Figure 5.3. IMNZ buildings on Mont Ngaliema, Kinshasa, 1970s
Figure 5.4. IMNZ storeroom with Kuba masks, 1976
Figure 5.5. Early exhibition on Mont Ngaliema, IMNZ, Kinshasa, early 1970s
Figure 5.6. Yaka rattle mask, ABA exposition space, Kinshasa.
Figure 5.7. ABA exposition space, Kinshasa
Figure 5.8. FIKIN exposition, Pende statue of mother and child, Kinshasa, July 1976
Figure 5.9. FIKIN exposition, Kinshasa, July 1976
Figure 5.10. FIKIN exposition, Kinshasa, July 1976
Figure 5.11. Front cover of Initiation à l’art plastique Zairois d’aujourd’hui (Introduction to contemporary zaïrian visual art), published for the AICA modern art exhibition; painting by Chenge Baruti
Figure 5.12. Le Militant (The militant), by Liyolo
Figure 5.13. Badi-Banga in his office at the IMNZ, Kinshasa, n.d. [1970s]
Figure 5.14. Kuba sculptor Sham Kwete with three ndop reproductions, 1974
Figure 6.1. Art of the Congo, Walker Art Center, 1967
Figure 6.2. Art of the Congo, Walker Art Center, 1967
Figure 6.3. Art of the Congo, Walker Art Center, 1967
Figure 6.4. Art of the Congo, Walker Art Center, 1967
Figure 6.5. Art of the Congo, Milwaukee Art Museum, 1969
Figure 6.6. Art of the Congo, Milwaukee Art Museum, 1969
Figure 6.7. Catalog covers for Art of the Congo (Walker Art Center and RMCA, 1967) and Art from Zaire (AAI and IMNZ, 1976)
Figure 6.8. Lengola figure, Art from Zaire, Indianapolis Museum of Art, 1977
Figure 6.9. Art from Zaire, AAI, 1976
Figure 6.10. Art from Zaire, AAI, 1976
Figure 6.11. Kuba objects, Art from Zaire, Indianapolis Museum of Art, 1977
Figure 6.12. Pende objects and image of dancer wearing a Gitenga mask, Art from Zaire, Indianapolis Museum of Art, 1977
Figure 6.13. Kuba masks and images of masked Kuba dancers, Art from Zaire, Indianapolis Museum of Art, 1977
Figure 6.14. Museum shop flyer, Los Angeles County Museum of Natural History, 1976
Figure 6.15. Ethnic Arts Shop advertisement, Los Angeles County Museum of Natural History, 1976
Figure 6.16. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981
Figure 6.17. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981
Figure 6.18. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981
Figure 6.19. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981
Figure 7.1. Salle Joseph Aurélien Cornet, IMNC, 2011
Figure 7.2. Leopold II statue, IMNC, 2011
PLATES
FOLLOWING CHAPTER 6
Plate 1. Front cover of Initiation à l’art plastique zaïrois d’aujourd’hui (Introduction to contemporary Zairian visual art), published for the AICA modern art exhibition; painting by Chenge Baruti
Plate 2. Art of the Congo, Milwaukee Art Museum, 1969
Plate 3. Art of the Congo, Milwaukee Art Museum, 1969
Plate 4. Catalog covers for Art of the Congo (Walker Art Center and RMCA, 1967) and Art from Zaire (AAI and IMNZ, 1976)
Plate 5. Kuba objects, Art from Zaire, Indianapolis Museum of Art, 1977
Plate 6. Pende objects and image of dancer wearing a Gitenga mask, Art from Zaire, Indianapolis Museum of Art, 1977
Plate 7. Kuba masks and images of masked Kuba dancers, Art from Zaire, Indianapolis Museum of Art, 1977
Plate 8. Museum shop flyer, Los Angeles County Museum of Natural History, 1976
Plate 9. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981
Plate 10. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981
Plate 11. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981
Plate 12. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981
Acknowledgments
A great many people and institutions supported this project along the way.
There are simply no words for the thanks I owe the staff of the IMNC in Kinshasa and Lubumbashi, and the many people who helped me during my stays in Congo. Désiré Kapata, and especially Dr. Muya wa Bitanko of the IMNC in Lubumbashi, made my stay there very productive. I thank Nicole Sapato and Kiat Wandand for helping me get to know the city. Also in Lubumbashi, Léon Verbeek generously shared the transcripts of his interviews and his wealth of knowledge about modern Congolese art with me. At the IMNC in Kinshasa, André Kule, Françoise Toyeye, N’Kanza Lutayi, and especially museum director Prof. Joseph Ibongo greatly facilitated my research. Francklin Mubwabu helped with access to the newly digitized images of the museum. Dr. Henry Bundjoko was generous with his time and knowledge and helped me both at the museum in Lubumbashi and in Kinshasa after his move there. Vera Melotte, Marius Mihigo, the late Guy Efomi, Liesbeth Bernaerts, and Koen Vanden Driessche helped make my stays in Kinshasa possible. A special thanks goes to Chantal Tombu, for being such a generous host and friend. Most of all, I thank Augustin Bikale, whose support was crucial to my stays in Congo, and whose conversation helped shape this book. Kinshasa mboka té!
I have benefited tremendously from the expertise and support of the staff of the Royal Museum for Central Africa in Belgium. Nancy Vanderlinden, Julien Volper, Mathilde Leduc-Grimaldi, Mathieu Zana Aziza Etambala, Anne Welschen, Hein Vanhee, Maarten Couttenier, Viviane Baeke, and of course director Guido Gryseels, who supported this project from the very beginning, have all helped make this book possible. Raf Storme and Pierre Dandoy helped me navigate the African Archive at the Ministry of Foreign
