The Kongo ancestral figure is the inspiration for Renée Stout's Fetish #1. The artist's interest in African art focuses upon both the additive and textural components of central African sculpture, as well as its sense of contained power.

After Lunch Trying to Build Railway Ties (2005) features a patterned fabric backdrop that playfully echoes the still life scene in front of it.

Annette Kelm’s curiously staged images often do not distinguish between objects and people, and in her ongoing series of portraits, friends and fellow artists are depicted with the same deadpan style as inanimate objects [2016.16.1,

In Frying Pan, photographer Annette Kelm presents an early electric guitar (nicknamed the “frying pan”) against a turquoise-and-black Dutch wax fabric, typical of African textiles.

Turning into a Parrot (2003) depicts a gloved arm reaching into the picture plane from the right, upon which rests a large red parrot before a lush tropical backdrop of jade plants and palm trees.

Graham Sutherland's work during the 1930s and early 1940s was dominated by expressionistic abstraction from nature, so that the commission in 1944 by the vicar of St.

Graham Sutherland's work during the 1930s and early 1940s was dominated by expressionistic abstraction from nature, so that the commission in 1944 by the vicar of St.

Currently settled in modern-day Côte d’Ivoire, the Baule have a variety of gold regalia for their influential class, including golden rings, bracelets, crowns, and footwear. This particular crown takes the form of a narrow velvet headband. Small wooden ornaments covered in gold foil dot the surface.