Arnold Rubin

  • Accumulation: Power and Display in African Sculpture

    AS AN ASPECT OF WESTERN intellectual history, the systematic study of African art must be regarded as still in its infancy. A history of African art comparable in scope and depth to those achieved for the major Western and Oriental traditions lies in the future, although some promising beginnings have been made. There seems to be little question, however, that art-historical questions have received—and continue to receive—comparatively little scholarly ’attention. Students of the arts of Africa have also been reluctant to confront the esthetic and artistic dimensions of their data; traditional