Kongo peoples

17th century

Brass crucifixes cast by Kongo artists reflect the influence Christianity has had on Kongo culture. In 1490, less than a decade after the first Portuguese explorers encountered the then vast and thriving Kongo kingdom, missionaries were sent there to establish a Christian settlement. Although the king and his successor converted almost immediately, Christianity never replaced traditional religious beliefs. Instead, Christian ritual objects acquired many of the same meanings and functions of the charms and power objects they were meant to supersede. Kongo chiefs received them along with other insignia of office and used them to proclaim their power as lawgivers and judges.

Although based on European models, the crucifixes made by Kongo artists also acquired Kongo forms. They were usually cast in an open mold using metal obtained from manillas, brass rings imported from Europe. Praying figures, sometimes reduced to disembodied heads as on the arms of this cross, were often added to the composition. A few incised lines depict Christ's ribs and his knotted loincloth, which are more recognizable here than in later examples. Chirst's exaggerated, splayed hands and feet--joined in a single, five-toed limb--enhance the power of this image.

I think it’s interesting how the people of Kongo would take the traditions of Christianity and create a twist to it that embodies their own traditions. Adding cultural touches to a religion that they excepted as their own.

In his sculptures and installations, Cole gives discarded objects new life. Here, he connects seemingly fragmented and separate histories - of conquest and land appropriation, enslavement, diaspora, migration, joy, and pain. Transforming high-heeled leather shoes into an object inspired by nineteenth-century masks from Cameroon, Cole perceives the "soul/sole" memories that remain in the shoes: the places numerous unknown wearers have walked, along with their skin cells, sweat, and very essence. In doing so, he suggests how woven together American lives truly are and reminds us how these histories impact our present moment and future in complex ways that we can fail to recognize if we do not take time to notice.

I immediately gravitated towards this piece as I have an interest in mask, and furthermore it reminds me of a similar work by another artist that looks like a large feline/canine made with old leather baseball gloves if memory serves right. But, either way, I think a mask is a representation of a persona, role, or icon and they exist within many cultures.

This vessel is a remarkable artifact that showcases the skill and creativity of a free African American potter during a time when such achievements were rare. Its practical design with decorative foliage highlights Commeraw's craftsmanship and underscores his work's cultural significance in early American history.

REACTION: What drew me to this piece was the fact that at first glance, it looked like something I have in my own home. Despite this object being a historical period room, I have tens of combs and hair picks that look similar to this right now, at this moment. In fact, the only thing that makes them different is the fact that rather than a handle, this piece has chains. It makes me wonder about what this piece really means; whenever I see chains in African-American art, it usually symbolizes the enslavement of Black people, but I don't think that's the case here. The combs I have are not new by any means, some are made of wood, some metal, and the ones that I bought myself are made of plastic. The older ones I have, that are made out of wood and metal, are not actually mine. They were given to me by my mother, my aunts, my grandmothers, my female relatives who have all done my hair at some point when I was younger and gave me their hair comb. I didn't really understand it as a child and still don't understand it now, but I think the hair comb not only acknowledges cultural significance, but highlights the passing of heritage.

My initial reaction to this piece was how powerful the symbolism of Sojourner Truth pointing up to the heavens with her hand on a bible was. It's not only beautiful visually but also in the message of the importance of faith and duty to abolition.

Reaction: This flask really caught my eye because I've really never seen anything like it before, it looks very beautiful in its clear glass and simple, seemingly very straight forward and functional shape. The description gives a lot of background to the object's purpose and invention back in the 18th century. It beautifully captures the intersection between African healing practices, Indigenous plant knowledge, and European influences within the concept of this double flask. It was so interesting to hear how they used it back then as a vessel for healing properties and herbal remedies, versus, what we use flasks for today, which would be alcohol.

What makes "Venus 3" interesting is how it blends different materials like glass and metal to create something that feels both elegant and otherworldly. It’s important because it shows how design can be more than just practical; it can also be emotional and tell a story.

My first reaction to "Venus 3" is that it’s really captivating. It’s not just something you see and move on from—it draws you in and makes you want to spend time looking at it. It’s a beautiful example of how design can be both useful and visually stunning.

In line with the message of Before Yesterday We Could Fly, this work pulls from symbols and traditions of the African diaspora and introduces them in a modernistic, futuristic way, and exposing dark and unjust events in American history through a strong composition. It's important to highlight the artist's choice to weave the foliage of the okra plant throughout the whole piece, illustrating its importance to African people, culture, traditions, and values. Nature is something that will always rise on top of or through man-made, industrial/urban structures.

This Ceremonial Palm Wine Vessel is a stunning example of how art can embody both practical and symbolic significance. The intricate beadwork and animal motifs not only highlight the vessel's role in ceremonial rituals but also reflect the profound spiritual and political power of the Fon. Using glass beads as a luxury material further emphasizes the vessel's status and the sophistication of the Grassfields kingdoms. It is fascinating how this piece merges artistic beauty with deep cultural meaning, representing earthly and supernatural realms.

Before seeing the description, I was drawn to this object because of the chain-like border. Like the Mido chair, I felt that it symbolized a connection between the current African diaspora and the previous culture that existed during the times of slavery.

This portrait stood out to me primarily because of the clear parallels between the composition of style of this piece and the portraits of wealthy white nobility that can be typically found in traditional, eurocentric period rooms. Although Crabtree is pictured wearing a diving suit, I also think of the well-known photographs of early U.S. astronauts (mostly white men) who were celebrated and regarded as heroes who advanced American progress and global influence. I appreciate that by making these associations the artist highlights the story of Crabtree, someone who made such significant strides and yet is less well known, into a place of historical remembrance.

The London-based designer Ilori creates furniture that is both functional and capable of telling stories. For a 2016 project entitled A Swimming Pool of Dreams, he refurbished a suite of six found chairs to embody the hopes and dreams of the congregants who traveled with him and his family on trips to the Margate seaside, which were organized by the church of his Nigerian-immigrant parents. Among this close-knit group was an auntie who deeply longed for children; her wish is captured by this seat. The beautiful and brightly patterned wing hinged to the side symbolizes both her desire to add to her family and its fruition.

REACTION:

Yinka Ilori's "Iya Ati Omo" captivates with its vibrant colors and patterns, which reflect the artist's British-Nigerian heritage and create a lively dialogue between traditional African aesthetics and contemporary design. This artwork stands out as a compelling exploration of identity and cultural heritage, making it both interesting and significant in its ability to bridge diverse artistic and cultural narratives.

This butter churn is a powerful reminder of the ingenuity and resilience of African American households. Its presence in the Afrofuturist period room adds a sense of continuity between past and present, illustrating how traditional skills and domestic life are part of a larger narrative of survival and adaptation. I find this artifact particularly interesting because it symbolizes not just the labor involved in daily life but also the cultural heritage that shapes identity and community resilience.

I recall Alison Saar used Nkisi figures in her work as well so it adds even more impact to learn in more depth the meaning and history of these figures and their importance in African culture. I think it's a great addition to the collection as the figures represent intention, power, and even change/growth as the elements of the figure can change with use.