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"Third Way" to Promote African Design and Technology (Figure)
NEW YORK — The most ambitious exhibition organized by Lowery Stokes Sims since becoming the curator of the Museum of Arts and Design in New York City in 2007 is set to open this month. In collaboration with Leslie King-Hammond, former Dean of the Maryland Institute College of Art, the exhibition, titled *The Global Africa Project*, will run from November 17 until May 15 next year. Featuring works from over 100 designers, craftspeople, and artists, the show blurs the lines between traditional craftsmanship and contemporary design.
Among the highlights are Kossi Aguessy’s *Damn!!! Chair* (2009) and a piece from Sakina M’Sa’s 2010 collection. While the exhibition centers on African and African diasporic design, it goes beyond surface-level representation, exploring how traditional techniques intersect with global markets. For instance, you’ll find furniture crafted in Senegal by Bibi Seck, architectural designs by Mervyn Awon from Barbados, and paper ball murals by Algernon Miller in Uganda using recycled Obama campaign materials.
Meredith Mendelssohn, a journalist for *ART + AUCTION* and part of the ARTINFO media network, recently spoke with Sims about the project.
**Meredith Mendelssohn:** Why did you choose to organize this exhibition now?
**Lowery Stokes Sims:** Over the past few years, there has been growing interest in addressing economic challenges in Africa. The continent’s design and artisanal industries are slowly evolving, though many practitioners feel they lack support from local governments. But this isn’t about aid or investment—it’s more about a third approach: small business models that are gaining traction. Artists and creators from remote areas are now entering the global market.
Take the *Gahaya Links weavers* from Rwanda, who bring together Hutu and Tutsi widows, offering them a sustainable income. They have a presence at Macy’s and even a designer partner. It’s a mix of commerce, tradition, and social impact.
**MM:** What will surprise viewers the most?
**LS Sims:** Some of these works don’t look traditionally African. For example, Togolese-Brazilian designer Kossi Aguessy, who lived in Paris with Yves Saint Laurent and Cartier, and Sakina M’Sa, who lives in Paris but draws inspiration from the Comoros. These examples show how African designers are competing globally.
**MM:** Is there a commercial aspect to the exhibition?
**LS Sims:** Absolutely. The exhibition catalog includes a guidebook with links to each designer’s website. Working in museums focused on design and craft is interesting because the path to the market is more direct than with paintings or sculptures. I was surprised to be able to discuss this without any stigma.