Gerald Williams USA, b. 1941
Family , 1976
Acrylic on canvas
51 x 34 x 1 1/2 in
129.5 x 86.4 x 3.8 cm
129.5 x 86.4 x 3.8 cm
5825
Further images
Gerald Williams, a pivotal figure within the Africobra movement, is acclaimed for his vibrant and dynamic paintings that resonate with themes of Black pride and empowerment. With bold shapes, rich...
Gerald Williams, a pivotal figure within the Africobra movement, is acclaimed for his vibrant and dynamic paintings that resonate with themes of Black pride and empowerment. With bold shapes, rich colors, and intricate patterns, his compositions exude energy and vitality, reflecting his background in graphic design. Williams' art serves as a visual narrative of the African American experience, often delving into topics of social justice, identity, and community. Through his work, he seeks to amplify the voices and stories of marginalized communities, promoting cultural visibility and significance. Williams' contributions to the art world extend beyond aesthetics; his commitment to challenging stereotypes and advocating for social change has cemented his legacy as a pioneering artist and activist within the African American art community.
This painting simply titled “Family” recalls some of the earliest conversations that AFRICOBRA had as a group. When the artist collective originally met in 1968, they decided to collectively produce works around common prompts to see how they individually responded to the concepts, as well as how they collectively were in dialog. The first theme was “The Black Family.”
This painting was produced later on, in 1976, nearly a decade into the group’s existence, after Williams had completed his thesis exhibition at Howard University, where he attained his Masters degree. The following year, AFRICOBRA would exhibit at FESTAC’77, the Second World Black and African Festival of Arts and Culture, in Lagos, Nigeria. Perhaps in anticipation of that larger global Pan-African conversation, this piece engages some symbolism from the Ashanti people of Ghana. The boy at the front, on the right, has an Adinkra symbol on his chest. Adinkra are sigils symbolically representing concepts or aphorisms; the one here is called funtunfunefu-denkyemfunefu, the conjoined crocodiles, a symbol of unity. The two crocodiles share a common stomach; what’s best for one is good for them all. The child on the left has mate masie, most literally meaning "What I hear, I keep," or in a more general sense, "I understand". It is a symbol of wisdom, and more specifically, the prudence to think carefully about the words of others.
This painting simply titled “Family” recalls some of the earliest conversations that AFRICOBRA had as a group. When the artist collective originally met in 1968, they decided to collectively produce works around common prompts to see how they individually responded to the concepts, as well as how they collectively were in dialog. The first theme was “The Black Family.”
This painting was produced later on, in 1976, nearly a decade into the group’s existence, after Williams had completed his thesis exhibition at Howard University, where he attained his Masters degree. The following year, AFRICOBRA would exhibit at FESTAC’77, the Second World Black and African Festival of Arts and Culture, in Lagos, Nigeria. Perhaps in anticipation of that larger global Pan-African conversation, this piece engages some symbolism from the Ashanti people of Ghana. The boy at the front, on the right, has an Adinkra symbol on his chest. Adinkra are sigils symbolically representing concepts or aphorisms; the one here is called funtunfunefu-denkyemfunefu, the conjoined crocodiles, a symbol of unity. The two crocodiles share a common stomach; what’s best for one is good for them all. The child on the left has mate masie, most literally meaning "What I hear, I keep," or in a more general sense, "I understand". It is a symbol of wisdom, and more specifically, the prudence to think carefully about the words of others.
