays are arranged chronologically by subject, starting with Tyler’s history of Texas art from the eighteenth and early nineteenth centuries and [End Page 461] concluding with an essay by K. Robinson Edwards on “Liberty and Lone Star Modernism” in the twentieth century. Many of the authors, including Susie Kalil, Sam DeShong Ratcliffe, William E. Reaves Jr., Francine Carraro, and Michael R. Grauer wrote influential books in the 1990s on Texas art, and their essays in The Art of Texas are updated summaries and revisions of subjects in which they have substantial expertise. Kalil writes on landscape paintings, Ratcliffe on nineteenth-century history painting, Reaves on the 1920s wild-flower painting contests known as the Davis Competitions, Carraro on Depression-era regionalism, and Grauer on western art. Kenneth Hafertepe and Light Townsend Cummins have recently published books on Texas architecture and material culture and bring their knowledge to bear on paintings and sculptures for this volume. Hafertepe considers work by artists who emigrated from Germany, and Cummins writes on sculpture. Curators Rebecca Lawton and Jay Wehnert also offer insights on Texas Impressionism and Outsider Art, respectively. A highlight of the book is Richard B. McCaslin’s text on the sculptor Pompeo Luigi Coppini, which is an exciting preview of his forthcoming biography of the artist. The roster of established scholars who have contributed to The Art of Texas is impressive. However, there are some notable omissions. Texas is home to two world-renowned scholars of Latinx art, Tomás Ybarra-Frausto and Mari Carmen Ramírez. Neither are included as authors in this volume or cited in Ricardo Romo’s essay on “Hispanic Art in Texas.” Texas is also home to legendary curator and scholar Alvia Wardlaw, and Houston is the subject of a revelatory book by Darby English about a racially integrated exhibition of abstract art, 1971: A Year...

Space, painting and music: Houston chapel, Rothko, Feldman and the total work of art in contemporary aesthetics.

This article traces the history of the Rothko Chapel in Houston, as a representative example of a total work of art in contemporary art. Taking into account the meaning of this concept, we study the genesis of the construction and the creation of Rothko’s paintings. At the same time, the singular moment in which the chapel is fully converted into a total work of art is analyzed, when, for the first time, the piece with the same title, Rothko Chapel, composed by Morton Feldman is performed here as a tribute to his friend the missing Rothko at the request of the promoters of the chapel, De Menils. The piece ends with the current testimony of the place as a living point of meeting between the work of art in itself, and the vital, spiritual and aesthetic experience of the visitors who come to it today.

Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil by William Middleton

Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil by William Middleton

Transforming Absence: Perspectives on the Byzantine Fresco Chapel Museum

A conversation between Francois de Menil, award-winning architect and designer of the Byzantine Fresco Chapel, Houston, Texas, and Olivia Hillmer, Curatorial Assistant for Exhibitions at the Beinecke Rare Book and Manuscript Library at Yale University, about the Byzantine Fresco Chapel.

