Biography and Bibliography of Sierra Leone RPCV Frederick Lamp
Frederick Lamp
Frederick Lamp is Curator of the Arts of Africa, Asia, the Americas & Oceania at The Baltimore Museum of Art. He also teaches African art at the Maryland Institute, College of Art, and has taught previously at The Johns Hopkins University, and elsewhere. He holds a Ph.D. in the History of Art from Yale University. Specializing in the art of Sierra Leone and Guinea in West Africa, Dr. Lamp has conducted research with fellowships from the National Gallery of Art, the Fulbright Scholar Award, Social Science Research Council, the Smithsonian Institution, and others. He is the author of Art of the Baga: A Drama of Cultural Reinvention, 1996, and La Guinée et ses Heritages Culturels, 1992, as well as numerous articles.
Dr. Frederick Lamp is a curator at The Baltimore Museum of Art, and Professor of Art History at the Maryland Institute, College of Art, specializing in the art of Africa.
F. Lamp avec son homonyme, Katako,
Baga Sitemu. Photo Oumar Tall, 1990.
F. Lamp. Afrika Museum, Hollande. 1985
Bibliography
Principal Publications
* From African Artist to American Collector: Re-Presenting the African Arts at The Baltimore Museum of Art, The Baltimore Museum of Art, Baltimore (in preparation for publication, 2002).
* "Ah, So Proudly Displayed: the Entrance and the Exit in the Temne Women’s Bondo Initiation," African Arts, (in preparation for publication, 2001).
* Art of the Baga: A Drama of Cultural Reinvention. Museum for African Art, New York, and Prestel, Munich, 1996.
* "Dancing the Hare: Appropriation of the Imagery of Mande Power Among the Baga," in J. Jansen & C. Zobel, eds., The Younger Brother in Mande: Kinship and Politics in West Africa, Research School, Centre for Non-Western Studies, Leiden University, 1996.
* La Guinée et ses Heritages Culturels: Articles sur l'Histoire de l'Art de la Région, United States Information Service, Conakry, Guinea, 1992.
* "Ancient Wood Figures from Sierra Leone: Implications for Historical Reconstruction," African Arts, XXIII, 2, 1990: 48-59, 103.
* "An Opera of the West African Bondo: the Act, Ideas and the Word," The Drama Review, XXXII, 2, 1988: 83-101.
* "Heavenly Bodies: Menses, Moon, and Ritual Sanction among the Temne of Sierra Leone," in T. Buckley & A. Gottlieb, eds., Blood Magic: Explorations in the Anthropology of Menstruation, University of California, Berkeley, 1988.
* "Cosmos, Cosmetics, and the Spirit of Bondo," African Arts, XVIII, 3, 1985: 28-43, 98-99.
* "House of Stones: Memorial Art of Fifteenth-Century Sierra Leone, " The Art Bulletin, LXV, 2, 1983: 219-237.
* African Art of the West Atlantic Coast: Transition in Form and Content, L. Kahan Gallery, New York, 1979.
* "Relief of an Aztec Goddess in the Olsen Collection," Yale Art Gallery Bulletin, XXXVII, 2, 1979: 24-32.
* "Frogs into Princes: the Temne Rabai Initiation," African Arts, XI, 2, 1978: 34-49, 94.
Publications: Research Reports, Surveys, Reviews, Other
* "Temne," The Encyclopedia of African Art, Herbert Cole, ed., Macmillan, London (forthcoming 2001).
* "Figure of Man Riding an Elephant," in Africa: Arts and Cultures, The British Museum, London, 2000.
* "Shrine Piece and Dance Headdress: A-Tshol," and "Shrine Piece, Dance Mask or Headdress: Tönköngba," In the Presence of Spirits: African Art from the National Museum of Ethnology, Lisbon, Museum for African Art, New York, 2000.
* "First Word: Africa Centered" (editorial), African Arts, XXXII, 1, 1999.
* "African Aesthetics," International Encyclopedia of Dance, S. J. Cohen, ed., Oxford University Press, New York, 1998.
* "Temne (Sierra Leone)," Encyclopedia of Vernacular Architecture of the World, Paul Oliver, ed., Cambridge University Press, 1997.
* "Under the Hammer: the Baga and Their Art," American Visions: the Magazine of Afro-American Culture, XII, 2, 1997: 22-27.
* "Art of the Baga: A Drama of Cultural Reinvention, at the Museum or African Art, New York," African Arts, XXIX, 4, 1996: 20-33.
