The following statement from collector Gustave Schindler is an excerpt from the 1975 publication +. 

My first meaningful encounter with African art occurred in the late 1940s when, on a trip to Germany, Franyo and I saw exhibits which showed German Expressionist paintings together with art from Africa.

Modeled quero forms developed around the middle of the 17th century, representing exclusively feline and human heads. Wear around the rim and body, as well as repairs at the ear, indicate that this feline vessel was actually used.

Modeled quero forms developed around the middle of the 17th century, representing exclusively feline and human heads. The modeled human faces generally represent Antis, individuals from the untamed eastern quarter or Antisuyu, identifiable through their horizontal stripes of face paint.

The ritual consumption of maize beer, or aqha (a’qa) was associated with the agricultural calendar.

Christianity has an extensive history in Africa. It was first introduced in the 4th century to the ancient and prosperous Axumite kingdom in present-day Ethiopia. The Axumites traded far and wide, exporting incense, ivory, rhinoceros horn, tortoiseshell, apes, and slaves through the port of Adulis on the Red Sea and importing goods and ideas from Syria, Egypt, and other lands.

The ritual consumption of maize beer, or aqha (a’qa) was associated with the agricultural calendar. The scene on this cup portrays an ox plowing the field, followed by a male and one female who plants seeds and another that holds up a pair of cups, or quero.

Through twenty years of collaborative research, conservators and scholars have determined the materials and techniques used in the production of colonial wooden goblets, or quero. The polychrome surface was made through inlay with a resi

Cindy Sherman's photographs combine narrative allusions with a strong painterly style to express a sense of touching irony. Sherman herself poses for all the large-format color prints, and the guises she assumes are those of women who hover around the edge of experience.

Although George Rickey worked as a painter in his youth, as early as the 1930s he was attracted to Alexander Calder's sculpture and its incorporation of movement. After World War II, he shifted to sculpture and devoted his artistic career to experimenting with motion in sculpture. Unlike Calder's works, Rickey's sculptures do not refer to natural forms.