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SMITHSONIAN NATIONAL MUSEUM OF AFRICAN ART ACQUIRES: ADEBUNMI GBADEBO'S I SANG THE BLUES BLACKER: 9 HOLES

The National Museum of African Art (NMAfA) began as a private educational institution in 1964 to promote cross-cultural understanding in the social sciences and arts. Founded by Warren M. Robbins, a former U.S. Foreign Service officer, it was known as the Museum of African Art and located on Capitol Hill in a townhouse that had been the home of Frederick Douglass, the African American abolitionist, and statesman. In August 1979 the museum became part of the Smithsonian Institution, the world’s largest museum and research complex dedicated to the increase and diffusion of knowledge.

Warren Robbins’ inaugural vision—to teach visitors how to look at African art in the interest of promoting cross-cultural communication—remains at the heart of the National Museum of African Art’s mission today. Indeed, the museum will remain relevant to its diverse audiences and African constituents as it continues to pro

The National Museum of African Art (NMAfA) began as a private educational institution in 1964 to promote cross-cultural understanding in the social sciences and arts. Founded by Warren M. Robbins, a former U.S. Foreign Service officer, it was known as the Museum of African Art and located on Capitol Hill in a townhouse that had been the home of Frederick Douglass, the African American abolitionist, and statesman. In August 1979 the museum became part of the Smithsonian Institution, the world’s largest museum and research complex dedicated to the increase and diffusion of knowledge.

Warren Robbins’ inaugural vision—to teach visitors how to look at African art in the interest of promoting cross-cultural communication—remains at the heart of the National Museum of African Art’s mission today. Indeed, the museum will remain relevant to its diverse audiences and African constituents as it continues to promote and represent the rich artistic practices of Africa.

A Dilemma of Inheritance: Adebunmi Gbadebo Employs Abstraction and Non-Traditional Materials to Mine Memories and Histories of Enslavement

https://www.culturetype.com/2020/10/03/a-dilemma-of-inheritance-adebunmi-gbadebo-employs-abstraction-and-non-traditional-materials-to-mine-memories-and-histories-of-enslavement/

I have been invited to exhibit at the 5th edition of the Dhaka Art Summit (DAS) in Dhaka, Bangladesh curated by Diana Campbell Betancourt. DAS is an international, non-commercial research and exhibition platform for art and architecture related to South Asia. With a core focus on Bangladesh, DAS re-examines how we think about these forms of art in both a regional and an international context. Founded in 2012 by the Samdani Art Foundation – which continues to produce the festival – in collaboration with the Ministry of Cultural Affairs, People’s Republic of Bangladesh, DAS is hosted every two years at the Bangladesh Shilpakala Academy.

Newark Museum January Theme: Experience how the body is explored, adorned, and transformed as inspired by the newly reinstalled Arts of Global Africa gallery.

Highlights

• Test your balance in a tightrope walking workshop led by Trenton Circus Squad and inspired by Yinka Shonibare’s “Lady Walking a Tightrope.”
• Wrap your body in your own custom designed African textile print in a workshop led by textile designer and printer, Angela Pilgrim.
• Adorn your head with a hair crown in a workshop led by artist, Adebunmi Gbadebo.

Newark Museum Talk: Mother & Muse.
Watch artists Adebunmi Gbadebo and Adrienne Wheeler, discuss with their mother’s Brenda Ravenell and Elizabeth Wheeler, the roles each mother played in their professional and personal lives. Moderated by Peter “Souleo” Wright, Manager of Programs at the Newark Museum in Newark, NJ.

Come out to see Ade Bunmi’s first solo show at Rutgers University Newark. Opening Reception Tuesday April 12th 2016 6pm at 175 University Avenue Newark, NJ Conklin Hall 3rd floor