WMAA 2019 Recipient: Washington DC (Smithsonian Museum of African Art)

Since I had extra time in DC because I unexectedly decided to spend my entire first day in DC in the African-American museum, I figured I would visit the African Art museum, and boy am I glad I decided to do that. As always below will be pictures of what I want to share out of everything I saw and potentially some in depth thoughts and ideas along with the images.

 Combs and whisks were a common occurrence throughout the museum and my overall trip but these two were the first ones I saw in the museum and loved the gold leaf on them.

 Fabric patterns always interest me because I tend to overthink my color choices and convince myself only certain colors work with one another, but it is nice to see works that put colors I would not think to put together next to one another. Encourages me to be more fearless in my color choices

El Anutsui

I must admit I am knowledgeable in many things, but the history of the comb decoration is not one of them. These designs are very interesting, and as I look to potentially incorporate things like combs in my own work, seeing these elaborate combs helps me understand that my combs do not have to look like the ones in my drawer.

Rounded bottoms seem to be the case for most of the ceramic ware in the museum. Some deviated (like below), but the norm seemed to be rounded bottoms. Something to consider as I think about what forms I want to make if I continue to make vessels.

Very interesting texture on this piece! I unfortunately do not have a picture of the tag for this one, so it is a mystery to me where and when this was made, but the texture with the white and block spots reminds me of cowrie shells.

Symbolism is also consistent throughout the museum. Here is an elaborate depiction of adinkra symbols. This one interested me the most because it is similar to the symbol for kujichagulia which is a principal for kwanzaa.

Interesting display choice for these gourd bowls with patterns on their bottoms.

Magdalene Odundo's work looks EXCEPTIONAL in person. Pictures do not do the surface justice.

More cowrie shell patterns on work. Also I enjoy the meta-ness of this pot. Pots on a pot.

This shape is very pleasing to me! I love the top portion. It is so disruptive to the overall form, and I love when forms seem to do what they please regardless of what is standard or expected. Also, the connection between the ceramic and metal is seamless. It seems like one entire ceramic, metal or even wooden piece.

The figure on top of the mask is an interesting approach to masks. It seems that the importance of the piece is not the mask itself but the figure and snake above it.

This specific altar depicts a potter on top of it. This altar is honoring the potter. Reminds me of the work I was making prior to this experience. This whole segment following was the most interesting portion of the museum for me because it encompassed so much of what I found myself interested in. This altar is just one of many.

These figures are a huge influence on my practice, and I have spent a lot of time studying them and the culture surrounding them. It was nice to finally see some of them in person. Way bigger than I had expected.

This piece specifically reminds me of the work I made prior the most, especially my last piece Double Dutch Girl Urn where I included the nails into the piece. The chains, the body/vessel and the object that grounds the piece, as well as, an extension to the body/vessel are all things I considered when making my work too. These works reminded me so much of what I was doing, and felt was new; and for some people it may be disappointing to find out these ideas aren't as fresh and new as one would hope, but for me it felt exciting because it made me feel like I was doing something right. I made the work in hopes of symbolically continuing existing ideas from ancestors into a new original idea, only to find out that my original ideas are similar to practices done historically as well. I felt seen, in a good way. I did not feel alone in my journey for once. I felt like I was unintentionally but necessarily part of our history.

Moving forward, iron/steel is something I want to continue to explore with in my work. Currently, I am interested in placing nails into my work for the connection to the image above and the symbolic reasoning behind nails in Christianity (a dominant religion in AA culture).

All in all, this museum to be a lot more beneficial of an experience than I had anticipated. I knew that I would gain something because I actively source and appropriate western and central African art and culture as a way to create lineage from my distant ancestors to my contemporary practices, but I did not expect to witness a show that details iron's importance in  the cultures of African groups, as well as, funerary practices that closely link to my first body of work. I will definitely look back on this experience for the entirety of my artistic career.