#bkmafricanart

MOST RECENT

“Figure of a Standing Male,” Mangbetu, late 19th or early 20th century. #Ivory, fiber. ✨
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#africanart #artsofafrica #mangbetu #mangbetupeople #elongation #elegant #ivorycarving #brooklynmuseum #brooklynmuseumcollection #bkmafricanart

The Nguabu Master, Mende, “Helmet Mask for Sande Society (Ndoli Jowei),” late 19th-early 20th century. Wood. 🖤

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#NguabuMaster #Mende #Mendeart #mendemask #helmetmask #africanart #africanmask #carvedwood #headdress #sandesociety #scarification #brooklynmuseum #brooklynmuseumcollection #bkmafricanart

Blue beads and cowrie cloak • • “This figure of a fully developed adult actually represents a male twin who died as a child. The Yoruba people believe twins have special connections to the spiritual world. When a twin dies in childhood, a statue, called "ere ibeji," is carved as a representation and memorial. Believing that the twin's spirit lives on in the ere ibeji, the family treats the carving as if it were alive.”
> > Yoruba. Male Twin Figure with Cloak (Ere Ibeji), late 19th or early 20th century. Wood, pigment, cotton cloth, cowrie shells, glass beads, 10 3/4 x 6 3/4 x 4 1/4in. Gift of Drs. James J. Strain and Gladys Witt Strain, 2001.122.1a-b #infinitebluebkm #cowrieshells #ereibeji #yoruba #africanart #bkmafricanart #brooklynmuseumcollection @brooklynmuseum

A little #bluesday inspiration from #BKMAfricanart: Male Yoruba dancers wear gelede masks at festivals honoring the women of the community. Gelede masquerades often serve as a showcase for artistic innovation, with their masks depicting motifs that are both entertaining and critical. This mask depicts a French gendarme, a colonial soldier wearing a blue cap, and was most likely performed as a critique of French personal and political behavior during the colonial period. #infinitebluebkm 🔵 ⠀

“Waist Pendant with Oba and Two Attendants,” Edo State, Benin, mid-16th to early 17th century. Copper alloy.
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#africanart #beauty #power #trio #africanking #beninkingdom #nigerianart #nigeria #precolonialafrica #westafricanart #beninempire #edostate #oba #brooklynmuseum #brooklynmuseumcollection #bkmafricanart

It's hard to pick a favorite side: the front with their beautiful expressions and mirrored poses, or the back, with the contrasting and echoing #patterns of their heads, intertwined arms, and the base. (It's also so odd to see the accession number written directly on the object, which I guess was the practice in the 1920s, when it entered the collection.) ✨

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Kongo (Vili subgroup). Seated Couple, 19th century. Wood.
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#Kongo #africanart #19thcenturyart #powercouple #smiling #woodcarving #duality #pattern #africansculpture #artstagram #brooklynmuseum #brooklynmuseumcollection #bkmafricanart

This 19th-century #wood #Lega figure, called #sakimatwemtwe or "the man with many heads," represents the qualities of equity, #wisdom, and discernment that enable its (male) owner to see all sides of an issue and have knowledge of all things going on around him.

#threeheadsarebetterthanone 👁 👁 👁

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#AfricanArt #artsofafrica #africansculpture #threeheads #Kindi #bwame #congo #beautiful #brooklynmuseum #brooklynmuseumcollection #bkmafricanart

@brooklynmuseum
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One of the works in our extensive and historic #BKMAfricanart collection that best summarizes the spirit of Black History Month may be #OwusuAnkomah's Looking Back Into the Future. It depicts a nude man with his head turned backward, in a pose associated with the Akan proverbial concept of "sankofa" or "one must know the past to know the future.” Sankofa is a concept with a deep and resonant meaning, both in its own Akan context, and in the wider African diaspora, where it has come to symbolize a pan-African spirit of collective memory and heritage. #bhm

#tbt to #AAMCNYC 2015:
#bkmafricanart install won Award for Excellence / today.

This large figure with his “heavy” pose suggests aggression, highlighted by his outsized hands, angled limbs, and severely abstracted face with a gaping mouth. It is thought that figures such as this were used by the #Chamba as protection from malevolent spirits. Find this standing male figure in #iggypoplifeclass, selected for display by artist #JeremyDeller.

A little #bluesday inspiration from #BKMAfricanart: This beaded crown is the ultimate symbol of Yoruba kingship. Although the Yoruba have a long history of glassmaking, the beads used to make this crown would have been imported from the British in the late nineteenth century. At the time, glass beads were a signifier of wealth, and small European “seed beads” were particularly valued for their uniform size and color variety. Blue beads were particularly valuable because the color was not commonly found in natural materials. Worn by an oba, or king, this crown with its beaded veil serves to depersonalize the man and instead emphasizes his office. It also protects onlookers from the danger of casting their eyes directly upon the divine presence of the oba. #infinitebluebkm 🔵⠀

A little #bluesday inspiration from #BKMAfricanart: This beaded crown is the ultimate symbol of Yoruba kingship. Although the Yoruba have a long history of glassmaking, the beads used to make this crown would have been imported from the British in the late nineteenth century. At the time, glass beads were a signifier of wealth, and small European “seed beads” were particularly valued for their uniform size and color variety. Blue beads were particularly valuable because the color was not commonly found in natural materials. Worn by an oba, or king, this crown with its beaded veil serves to depersonalize the man and instead emphasizes his office. It also protects onlookers from the danger of casting their eyes directly upon the divine presence of the oba. #infinitebluebkm 🔵⠀

In this Fang reliquary figure, the male form is reduced to basic shapes—cylinders and circles—echoing the cylindrical reliquary box on which the figure sat. It demonstrates a distinctly different approach to the human form than the Western tradition of naturalism. The artist has accentuated some parts of the body over others, invoking Fang ideas about showing the connection between death and rebirth by combining infantile forms with more mature characteristics. Find this figure in #iggypoplifeclass, selected by artist #JeremyDeller.

@brooklynmuseum
・・・
One of the works in our extensive and historic #BKMAfricanart collection that best summarizes the spirit of Black History Month may be #OwusuAnkomah's Looking Back Into the Future. It depicts a nude man with his head turned backward, in a pose associated with the Akan proverbial concept of "sankofa" or "one must know the past to know the future.” Sankofa is a concept with a deep and resonant meaning, both in its own Akan context, and in the wider African diaspora, where it has come to symbolize a pan-African spirit of collective memory and heritage. #bhm

themes connecting this pair of works: fertility, source of life; nurturing gifts of the matriarch; servitude and submission under a western gaze #bkmafricanart @brooklynmuseum

Is the man on the moon or is the moon in the man? #bkmafricanart #manonthemoon

Portraits of ordinary #kinshasa people by #aimempane. #bkmafricanart

Make chairs, not war

Gonçalo Mabunda's "Harmony" chair is made from decommissioned bullets and munitions left over from the 7 million munitions from the 1992 Mozambique civil war. #gonçalomabunda #bkmafricanart #chair #war #guns #art #sculpture #✌🏽

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