* "Art of the Baga: A Drama of Cultural Reinvention," Center 16: Record of Activities and Research Reports, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC, 1996: 109-112.
* "Africa: Symbolism and Ritual," The Dictionary of Art, J. Turner, ed., Macmillan, London, 1996, vol. I: 260-264 (and, as "Ritual of Increase," in The Encyclopedia of African Art, Herbert Cole, ed., Macmillan, London, forthcoming 2000).
* "Africa: Guinea Coast," The Dictionary of Art, J. Turner, ed., Macmillan, London, 1996, vol. I: 386-393 (and in The Encyclopedia of African Art, Herbert Cole, ed., Macmillan, London, forthcoming 2000).
* "Guinea," The Dictionary of Art, J. Turner, ed., Macmillan, London, 1996, vol. XIII (and in The Encyclopedia of African Art, Herbert Cole, ed., Macmillan, London, forthcoming 2000).
* "Baga," The Dictionary of Art, J. Turner, ed., Macmillan, London, 1996, vol. III: 45-48 (and in The Encyclopedia of African Art, Herbert Cole, ed., Macmillan, London, forthcoming 2000).
* "Seated Female Figure, Temne," and "Shrine Figure Headdress, Baga or Buluñits," in Africa: the Art of a Continent, Royal Academy of Arts, London, 1995.
* "Dance Headdress (Banda)," in Doran H. Ross, ed., Visions of Africa: The Jerome L. Joss Collection of African Art at UCLA, Fowler Museum of Cultural History, University of California, Los Angeles, 1994: 49.
* "Dance Headdress (Banda or Kumbaduba)," (gallery brochure), The Baltimore Museum of Art, 1993.
* "Twelve Workshop Styles in the Art of Sierra Leone," Sierra Leone Studies at Birmingham 1988: Proceedings of the Fifth Birmingham Sierra Leone Studies Symposium, A. Jones, P. Mitchell & M. Peil, eds., The University of Birmingham, England, 1990: 43-67.
* "Drum (Timba)," "Drum (te-Ndef)," in Sounding Forms: African Musical Instruments, Marie-Therese Brincard, ed., The American Federation of Arts, New York, 1989: 102-03, 114-15.
* "Female Dance Headdress (Nimba or D'mba)," (gallery brochure), The Baltimore Museum of Art, 1989.
* (Book Review) "John W. Nunley. Moving with the Face of the Devil, " The International Journal of African Historical Studies, 1988.
* "Helmet Mask," and "Seated Female Figure," in Expressions of Belief: Masterpieces of African, Oceanic, and Indonesian Art from the Museum voor Volkerkunde, Rotterdam, Suzanne Greub, ed., Rizzoli, New York, 1988.
* "Baga Shoulder Mask, Nimba," in Important Tribal Art, Sotheby's New York, May 10, 1988: Figure 29.
* "Deity in Female Costume (61)," "Standing Goddess (62)," "Effigy Axe (382)," "Platform Group (408,419)," in George Kubler, ed., Pre-Columbian Art of Mexico and Central America, Yale University Art Gallery, New Haven, 1986: 53-54, 171-172, 182-183, 189-190.
* (Book Review)"Radiance from the Waters: Ideals of Feminine Beauty in Mende Art, Sylvia Ardyn Boone," African Arts, XX, 2, 1987: 17-26, 72-74.
* "The Art of the Baga: a Preliminary Inquiry," African Arts, XIX, 2, 1986: 64-67, 92.
* "Baltimore's African Art Collection," Topic (USIA), No. 155, 1985: 30-36.
* "African Art at The Baltimore Museum of Art," African Arts, XVII, l,1983: 32-46, 88.
* "In the Image of Woman," exhibition brochure, The Baltimore Museum of Art, 1983.
* "The Arts of Africa, the Americas, and Oceania," Members Calendar, The Baltimore Museum of Art, January/February 1983: 1-2.
* "Arts of Africa, the Americas, and Oceania," gallery brochure, The Baltimore Museum of Art, 1982.
* (Book Review) "The Dance, Art and Ritual of Africa, by M. Huet, J. Laud, & J. Paudrat," African Arts, XIII, 1, 1979: 95-97.
* (Exhibition Review) "Treasures from the Ivory Coast," (at J. Camp Gallery, New York), African Arts, XI, 2, 1978: 84-86.
* "Art of Sierra Leone," African Arts, XI, 1, 1977: 78-79 (erroneously attributed to N. Cromwell, with correction in XI, 2, 1978: 8).
* African Sculpture, Syracuse University, 1973 (catalogue entries).