Picturing Race: Early Modern Constructions of Racial Identity

Picturing Race: Early Modern Constructions of Racial Identity Peter Erickson (bio) David Bindman and Henry Louis Gates, Jr., eds. The Image of the Black in Western Art. Cambridge: Harvard University Press, 2010–11. Volume 3. From the “Age of Discovery” to the Age of Abolition. Part 1. David Bindman, ed. Artists of the Renaissance and Baroque. 408 + xxi pages. $95.00. Part 2. By Jean Michel Massing. Europe and the World Beyond. 496 + xxvi pages. $95.00. Part 3. David Bindman, ed. The Eighteenth Century. 365 + xxvi pages. $95.00. Elizabeth McGrath and Jean Michel Massing, eds. The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem. London: The Warburg Institute; Savigliano: Nino Aragno Editore, 2012. 386 + x pages. £55.00. Agnes Lugo-Ortiz and Angela Rosenthal, eds. Slave Portraiture in the Atlantic World. Cambridge: Cambridge University Press, 2013. 500 pages. $99.00. In her introductory statement, “Acknowledgments and Perspectives,” in the first volume of The Image of the Black in Western Art, Dominique de Menil traces the moment of inception of this ambitious project with an admirable combination of humility and conviction: [End Page 151] The decision in 1960 to launch a systematic investigation of the iconography of blacks in Occidental art did not proceed from any clear plan. It was an impulse prompted by an intolerable situation: segregation as it still existed in spite of having been outlawed by the Supreme Court in 1954. . . . The past is heavy. To face it, to assume it, facts must be brought candidly to light. The making of a more human world requires rigorous studies. (1: 291–92)1 In a similar spirit, John de Menil records his justification for supporting the purchase of Christian van Couwenberg’s The Rape of a Negress (1632) for the Museé des Beaux-Arts, Strasbourg: “‘We are happy . . . to have been able to aid in the acquisition of an important painting which depicts us, whites, in a manner which we would prefer to ignore.’”2 Volumes 1, 2, and 4 of The Image of the Black in Western Art (consisting of five books) were completed in a thirteen-year period as follows: From Pharaohs to the Fall of the Roman Empire (1976) on classical art; From the Early Christian Era to the “Age of Discovery” (1979), part 1, From the Demonic Threat to the Incarnation of Sainthood, and part 2, Africans in the Christian Ordinance of the World, on medieval art; and From the American Revolution to World War I (1989), part 1, Slaves and Liberators, and part 2, Black Models and White Myths, on nineteenth-century art. However, the series remained incomplete because of the glaring absence of the third volume intended to cover the early modern period. Not until fifty-one years after the initial commitment in 1960, and thirty-five years after the appearance of the first volume, has the gap at last been filled by the publication in 2010–11 of the three books—volume 3, parts 1–3—focusing on the sixteenth through eighteenth centuries. The arrival of this rich resource is a cause for scholarly celebration. The scope of the visual material is vast; its accumulation and coordination a massive achievement. So long awaited, it has been well worth the wait. The new addition provides a broad, solid base that begins to answer Dominique de Menil’s call for “rigorous studies.” Although the new volume 3 goes far toward definitively constituting and establishing a visual field for early modern race studies, it does not have the field to itself but rather shares this moment with the other volumes under review and hence is part of a much wider, ongoing process of growth and expansion. Nor did the field stand still during the prolonged delay in the emergence of the missing piece of The Image of the Black in the Western Art. The past two decades, beginning in the early 1990s, have witnessed concerted efforts and major critical developments in formulating the issue of race in early modern [End Page 152] culture. A pressing question has been whether, beyond its archival value, The Image of the Black in Western Art project would be fully capable of adjusting to, and engaging...

Literary Houston (review)

Reviewed by: Literary Houston Steven L. Davis Literary Houston. Edited by David Theis. (Fort Worth: TCU Press, 2010. Pp 508. Index. ISBN 9780875654409, $24.95 paper.) In 1952, more than a decade before Houston became designated “Space City,” novelist George Williams grasped its propulsive energy: “Houston, that fabulous city, growing explosively—with skyscrapers shooting up like rockets, industrial areas rolling out from it like smoke, wide patches of ugly residential sections dropping like shattered fragments all about its perimeter, great mansions glowing within like flameflowers, and people, people hurling themselves through it” (375). Williams was a longtime creative writing teacher at Rice University; his students included Larry McMurtry and William Goyen. He is among the fascinating voices brought together by editor David Theis in Literary Houston, the latest installment in TCU Press’s distinguished “Literary Cities” series. The selections in Literary Houston are excellent throughout, and Theis includes several forgotten treasures, such as 1950s newspaper columnist Sig Byrd and nineteenth-century humorist Alexander Sweet, who wrote perceptively of the seaport-fueled rivalry between Houston and Galveston. He also covers most of the city’s well-known qualities: its vigorous capitalism and lack of zoning, its congested [End Page 427] freeways and air pollution, the Ship Channel, the Astrodome, NASA, Enron, and the Hurricane Katrina refugees. Numerous Houston personalities are profiled, including Howard Hughes, Barbara Jordan, Lightnin’ Hopkins, and Dominique de Menil. As editor, Theis proves to be an excellent tour guide. He provides concise, helpful introductions to each selection, and the book is very well organized, making it easy to navigate despite its rather impressive bulk. In the section titled “Visitors,” Theis offers glimpses of Houston through the eyes of notable personalities such as H. L. Mencken, Norman Mailer, and French existentialist Simone de Beauvoir. During her visit, de Beauvoir attended a wrestling match and then went out for a drink, finding that, “the walls are covered from floor to ceiling with huge photographs of prize bulls and cows . . . It seems that most of the cafes are decorated in this style” (183). De Beauvoir concludes, “This evening I’ll go to sleep with no regrets. I don’t think that any of Houston’s seductions remain hidden from me” (183). While Ms. de Beauvoir was undoubtedly too quick to dismiss Houston, other notable cultural figures were greatly enriched by their experience. Willie Nelson, for example, spent a significant portion of his early career in Houston, where he struggled mightily and wrote some of his greatest songs: “Crazy,” “Night Life,” “Mr. Record Man,” and “I Gotta Get Drunk.” The portraits assembled by Theis are mostly affectionate, and he sidesteps the more critical writings on Houston. This kinder, gentler approach is represented in the Larry McMurtry excerpt, which avoids the novelist’s crude description in his 1970s novel, Moving On. There, McMurtry has a character sniff the air and proclaim, “Houston smells like a crotch.” (Moving On, 221) Instead Theis relies on a milder metaphor, excerpted from a later novel, Anybody Can Whistle: “I touched a button and my window went down, letting in the old fishy smell of Houston, moist and warm, a smell composed of many textures.” (384) As Theis freely admits, an anthology is not an encyclopedia, and inevitable gaps exist in the coverage. Literary Houston provides relatively little information about the city’s petrochemical industry, its legendary business and civic leaders such as Jesse Jones and Roy Hofheinz, and its burgeoning multiethnic character, which has transformed the once redneck-hearted place into a buoyant international metropolis. Taken as a whole, however, Literary Houston is an excellent collection, illuminating the spirit and history of this “swaggering, flamboyant city” (143). Steven L. Davis Texas State University–San Marcos Copyright © 2012 The Texas State Historical Association

