In 1986 sculptor Moustapha Dimé returned to Dakar after a year-long religious retreat in the Murid holy city of Touba, Senegal. He had abstained from carving for an entire year, the only such hiatus in his incredibly productive career. He announced his return to the art world that December in a joint exhibition with friend and painter Abdoulaye Ndoye (Senegal, b. 1951) at the National Gallery of Senegal. Entitled Rupture: Peinture Sculpture, the exhibition featured twenty-six sculptures by Dimé, a few of which had been completed prior to his religious sojourn, but most achieved upon his return. The accompanying brochure depicts three of them: le Deuil, la Souffrance, and le Penseur, all in wood and all depicting the human form in a lightly abstracted fashion (Figs. 1a–d). Le Deuil is a group of smoothly carved cylindrical figures clustered together with their heads bowed, while...
Murid Methodology: Moustapha Dimé's Figurative Sculptures
Susan Kart is an assistant professor at Lehigh University with a joint appointment in the Department of Art, Architecture, and Design and the Africana Studies program. Her research focuses on Senegalese art of the independence period, and the exhibition and display of African art objects. She has curated exhibitions of African art at Smith College, Lehigh University, and consults for the Allentown Museum of Art. She has published in Critical Interventions, Third Text and Visual Resources. [email protected]
Susan Kart is an assistant professor at Lehigh University with a joint appointment in the Department of Art, Architecture, and Design and the Africana Studies program. Her research focuses on Senegalese art of the independence period, and the exhibition and display of African art objects. She has curated exhibitions of African art at Smith College, Lehigh University, and consults for the Allentown Museum of Art. She has published in Critical Interventions, Third Text and Visual Resources. [email protected]
Susan Kart; Murid Methodology: Moustapha Dimé's Figurative Sculptures. African Arts 2020; 53 (4): 46–57. doi: https://doi.org/10.1162/afar_a_00551
Download citation file:
Sign in
Client Account
Sign in via your Institution
Sign in via your InstitutionEmail alerts
Advertisement