Showing 13–24 of 2011 results
Ibis beak
Lega peoples
Democratic Republic of the Congo
Ibis beak, bird bone, feathers.
H: 3.50 cm, W: 16 cm, D: 2.80 cm.
Fowler Museum at UCLA. Museum Purchase. 378.619.
Mussel shell
Lega peoples
Democratic Republic of the Congo
Mussel shell.
H: 1.80 cm, W: 10.60 cm, D: 6.80 cm.
Fowler Museum at UCLA. Museum Purchase. 378.624.
Claw
Lega peoples
Democratic Republic of the Congo
Claw, plant fiber
H: 33 cm, W: 4.8 cm, D: 10.4 cm
Fowler Museum at UCLA. Museum Purchase. 378.625
Animal teeth
Lega peoples
Democratic Republic of the Congo
Animal teeth, animal skin, textile, plant fiber
H: 4.70 cm, W: 7 cm, D: 1.40 cm
Fowler Museum at UCLA. Museum Purchase. 378.628.
Snail shells
Lega peoples
Democratic Republic of the Congo
Snail shell, resin
H: 4.40 cm, W: 5 cm, D: 3.60 cm.
Fowler Museum at UCLA. Museum Purchase. 378.631.
Tortoise shell
Lega peoples
Democratic Republic of the Congo
Tortoise shell
H: 5.60 cm, W: 9.70 cm, D: 13.80 cm.
Fowler Museum at UCLA. Museum Purchase. 378.645.
Shell
Lega peoples
Democratic Republic of the Congo
Shell
H: 2 cm, W: 9.70 cm, D: 5 cm
Fowler Museum at UCLA. Museum purchase. 378.765
Jawbone
Lega peoples
Democratic Republic of the Congo
Jawbone, cotton cloth, raffia.
H: 3.70 cm, W: 6.50 cm, D: 3 cm.
Fowler Museum at UCLA. Museum Purchase. 378.775.
For information on ordering visit the Fowler Museum Store.
To speak with a store representative, please call (310) 206-7004.
Edited by Gillian Vogelsang-Eastwood
Dressed with Distinction: Garments from Ottoman Syria offers a window onto the history of textile production in the Middle East during the late nineteenth and early twentieth centuries. The elaborate garments documented here originated in western Syria and were worn until the fall of the Ottoman Empire at the end of World War I when political and social changes led to the dominance of Western-style commercially manufactured attire. Until then, for hundreds of years, skilled artists in Syrian cities produced intricately woven textiles and garments for the royal courts, worldly merchants, and elite Bedouin families.
In addition to articulating the social and seasonal contexts in which the garments were worn, this publication examines the styles of 28 examples of dress once worn by women, men, and children in Ottoman Syria. These garments include cloaks (abaya), head-coverings (hatta), women’s body coverings (çarşaf), and jackets (qumbas).
Dressed with Distinction: Garments from Ottoman Syria features the collection of David and Elizabeth Reisbord, gifts and promised gifts to the Fowler Museum at ucla.
Gillian Vogelsang-Eastwood is the Director of the Textile Research Centre, Leiden, the Netherlands. She is the author of Encyclopedia of Embroidery from Central Asia; The Iranian Plateau and the Indian Subcontinent, Bloomsbury, London (2019); and editor and author of the Encyclopedia of Embroidery from the Arab World, Bloomsbury, London (2017). With William Vogelsang, she co-authored Covering the Moon: A History of Middle Eastern Face Veils, Peeters, Leeuven (2008).
Joanna Barrkman is Senior Curator, Southeast Asian and Pacific Arts, Fowler Museum at ucla, Los Angeles. She co-edited Textiles of Timor: Island in the Woven Sea with Roy W. Hamilton, Fowler Museum Textile Series, Vol. 13, Fowler Museum at ucla (2014). She authored Textiles of Covalima, Timor-Leste, National Directorate of Culture and Creative Industries, Timor-Leste, Dili (2015).
PUBLISHED: December 2019
BIBLIOGRAPHIC INFORMATION: 80 pages, 9 x 12 in, 72 color illus., 1 b&w illus., 1 charts, 1 map
ISBN-13: 978-0-99076266-9-0
Fowler Museum Textile Series, No. 15
Textile Series Editorial Board
Marla C. Berns
Matthew H. Robb
Joanna Barrkman
Deirdre O’Dwyer
Danny Brauer
Object Name: Mask
Artist: Unknown
Cultural Group: Sinhala peoples
Place of Origin: Southern Province, Sri Lanka
Date: Early 20th century
Dimensions: L: 43.00 cm, H: 25.00 cm
Materials Used: Wood, paint
Credit Line: Fowler Museum at UCLA. Anonymous Loan.
Accession Number:LX74.1a-c
For information on ordering, click here or visit the Fowler Museum Store.
To speak with a store representative, please call (310) 206-7004.
Edited by Erica P. Jones
Botswana-born Meleko Mokgosi is an emerging contemporary artist whose large-scale figurative paintings are garnering growing accolades and attention worldwide. In all his work, Mokgosi emphasizes narrative storytelling. This approach inspires the viewer to think deeply about the politics, power structures, and role of history in the creation of independent nations of southern Africa. Mokgosi organizes his episodic painting cycles like chapters in a book. Bread, Butter, and Power forms a chapter in his current series, Democratic Intuition, which seeks to explore the many ways democratic concepts influence life, love, and relationships.
This monograph, with an essay by the exhibition’s curator, discusses and contextualizes Bread, Butter, and Power, illustrating it fully and including gatefolds that allow the reader to see how the cycle is intended to be presented and experienced. Mokgosi’s work is especially important now, because he is among a small group of individuals giving voice to the generation that grew up in the post-1960s euphoria of independence. Mokgosi seeks to illustrate many untold experiences of southern Africa, drawing imagery from South Africa, Namibia, and Botswana.
PUBLISHED: March 2020
BIBLIOGRAPHIC INFORMATION: 56 Pages, 8 x 12 in, 25 color illus.
ISBN: 9780990762676
For information on ordering, click here or visit the Fowler Museum Store.
To speak with a store representative, please call (310) 206-7004.
Edited by Nancy Neaher Maas and Philip M. Peek
Summoning the Ancestors explores a collection of 72 ǫfǫ (small ritual objects) and 74 bells produced in southern Nigeria by Igala, Igbo, Edo, Yorùbá, and other neighboring peoples, which was gifted to the Fowler Museum by Mark Clayton. The use of bronze ǫfǫ, dynamic symbols of one’s relationship with the ancestors, dates back to at least the fifteenth century. Ǫfǫ likely derive from wire-wrapped bundles of twigs from a tree venerated in southern Nigeria. Bells largely made in the late nineteenth to mid-twentieth centuries were cast in copper alloys, using the lost-wax technique. Many were rung to invoke ancestors or nature spirits, and some announced the presence of important members of the living world, such as priests or local rulers. Richly illustrated, Summoning the Ancestors highlights the remarkable variation possible even in such modest artistic genres.
PUBLISHED: 2020
BIBLIOGRAPHIC INFORMATION: 100 Pages, 9 x 12 in, 126 color illus.
ISBN: 9780990762683