{"id":64733,"date":"2025-02-28T11:05:13","date_gmt":"2025-02-28T16:05:13","guid":{"rendered":"https:\/\/cws.charlotte.edu\/backup-coaa\/?p=64733"},"modified":"2025-04-02T16:36:40","modified_gmt":"2025-04-02T20:36:40","slug":"art-history-professor-lisa-homann-is-scholarly-expert-behind-new-african-galleries-at-the-mint-museum","status":"publish","type":"post","link":"https:\/\/cws.charlotte.edu\/backup-coaa\/2025\/02\/28\/art-history-professor-lisa-homann-is-scholarly-expert-behind-new-african-galleries-at-the-mint-museum\/","title":{"rendered":"Art History Professor Lisa Homann is Scholarly Expert Behind New African Galleries at The Mint Museum"},"content":{"rendered":"\n
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Reinstallation of the Mint\u2019s African art collection focuses on ethics and transparency.<\/em><\/p>\n<\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>\n\n\n\n

For Associate Professor of Art History Lisa Homann<\/a>, two years of curatorial scholarship have come to fruition in the newly opened African Art Galleries at The Mint Museum Randolph. Three rooms in the museum have been installed with objects both from the Mint\u2019s collection and on loan, presented in a way that is intentionally transparent about each object\u2019s provenance \u2013 the history of its ownership \u2013 or lack thereof.<\/p>\n\n\n\n

\u201cWhen it comes to African art, provenance often poses unique challenges,\u201d Homann writes in an essay in The Mint Museum magazine, Inspire<\/em>. \u201cDetailed African provenance is the exception rather than the rule. Many records are incomplete or based on speculation, creating ambiguity rather than understanding.\u201d<\/p>\n\n\n\n

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African Art Galleries at The Mint Museum Randolph<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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African Art Galleries at The Mint Museum Randolph<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

Homann was invited to serve as the curator for the reinstalled African art by Jen Sudul Edwards, the chief curator at The Mint Museum. Homann specializes in West African masquerade practices and serves on the editorial board for the journal African Arts<\/em>. She first traveled to West Africa in 2006 and in the years since has developed deep and longstanding relationships with artists, dancers, blacksmiths, griots (musicians), patrons, chiefs, and boosters of masquerade in Burkina Faso.<\/p>\n\n\n\n

In an article in the museum\u2019s magazine, Edwards writes that after graduate school, she knew her education was deficient in African art studies, so she attended Homann\u2019s classes at UNC Charlotte to deepen her knowledge.<\/p>\n\n\n\n

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\u201cWhen I joined the Mint, I knew that she was the Africanist I would want to evaluate the work in the Mint\u2019s existing African collection and guide the collection forward.” <\/strong><\/p>\n\n\n\n

\u2013 Jen Sudul Edwards, chief curator at The Mint Museum<\/strong><\/p>\n<\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>\n\n\n\n

With a detective\u2019s focus, Homann combed through every physical file that the museum had on its African objects and worked directly with collectors Michael Gallis (a former UNC Charlotte professor) and Asif Shaikh to verify as much information about each work as possible. She was particularly discerning when considering potentially ancient artworks. Such objects require provenance research to determine if they were scientifically excavated (informal excavation is often illegal) or even excavated at all (and therefore “fake”).<\/p>\n\n\n\n

\u201cIf I couldn\u2019t determine that it wasn\u2019t looted or fake, I didn\u2019t put it on display,\u201d she said in an interview.<\/p>\n\n\n\n

And if she could not determine who actually made the art object, she identified its creator as \u201cUnrecorded Artist.\u201d<\/p>\n\n\n\n

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\u201cI applaud the Mint for allowing me to do this work,\u201d Homann said. \u201cThis kind of transparency is uncommon.\u201d<\/strong><\/p>\n<\/blockquote>\n\n\n\n

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Kimi Masquerade Ensemble<\/em> in African Art Galleries at The Mint Museum Randolph.<\/mark><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>\n\n\n\n

Homann wrote the exhibition panels and labels for every object on display. She organized the works into three broad thematic categories. One room focuses on ceremonial objects<\/strong>; another highlights personal and domestic objects<\/strong>; and a third presents \u201cglobal connections<\/strong>,\u201d including a new masquerade ensemble from Burkina Faso that Homann commissioned, working with the artist David Sanou.<\/p>\n\n\n\n

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Homann and Sanou in conversation, 2022<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Homann began a relationship with the Sanou family in 2008, working first with David Sanou\u2019s father, Andr\u00e9. Last spring<\/a>, she went to Burkina Faso to document every step of the creation of the \u201cKimi Masquerade Ensemble,\u201d that is now in The Mint Museum. <\/p>\n\n\n\n

Her ongoing study and curation of Sanou\u2019s work is featured in a new traveling exhibition, New African Masquerades: Artistic Innovations and Collaborations<\/a><\/em>, which opens in April at the New Orleans Museum of Art and for which she is a co-curator.<\/p>\n\n\n\n

Homann has also co-authored the exhibition catalogue.<\/p>\n<\/div>\n<\/div>\n\n\n\n

The Mint\u2019s stunning new acquisition is prominently displayed next to a video of a masquerade festival that Homann took in Burkina Faso. The galleries\u2019 lime green, burnt orange, and turquoise walls honor the vitality of the many objects on display, from colorful textiles to massive pots and exquisitely carved figures.<\/p>\n\n\n\n

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Global Connections<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Ceremonial Objects<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Personal and Domestic Objects<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

\u201cMy hope is that visitors will not only admire the imagination and virtuosity embodied by these works,\u201d Homann writes in her Inspire<\/em> essay, \u201cbut also appreciate the honest approach to sharing what we know and what we don\u2019t know about them as individual objects.\u201d<\/p>\n\n\n\n

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Learn more about the exhibition in this article in QCity Metro<\/a><\/div>\n<\/div>\n<\/div><\/div>\n<\/div><\/div><\/div><\/div><\/div>\n\n\n\n

Photos courtesy of The Mint Museum and Lisa Homann<\/em><\/p>\n\n\n\n

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