Comments by Georges de Menil

Comments by Georges de Menil

Comments by Georges de Menil

Comments by Georges de Menil

Art and activism: projects of John and Dominique de Menil

This lavishly illustrated book is the first to examine the significant contributions of John and Dominique de Menil to art, architecture, film, and the civil and human rights movements. The de Menils, who moved to Houston from France in 1941, amassed one of the world's great private art collections and became passionately involved in the cause of human rights. The volume includes a discussion of the building of the de Menils' art collection; their patronage of modern architecture in Houston; their embrace of modernism; their leadership in Houston's civil rights movement and in human rights projects worldwide; their commissioning of works of art; their involvement in early film education and documentary filmmaking; and their establishment of the Rothko Chapel, the Menil Collection, the Cy Twombly Gallery, the Dan Flavin Installation, and the Byzantine Fresco Chapel Museum. Vintage photographs, including those taken by Henri Cartier Bresson and Eve Arnold, previously unpublished correspondence with artists, and an illustrated chronology all add to this textured tribute to the de Menils' extraordinary achievements.

The Menil Connection: Louis Kahn and the Rice University Art Center

Stephen James tells the story of a great unrealized project in The Menil Connection: Louis Kahn and the Rice University Art Center. Kahn, Rice, and the art collectors John and Dominique de Menil collaborated in this unusual venture, which, among other things, would have housed the de Menil art collection on the Rice campus. The project embodied Kahn's approach to designing an institutional landscape, interwoven with the smaller spaces that he judged were essential for teaching and learning. Its abandonment was the genesis of the independent Menil Collection, for which Kahn also prepared a design, but which was ultimately built by Renzo Piano.

African art from the Menil Collection

Bamana masks and headdresses, Lega ivories, Dogon sculpture, and Benue bronzes are among the many exquisite African artifacts found in the renowned Menil Collection. This stunning book--the first comprehensive catalogue on the de Menils' collection of African art--features 115 of the museum's finest pieces. Dating primarily from the 19th and 20th centuries, these works come from North Africa and the Sahel, Coastal West Africa, and Central and East Africa. An essay by scholar Kristina Van Dyke discusses the formation of the collection, which was inspired in part by its relationship to modernist works and by the couple's interest in human rights. This insightful text also explains how the de Menils' visionary spirit was influenced by African art and places those objects within the context of the whole of the de Menils' collection, in which works from ancient, Byzantine, medieval, modern, Oceanic, and Native American cultures speak to the universal struggle for human understanding. Entries for the selected works were written by leading scholars in the field and are grouped into sections based on regions.

