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- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/04%3A_Africa/4.01%3A_Orientation_to_Africa_and_its_Art/4.1.05%3A_Patronage_in_Contemporary_African_ArtHe began using plastic jerry cans (usually used to transport gasoline in West Africa) as a sculptural medium, noting their resemblance to masks and faces, and drew the attention of a foreign curator i...He began using plastic jerry cans (usually used to transport gasoline in West Africa) as a sculptural medium, noting their resemblance to masks and faces, and drew the attention of a foreign curator in the 1980s, with a London debut in the Saatchi Gallery’s 1992 “Out of Africa” exhibition.
- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/04%3A_Africa/4.02%3A_Themes_in_African_Art/4.2.06%3A_Art_and_DivinationWith the opele method, the diviner casts his chain numerous times, noting whether the positions of its eight markers are “open” or “closed”. In the second method (Figure 359 and video below), the divi...With the opele method, the diviner casts his chain numerous times, noting whether the positions of its eight markers are “open” or “closed”. In the second method (Figure 359 and video below), the diviner passes 16 palm nuts from one hand to the other, noting whether he is left with an odd or even number of nuts in his hand, making corresponding binary marks in sawdust or sand on a carved wooden board in front of him.
- https://human.libretexts.org/Bookshelves/Art/The_Bright_Continent_-_African_Art_History_(Curnow)/01%3A_Orientation_to_Africa_and_its_Art/1.2%3A_Gender_Materials_Techniques_in_Traditional_ArtFigure 21.This lost-wax casting diagram (using a 15th-century Yoruba bronze head from Ife, Nigeria as an example) shows the steps of this technique from left to right: 1) roughly-shaped clay head, 2) ...Figure 21.This lost-wax casting diagram (using a 15th-century Yoruba bronze head from Ife, Nigeria as an example) shows the steps of this technique from left to right: 1) roughly-shaped clay head, 2) beeswax applied and details created in wax, 3) wax sprues and vents attached to surface, 4) fine clay and regular clay packed around head, spues and vents extending to surface, 5) head heated, wax runs out, 6) molten metal poured; fills in gaps left by wax, 7) outer terracotta shell broken off, 8) …
- https://human.libretexts.org/Bookshelves/Art/The_Bright_Continent_-_African_Art_History_(Curnow)/03%3A_Themes_in_African_Art/3.2%3A_Coupling_UpWillingness to participate, ability to endure with grace even when taunted by girls of the opposing community, and the appearance of diffidence at both the infliction and reception of pain is a key el...Willingness to participate, ability to endure with grace even when taunted by girls of the opposing community, and the appearance of diffidence at both the infliction and reception of pain is a key element of Fulani pulaaku, or “Fulaniness.” Endurance is a necessity for the hard life of a nomad, and Sharo underlines the way men face the blows of life.
- https://human.libretexts.org/Bookshelves/Art/The_Bright_Continent_-_African_Art_History_(Curnow)/03%3A_Themes_in_African_Art
- https://human.libretexts.org/Bookshelves/Art/The_Bright_Continent_-_African_Art_History_(Curnow)/00%3A_Front_Matter
- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/04%3A_Africa/4.01%3A_Orientation_to_Africa_and_its_Art/4.1.01%3A_General_IntroductionIf we don’t think of the Irish (4.8 million) or the South Koreans (51.25 million) as tribes, even though both nations have fairly homogeneous populations, why would we describe the Yoruba or the Hausa...If we don’t think of the Irish (4.8 million) or the South Koreans (51.25 million) as tribes, even though both nations have fairly homogeneous populations, why would we describe the Yoruba or the Hausa (both in the 38-40 million range) as tribes? “Ethnic group” accurately describes both the Zulu and the Han Chinese, despite differences in numbers and lifestyle.
- https://human.libretexts.org/Bookshelves/Art/The_Bright_Continent_-_African_Art_History_(Curnow)/03%3A_Themes_in_African_Art/3.9%3A_African_Art_as_InspirationIn this single frame from Coming to America, the extra in the back wears the large torqued gold earrings of the Malian Fulani, while James Earl Jones, the king, wears a suit with the gold amulet neckl...In this single frame from Coming to America, the extra in the back wears the large torqued gold earrings of the Malian Fulani, while James Earl Jones, the king, wears a suit with the gold amulet necklaces of the Akan, as well as their talisman crown ornaments–but worn on a hat inspired by those worn by the late Guinean head-of-state Sekou Touré.
- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/04%3A_Africa/4.01%3A_Orientation_to_Africa_and_its_Art
- https://human.libretexts.org/Courses/Prince_George's_Community_College/Introduction_to_Art__Art_History_Part_2/04%3A_Africa/4.02%3A_Themes_in_African_Art/4.2.03%3A_MotherhoodOther kinds of maternity images did not occur in Benin court art, although the large unfired clay images that form altars to Olokun, the deity of the sea and riches, often represent one or more of his...Other kinds of maternity images did not occur in Benin court art, although the large unfired clay images that form altars to Olokun, the deity of the sea and riches, often represent one or more of his wives holding a baby (Figure 295), a more conventional way of showing the maternal bond and continuity of the lineage, whether human or supernatural.
- https://human.libretexts.org/Bookshelves/Art/The_Bright_Continent_-_African_Art_History_(Curnow)/2%3A_Analyzing_and_Discussing_African_Art/2.1%3A_Elements_of_DesignWhen an artist is painting a landscape vista, several factors can suggest a deep space: objects in the foreground are crisp, while those in the distance are less focused; objects in the foreground hav...When an artist is painting a landscape vista, several factors can suggest a deep space: objects in the foreground are crisp, while those in the distance are less focused; objects in the foreground have more distinct colors, while those in the distance tend toward grey; objects in the foreground are dark, while those in the distance become paler.
