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Jean M. Borgatti <email@example.com>
I am currently working on three book manuscripts - Aesthetics and Social Change in Okpella, southern Nigeria (concerns issues of the cultural specificity of an aesthetic, how widely it is shared, and how it is affected by social change) based on survey research carried out in 1979 and 2003; Baskets of Luck and Money: Olimi Festival in Okpella (involves colonial and post-colonial issues as well as boundary/border theory); and an edited book called the Symbolic Woman - a cross cultural examination of the gendering of visual forms.
|Address:||295 Maple Avenue
Shrewsbury, Massachusetts 01545
|List Affiliations:||Review Editor for H-AfrArts
Reviewer for H-AfrArts
|Interests:||African American History / Studies
Art and Art History
Native American History / Studies
Religious Studies and Theology
Women, Gender, and Sexuality
BA Degree in Art History (Modern), 1966 Wellesley College
MA Degree in Art History (Non-Western), 1971 UCLA
PhD Degree in Art History (Non-Western), 1976 UCLA
Clark University 1984-2004
University of Benin, Nigeria 2002-2003 (Fulbright Fellow)
College of the Holy Cross 1986, 1992, 1998
Wellesley College 1985-86
University of North Carolina-Chapel Hill 1982
University of Florida-Gainesville 1976-78
Boston University 1975-76
2004 Davis Art Museum, Wellesley College. Collection review with annotated bibliography to assist curator in writing label copy.
2004 Smithsonian Institution: National Museum of African Art – Playful Performers (Field collected masquerades, documentation and photographic support. http://www.nmafa.si.edu/exhibits/playful/worldindex.html
BOOKS & MONOGRAPHS
1990 Portraiture in Africa, Parts I & II, African Arts 23 & 24. Jean M. Borgatti (ed.) Los Angeles, California. (I consider these two guest edited issues of African Arts magazine the equivalent of a book, since over a five year period, I organized panels on portraiture and encouraged those colleagues who have contributed to these issues to reconsider their field research in the context of the definition of portraiture that I proposed. I chose to use African Arts as a venue because I wanted the papers to come out while the exhibition on view, and there was not sufficient time to bring this material together to meet our catalogue deadline.)
1990 Jean Borgatti and Richard Brilliant, Likeness and Beyond: Portraits in Africa and the World. New York: Center for African Art, 1990.
1983 Cloth as Metaphor: Nigerian Textiles at the Museum of Cultural History. LA: Museum of Cultural History.
1979. From the Hands of Lawrence Ajanaku. Museum of Cultural History Pamphlet Series Vol. 1, No. 6. UCLA.
2004 Discover African Art (with students from Art 156)
1999 Connections Across Cultures (with students from Art 155)
Nigerian Masquerades [45 minute videotape]. African Encounters [Karen Morell, Seattle, WA: Media Services] 1983.
1992: Critical Images: Recurrent Themes in African Art. Cantor Art Gallery, Holy Cross College.
1990: Likeness and Beyond: Portraits in Africa and the World. Center for African Art, New York, and the Kimbell Museum, Fort Worth. [Concept developed by Jean Borgatti; exhibition and catalogue executed with Richard Brilliant and Allen Wardwell]
1983: Cloth as Metaphor: Nigerian Textiles from the Museum of Cultural History, UCLA.
1979: From the Hands of Lawrence Ajanaku, UCLA: Museum of Cultural History Gallery. Exhibition held in conjunction with the 1979 ASA meetings, Los Angeles. Subsequently travelled to Museum of African Art, Washington D.C. and the African American Institute, New York.
1977: Concepts of Self in African Art: Selections from the University Gallery Collection [travelling exhibition with printed guide/ opened October 1977 at the University Gallery, University of Florida, Gainesville/travelled to fifteen galleries in six southeastern states over a two-year period.
(forthcoming) “Likeness and Beyond: Portraiture in World Art” in Kitty Zijlmans (ed.) World Art Studies, Leiden Art History Yearbook V.14, Leiden: Primavera Press
(forthcoming) “Art at the Edge: Okpella Masquerades and the Question of Benin Origins” in Flora Kaplan (Ed.) A Conversation on Benin, 1897
(forthcoming) “Achikobo: Tale of the Achikobo, It is the Tail that is Mine” in H. Drewal (ed) Sacred Waters: Art for Mami Wata, Bloomington: University of Indiana Press.
“Ekperi's Otsa Festival: Igbo Age-Grade Masquerades on the West Bank of the Niger?” African Arts, Spring 2004.
"Portraiture in African Art" and "The Art of the Edo-Speaking Peoples outside Benin [with Phillip Peek]," The Art Dictionary, London: Thames and Hudson. 1996.
PAPERS GIVEN BUT NOT PUBLISHED
Good Art, Bad Art, the Beautiful and the Grotesque in Okpella Masking traditions.
Masquerade as Sacred Space among the northern Edo of southern Nigeria.
Art Marketing, the Art Market, and Marketing with Art: A Northern Edo Example
Globalism & Culture: A Northern Edo Perspective
Please see the curriculum vita on my website for additional information about professional experience and publications.