The Spiritual Landscapes of Dominique de Menil

Dominique de Menil (1908–1998) with her husband, Jean, amassed one of the finest collections of ancient and modern art in the United States. Rivaling the Frick Collection in New York City, their acquisitions are housed in a museum in midtown Houston; through their largesse, the Rothko Chapel for interfaith dialogue and a Byzantine Chapel stand nearby. Philanthropists, they supported the civil rights movement at home and peace initiatives abroad. They were committed to enrich Catholicism through theological inquiry and the arts. After Jean died, Dominique's willingness to listen to her inner voice prompted many contributions. The spiritual biography of Mrs. de Menil requires a theoretical lens not provided by existing constructs of spiritual development over the life course. Here, I deploy the metaphor of “landscapes” to illuminate critical moments in her spiritual growth, especially during her later years.

Living Modern in Mid-Century Houston

Philip Johnson's house, designed for wealthy art patrons and social activists John and Dominique de Menil in 1948, Houston, introduced the culturally conservative city to the modern aesthetic of the international style. It stimulated a generation of mid-century Houston architects who promulgated the ideas of Johnson's mentor, Mies van der Rohe. It also initiated a productive relationship between the architect and Houston where Johnson's design interests evolved from the international style to the figural high-rise towers and the near-kitsch historicist inspiration at the University of Houston. Stern and Bucek Architects' recent conservation project reflects on the role of the house, its owners, and its architect in a city's cultural evolution.

A modern patronage: de Menil gifts to American and European museums

In the early 1940s, John and Dominique de Menil began to acquire art. Collecting in an intuitive and personal manner, the de Menils gathered things in which we believe, as John phrased it, and proceeded to develop an inspired collection that would eventually find a permanent home at The Menil Collection in Houston. In addition to building their own collection, the de Menils were committed to extending their vision to major museums in America and Europe. This beautifully illustrated book showcases some fifty works that the de Menils collected over the decades, including pieces by such major 20th-century artists as Lee Bontecou, Christo and Jeanne-Claude, Rene Magritte, Jackson Pollock, Jean Tinguely, and Andy Warhol as well as an important group of African, Oceanic, and pre-Columbian works. Published on the 20th anniversary of the founding of The Menil Collection, the book reproduces and examines works held in that museum and gifts in the Centre Georges Pompidou in Paris; the Museum of Modern Art in New York; and the Museum of Fine Arts in Houston. To complete the volume, the contributing authors examine the circumstances that inspired the de Menils' collection and generosity, the relationships they developed with legendary museum directors, and the gifts that were selected for each museum.

The Menil Collection: Houston, Texas

1 Exterior view of The Menil Collection, Houston, Texas. Designed by Renzo Piano, the museum opened in 1987. The building's scale is based on the bungalows in the surrounding neighborhood. Its modest size is intended to leave visitors feeling energized rather than fatigued by their encounter with the works on view. Galleries are filled with natural light, which is diffused through a system of elegant concrete baffles. PHOTO BY HESTER + HARDAWAY W ^ _ hen asked in 1982 about the collection she and her late husband, John, had formed, Dominique de Menil stated, What characterizes my collection? Maybe a passionate curiosity for the past and also a vulnerability to poetry ... poetry of images revealing the beauty and mystery of the world ... [I] am very moved by ... art that ... expresses the tragedy of man's ephemeral condition (de Menil 1983:50). At the time, Dominique de Menil was working with Renzo Piano on plans for The Menil Collection, the museum that would house the couple's collection and manifest its poetry (Fig. 1). Thoughtful and meticulous, Dom inique de Menil labored over every detail of the design and, when construction was complete in 1987, the installation of the collec tion as well (Fig. 2). Her goals were clear: I would like my collec tion to be displayed in such a way that it opens new vistas, that it reveals 'Terra Incognita'-islands (ibid.). The Menil Collection, with its 16,ooo objects, is but one out come of this French couple's vision and philosophy. Intertwining art, social activism, and a profound spirituality, the de Menils left an indelible mark on their adopted city of Houston, both in the campus that houses their museum and related galleries and cha pels, and in the effect their philanthropic projects had on various institutions in the city. Through their political action and sup port of museums and scholarly projects, they also affected a world beyond Houston and it is within this dynamic framework that the significance of their African art collection can be understood. The African holdings at The Menil Collection number close to 1,000 objects, ranging from a miniature Kongo ivory finial (Fig. 3) to a near life-size Mboi figure from northeastern Nigeria (Fig. 4). There are concentrations of objects from Mali, including Dogon sculpture (Fig. 5), Bamana masks and headdresses (Fig. 6), Inland