The face mask is from the Dan (Yacouba) ethnic group of Cote D'Ivoire and Liberia and is spiritually meaningful. The mask has simple facial features with small slits for eyes, a broad nose, and protruding lips and may be worn by dancers, athletes, and warriors.
This drawing combines elements of traditional African sculpture and futuristic motifs. The figures’ faces resemble Ashanti akuaba (fertility dolls). The seated mother with a child is also a common motif in African sculpture, as seen in some works from the University Museum’s collection. The figures’ hair textures suggest a more futuristic design.
Noah is a Cameroonian artist who had a residency at TSU in Spring 2023. The work was inspired by Bamiléké masquerades and the Demeure 5 costume by Étienne-Martin, and is made of materials from second-hand shops in Houston. Noah wore the costume during an interactive procession down the Tiger Walk, TSU’s central campus walkway. The costume became part of the exhibition, Memory Palaces: Creations of Franck Kemkeng Noah.
Jimmie Mosely was an artist, navyman, and art professor from Lakeland, FL. Johannesburg is an abstract watercolor depiction of African people traveling through the street. Mosely uses bright colors that emphasize the vibrance of South African culture.
This drawing by Vernon Simmons depicts a kuduo, vessels owned by kings in Akan kingdoms (modern-day Ghana), adorned by tortoises, a sign of longevity. The central figure seated under the umbrella is the nana, a ruler of the Akan people; he is surrounded by attendants. Dr. Biggers was an avid collector of African art and he used pieces from his collection as teaching tools for his students.
This is a Luba sculpture from the Democratic Republic of Congo of a pregnant woman holding her stomach. The Luba are a matriarchal society and often create art centered around women, placing emphasis on their importance in their society. Some suggest that these figures are used to promote fertility.
Onyeiwu’s drawing is of a young boy wearing a smirk on his face. Onyeiwu creates incredible, realistic portraits with fine details. Originally from Nigeria, Onyeiwu received his undergraduate arts degree from Texas Southern, and has since returned to teach drawing and painting classes at TSU.
Williams' drawing is of a Senufo female carving. Texas Southern art students would often use the African Art collection on campus to create drawings like this. Dr. Biggers, the founder of the art department, would bring artwork from his travels to Africa back to Houston. This practice allowed students to get a glimpse of African customs and art, which was a key part of the Afrocentrist curriculum that Biggers worked to develop.
Along with the paired woman and child figure, this male counterpart is heavily covered with facial and body markings as he is regally seated on a decorated stool. The man is holding a sword or spear. His postiche, or false metal beard, is prominent while his upright posture asserts his status. This piece originates from the Senufo people of West Africa
This intricate work of a seated mother and child, possibly royalty, originates from the Senufo people of West Africa. Detailed body modifications and scars cover the mother's body as she calmly looks out. A child on her left leg is cradled close to her body. This piece is paired with a corresponding male figure.
A commentary on the conflict between technology and progress, history and culture, Davis painted this mural in response to the destruction of several Hannah Hall murals to create windows into a new computer lab. Davis’ own mural was later damaged by subsequent construction, as foreseen in its design.
Donald H. Roberts was a painter, photographer, architecture professor, and U.S. Army Vet from Washington, D.C. The Uninvited depicts a technofuture centering a humanoid machine. The humanoid machine is looking toward a keyhole with refracted images surrounded by a dark void.
This is a simple work of a richly colored woman featuring a geometric face with oval eyes, a triangle nose, and a prominent square mouth. The sculpture has African origins, yet the specific ethnic group is unknown because of the lack of body markings and hair adornments. The sculpture has a glossy finish.
This kneeling, beaded woman is a product of the Yoruba people in West Africa. The woman has scars on her face, braids, and is covering her breasts. The woman's colorful beaded jewelry suggests she has a certain status in society, yet her posture shows humility and servitude.
