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In January, Indian Prime Minister Narendra Modi caused a stir when he stepped out in a pin-striped suit emblazoned with his own name. The leader was riffing on an age-old tradition of sartorially showcasing power, a practice that long ago fell out of favor; most heads of state today wear suits or other attire so drab you’d never know they were expensive.
Still, the image of a bejeweled, fur-swathed monarch sitting atop an ornate throne carries a strange allure, maybe because it speaks to our love of history and legend. That might be what’s so intriguing about Royals & Regalia: Inside the Palaces of Nigeria’s Monarchs at New Jersey’s Newark Museum. The show features 40 life-size portraits of impressively clothed modern day sovereigns by Nigerian photographer George Osodi.
Dressed in embroidered silks, colorful brocades and weighty baubles, the rulers make a stunning — if not slightly foreboding — statement. The catch is that none of them actually wield any constitutional power. The regional monarchies they represent, which existed long before present-day Nigeria formed in 1914, were stripped of their legal authority after the country gained independence from British colonial rule in 1963. Though resplendent, they’re little more than figureheads preserving their cultural heritage.
Royals & Regalia: Inside the Palaces of Nigeria’s Monarchs continues at the Newark Museum (49 Washington St, Newark, New Jersey) until August 9.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.