ブルックリン美術館のインスタグラム(brooklynmuseum) - 11月5日 10時05分

Religion has long been a central part of the African American experience, as churches and mosques have served as conduits for sharing ideas, organizing protests and gathering under the unification of a higher power. Although Christianity and Islam are amongst the most practiced religions in the black community, the artists of #SoulofaNationBKM also paid homage to indigenous African spirituality and deities, bridging similarities between Africa and the diaspora. The Orishas of the Yoruba tradition, religious figures such as the conjure woman, Ghanaian fertility dolls of the Assante tribe, and elements of mysticism and ritual such as astrology, altar work, and Haitian Vodou are all present throughout the exhibition. Spirituality is woven into the fabric of blackness as a way of expressing joy, gathering strength and protection, and having faith in progress and improvement. ⠀
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Betye Saar. Rainbow Mojo, 1972. Acrylic on leather. Collection of Paul-Michael di Meglio, New York. © Betye Saar. Courtesy of the artist andRoberts Projects, Los Angeles ⇨ Betye Saar. House of the Head, 1971. Acrylic,leather, feathers, wood, and bones. Collection of C. Ian White. Courtesy of the artist and Roberts Projects, Los Angeles, California. © Betye Saar. (Photo RobertWedemeyer) ⇨ Jeff Donaldson. Wives of Sango, 1971. paint, foil, and ink on cardboard. Collection of the Smithsonian National Museum of African American History & Culture, Courtesy of Jamelela K. Donaldson, © Jameela K. Donaldson. © Jeff Donaldson ⇨ John Outterbridge. Tribal Piece (Ethnic Heritage Series), 1978–82. Mixed media. Collection of Joel Wachs ⇨ Noah Purifoy. Totem, 1966-8. Mixed media. Private collection, courtesy Tilton Gallery, New York. Courtesy of Noah Purifoy Foundation © 2018.

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