172 UMMA Objects
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This image is one of twelve photographs from Brassaï's <em>Transmutations</em> portfolio. In this photograph, Brassaï has drawn on a negative of a female figure using the cliché-verre process. The resulting image portrays a female nude partially abstracted into geometric shapes.
Brassaï (French (culture or style))
Carnival
1934 – 1967
Museum Purchase
1971/2.150.12

Richard Lindner
Shoot V, from "Shoot"
1971
Gift of Mr. Natan Goldenberg
1977/2.42
This double-faced sculpture has been carved from semihard wood. The male is distinguished by the beard, formed by a double row of small triangles. The female, which faces the opposite direction, shares a neck and trunk with her male counterpart. The heads are disproportionately large and both faces are ovoid-shaped, with a wide convex forehead and broad features. Their coiffures converge to form a single cone composed by stratified, semi-circular rings. A cavity on the top of the coiffure likely held medicinal substances, imbuing the figure with power. The male and female each have sharply protruding bellies, marked with round umbilici.  Both possess two sets of arms, which are detached from the body and situated on either side of their respective abdomens. Three of the four feet have broken off. The encrusted surface of the <em>kabeja</em> reveals that it was once the recipient of libational offerings.   
Hemba (Hemba (culture or style))
Power Figure
1865 – 1875
Gift of Candis and Helmut Stern
2005/1.226

Jean Metzinger
Pointe seche
20th century
Gift of Herbert Barrows
2002/2.62

Sonia Sheridan
Unititled
1991
Gift of Professor Diane M. Kirkpatrick
2000/2.9.2
Conical-shaped piece of brass with a flared edge incised with diagonal lines and a small knob-like projection at the top. 
Face Plug
1890 – 1920
Gift of Dr. James and Vivian Curtis
2000/2.96
Centered in the page in this print are two figures in matching costume, one facing the viewer and one away. They are each dressed in a black suit with pink cumberbund and white socks and gloves. Each figure wears a cape with green interior; the back is white with vegetal and animal motifs in orange, pink, green, grey and black. On the left, the more-visible cape has a grey bird on one side and an orange horse on the other. As visible on the left figure, who faces away, there is a large black collar on the cape in the shape of a triangle, and off of the collar hangs a long pink piece of fabric.  Both figures wear white hats—shaped like umbrellas—that have large plumage of black, orange and green coming from a pole off the top. Lastly, as seen in the right figure, they wear a pink mask with a mustached face.
Carlos Mérida (Guatemalan)
Danza de los Paragüeros
1937 – 1939
Museum Purchase
1944.10
Centered on the page in this print are two figures. Both have oranged-tan skin, revealed by their bare chests, arms and legs. At their ankles, there are white bands with gold circles. On the left, the figure wears blue shorts with a wide white waistband. He faces away, on his head there is a headdress in the shape of a horned-deer that faces to the left, attached by a white cloth. The figure holds two yellow disks. On the right, the man wears slightly different draping knickers with a wide-white waist band that has small orange toggles hanging off the front and a white flap off the back. He wears a blue mask with a white, abstracted face painted on. The mask has gold fabric attached at the top and bottom to represent hair and a beard. This right figure holds a small blue box with white design.
Carlos Mérida (Guatemalan)
Danza de los Pascolas y el Venado
1937 – 1939
Museum Purchase
1944.8
This is a vertically arranged abstract print that incorporates sets of facial features (and perhap legs) that stare out at the viewer. The colors in the print are predominately yellow on the right and black on the left; green, red, and white are also used.
Adja Yunkers (American (North American))
Succubae
1950
Museum Purchase
1950/2.22B
Face mask made of wood, covered in white kaolin; face has round, bulging forehead, deep set narrow eyes, small round ears, fiber beard, open rectangular mouth and pointed teeth; basketry weave that held mask on the dancer’s head is visible at back and sides; raffia attachment on top of head frayed and missing.<br />
Salampasu (Salampasu)
Mask (Kasangu)
1920 – 1960
Museum Purchase assisted by the Friends of the Museum of Art
1971/2.44

Albert Kahn (American (North American))
Hotel de Ville, Brussels
08/18/1891
Transferred from the College of Architecture and Design, 1972—Gift of the Family of Albert Kahn: through Dr. Edgar A. Kahn; Mrs. Barnett Malbin; Mrs. Martin L. Butzel
1972/2.516

Henri Salembier
Design for a Vertical Panel (1 of a set of 12)
1781
Museum Purchase
1959/2.66
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