Professor Elisabeth Wolde Giorgis, a leading scholar, curator, and champion of Ethiopian art and history, died on Sunday, March 16, in Sharjah, United Arab Emirates. She was 69.

A pioneering voice in the study of Ethiopian modernism, Elisabeth spent her career uncovering the intersections of art, history, and identity in Ethiopia and beyond. At the time of her passing, she was Chair of the Department of Humanities and Professor of Art History, Theory, and Criticism at The Africa Institute in Sharjah, a role that underscored her stature as a global intellectual force.

Born with an insatiable curiosity for art and history, she earned a PhD in the History of Art and Visual Studies from Cornell University and a master’s degree in Museum Studies from New York University. She went on to shape the Ethiopian art world through leadership positions at Addis Ababa University, where she served as Director of the Institute of Ethiopian Studies, Dean of the College of Performing and Visual Arts, and Director of the Modern Art Museum: Gebre Kristos Desta Center.

Her reach extended far beyond Ethiopia. She was a Distinguished Visiting Scholar at Brown University, a Visiting Professor at the Academy of Fine Arts in Vienna, and a Fellow at the Rockefeller Bellagio Center in Italy. Her accolades included the Ali Mazrui Senior Fellowship for Global African Studies at The Africa Institute.

Through her curatorial work, she spotlighted both Ethiopian artists and international visionaries, notably organizing a major exhibition of Danish-Icelandic artist Olafur Eliasson’s work at the Modern Art Museum: Gebre Kristos Desta Center.

But Professor Elisabeth was more than an academic; she was a storyteller, weaving Ethiopia’s artistic evolution into the broader narratives of African modernism and postcolonial identity.

Her influence on Ethiopian art and history was profound. Through her research, she introduced students and scholars to the complexities of Ethiopian modernity, the country’s creative arts movement, and the broader socio-political context of contemporary Ethiopian art.

Among her many contributions, Elisabeth’s seminal works stand out. Her book Modernist Art in Ethiopia (Ohio University Press, 2019) was shortlisted for the UK African Studies Association’s Fage and Oliver Prize and was a finalist for the African Studies Association Best Book Prize. It won the 2020 Bethwell A. Ogbot Book Prize for the best work on East African Studies. In addition, her publication The Beginning of Ethiopian Modernism: A Brief Synopsis on the Inception of Ethiopian Visual Modernism (1957–1974) remains a critical reference in the field.

Beyond the lecture halls and galleries, Professor Wolde Giorgis had a rare gift: she could distill complex academic theories into conversations that resonated with the public. Her thought provoking conversations with journalist Meaza Biru on Sheger Radio 102.1, particularly the series What is Modernism?, captivated audiences and brought critical art discussions into mainstream Ethiopian media.

Unlike the often dry and detached tone of academic lectures, her explanations were engaging, refreshing, and deeply insightful. Many found her work invigorating, a rare bridge between academia and the broader public.

One of her enduring contributions was her advocacy for the recognition of Ethiopian women in history. She repeatedly highlighted the marginalization of women in Ethiopia’s historical narratives, both in her academic work and public engagements. Through her scholarship, particularly in Modernist Art in Ethiopia, she explored the role of women in Ethiopia’s visual and literary arts and pushed for their rightful place in historical discourse.

As Ethiopia and the global art community mourn her passing, Professor Wolde Giorgis leaves behind more than a body of work—she leaves a legacy. For those who knew her through her work, her influence remains indelible—a monument to her unwavering commitment to art, history, and the pursuit of knowledge.