{"id":3322,"date":"2026-09-14T06:40:03","date_gmt":"2026-09-14T06:40:03","guid":{"rendered":"https:\/\/www.echoartfoundation.com\/at-the-haggerty-the-otherworld-is-home-maps-memory-identity-and-passage\/"},"modified":"2026-09-14T06:40:03","modified_gmt":"2026-09-14T06:40:03","slug":"at-the-haggerty-the-otherworld-is-home-maps-memory-identity-and-passage","status":"publish","type":"post","link":"https:\/\/www.echoartfoundation.com\/es\/at-the-haggerty-the-otherworld-is-home-maps-memory-identity-and-passage\/","title":{"rendered":"At the Haggerty, \u201cThe Otherworld is Home\u201d Maps Memory, Identity, and Passage"},"content":{"rendered":"

The Haggerty Museum of Art at Marquette University is presenting a museum-wide initiative titled The Otherworld is Home<\/em>, a suite of free exhibitions and programs that span centuries and continents. Taking its cue from the Yor\u00f9b\u00e1 proverb, \u201cLife is a journey, the otherworld is home\u201d (ay\u00e9 l\u2019\u00e0j\u00f2, \u1ecd\u0300run n\u2019il\u00e9), the project considers personal reclamation, cultural identity, spiritual passage, and links across Africa\u2019s many diasporas through three concurrent exhibitions and a robust schedule of related events.<\/p>\n

Ancient Roots, Living Values<\/h2>\n

African Art: Ancient Roots, Enduring Values<\/strong> gathers more than 40 classical and neoclassical works and examines how traditional craftsmanship can serve as a conduit between the material and the spiritual. Guest curator and scholar of African and African diaspora arts Henry John Drewal<\/strong> frames the inquiry this way: \u201cThis exhibition and essay explore how, what, and why African works of art . . . work: how they move and affect us; what roles they perform; and the ways they may acquire different purposes, meanings, and values as they travel across oceans and cultural, political, and religious boundaries over time and space,\u201d writes Drewal.<\/p>\n

Contemporary Dialogues and Thresholds<\/h2>\n

In Ik\u00e9 Ud\u00e9: Sartorial Anarchy<\/strong>, artist Ik\u00e9 Ud\u00e9<\/strong> presents an ongoing photographic series of self-portraits that commingle garments and objects from disparate eras and geographies to unsettle familiar markers of cultural and individual identity. The Nigerian born artist, currently based in New York City, describes his approach: \u201cIn each image, I married disparate costumes from widely diverse traditions, countries, and time frames. And in mixing eras and cultures, I was able to bring harmony, as it were, to their similarly irreconcilable differences.\u201d<\/p>\n

Thresholds<\/strong> convenes the work of Aisha Tandiwe Bell<\/strong>, Portia Cobb<\/strong>, Stephen Hamilton<\/strong>, and Daniel Minter<\/strong> to probe the depth and complexity of Black cultural memory. Their practices operate along edges\u2014between visibility and invisibility, the present and the ancestral, departure and arrival. Working across several media, the artists install their pieces alongside African works from the Haggerty\u2019s collection to create a \u201ccall and response,\u201d a participatory exchange in which one voice calls out and others answer in turn. Drawing on a shared, continuously unfolding memory\u2014where the past remains active and unresolved\u2014the exhibition becomes a site for inspiration, critical reflection, and renewal.<\/p>\n

All three exhibitions are accompanied by a full slate of programs listed on the museum\u2019s events page. For additional details, visit marquette.edu\/haggerty-museum.<\/p>\n

V\u00eda thisiscolossal.com<\/a><\/em><\/p>","protected":false},"excerpt":{"rendered":"

The Haggerty Museum of Art at Marquette University presents The Otherworld is Home, a free museum-wide initiative inspired by a Yor\u00f9b\u00e1 proverb and anchored by three simultaneous exhibitions on African art, identity, and spiritual passage. Highlights include more than 40 works in African Art: Ancient Roots, Enduring Values, Ik\u00e9 Ud\u00e9\u2019s Sartorial Anarchy, and Thresholds featuring Aisha Tandiwe Bell, Portia Cobb, Stephen Hamilton, and Daniel Minter.<\/p>","protected":false},"author":4,"featured_media":3321,"comment_status":"","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[20],"tags":[],"class_list":["post-3322","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-happening-now"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/posts\/3322","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/comments?post=3322"}],"version-history":[{"count":0,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/posts\/3322\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/media\/3321"}],"wp:attachment":[{"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/media?parent=3322"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/categories?post=3322"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.echoartfoundation.com\/es\/wp-json\/wp\/v2\/tags?post=3322"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}