Items
Type is exactly
Assemblages (sculpture)
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African Labor in the United States
Complex assemblage that primarily revolves around a tall oxidized pole with two horizontal arms, mounted so it swivels from its base. Down the pole is painted "AFRICAN" and across an attached metal beam is painted "LABOR IN USA." Attached to the top arm are three crutches. Attached to the second arm are chains interwoven with multiple oxidized laboring implements including a metal iron, a white hard hat, and coal mining tools. A grated iron board is propped against the primary pole, from which rests additional tools of the trade including a shovel, an additional ironing board (one for a mother and one for a daughter), a metal pail, a lunch box, a sewing machine, and a hoe. When describing the sculpture, Minter calls attention to the memory of the black labor handling these tools, feeling their spirit and their exploitation. -
African Queen
A tall, imposing metal figure. The body is composed of an L-shaped metal porch fence and trellis. Attached to the back, possibly representing the train, is the descending metal work for a handrail. Partway up the trellis, the back and base frame of a metal chair is inverted to suggest arms, on which a glove is attached as well as oxidized chains that hang to the ground. At the top of the trellis sits the remnants of a metal basketball hoop, where the rim is the head, and the chains are partially unfastened to represent falling hair. Two pickaxe heads are welded together to forge the mouth, the nose is black plastic with holes, and the eyes are two large metal oxidized inverted funnel discs. -
African Matriarch
A long horizontal bridge composed of wooden deck materials makes up the majority of this assemblage. The center post of the back railing extends upwards, forming the spine of the matriarch. Her body is evoked by a vertically positioned full-sized metal mattress box spring that has oxidized. Interlaced in the springs are a number of larger metal oars in various states of disrepair, two lighting components that appear to be from a larger truck, and two bicycle helmets (one green and one yellow). Her head is made of a car light, affixed with wire to a number of white steel rectangle grates that frame her face. From this framing extends four tennis rackets (two in either direction) and two diagonal crutches as adornment. The wooden desk railings represent her arms "outstretched." On the deck are placed a red motorcycle helmet, a hub cab, and a large tree branch. To the farther left of the deck are a stack of what appear to be large red plastic numbers and letters. Minter describes this sculpture as so imposing because he "needed to give all the respect he gave her. Without the African matriarch, this country would be in a bad shape." This sculpture is described as being protected by the nearby "Two Zulu warriors" sculpture. Minter underscored that when viewed from behind the African Matriarch looks out onto much of African Village in America. -
The Loyalty of the African Soldier to Defend the Constitution
Large assemblage, composed primarily of a long metal beam, propped up horizontally on either end by concrete supports. Across the horizontal metal beam is painted "AFRICAN SOLDIER SERVICE IN - REVOLUTIONARY - BUFFALO - S - SPANISH - A - CIVIL - WORLD - W I II - KOREA - VIETNAM." Secured on top of the beam is a tin ammunition box, fastened with wire, and two leather boots. Underneath the beam rests multiple oil drums. On one oil drum is painted "GOD LOVES / FAREWELL / TO MY / BROTHERS / SISTERS / LOST IN / VIETNAM," with "1966 [with the second 6 inverted]" painted down one side. On another drum is written: "GOD LOVE / FAREWELL / TO MY / BROTHERS / SISTERS / LOST IN / IRAQ," with "2004" painted down one side. A clear plastic, hexagonal bin also rests under this assemblage. It is filled partially with sand, water, plastic toy tanks, and plastic army men. To the far left of the assemblage, a long metal pipe juts diagonally from the ground, set in a Christmas tree foundation, resting on a metal wheelie, and topped with an orange cone to resemble a bomb. Painted on this pipe are the words "U.S.A." in black lettering, outlined in white. A crutch hangs from the bomb. Secured, at an angle joining the pole and the beam, is another oxidized metal beam with wings resembling an aircraft. -
Rosa Parks Bus
Assemblage; found vehicle materials arranged to represent a bus. A front metal bumper with a white Alabama license plate accompanied by a blue unidentified license plate. Extending from the bumper is a driving wheel and positioned at the wheel are the skeletal remains of a larger vehicle seat. Inside the 'bus,' laying horizontally is a totem structure of large metal bowls, stacked rim to rim and base to base, giving the impression of a series of conjoined orbs. Nearby on the floor of the bus is a crutch, as well as two vertically arranged round metal hoops inside of which extend blue cord, like spokes on a wheel, that concentrate at the center. At the back of the bus, elevated, is the metal remains of a three person bus seat or couch, with seat springs exposed. Resting on the seat is a long vehicle window with four panes, on each pane can be discerned the faint outlines of painted words "PRAY FOR US [indiscernible]." Tethered to the front is a bundle of blue coat hangers and propped on the head of the seat is a long wooden board on which is painted: "ROSA PARKS ALABAMA / DEC. 1 1955 MONTGOMERY." Behind that seat is the metal suggestion of another seating structure, on which is propped another long painted board.