Bracelet (Manilla), 20th Century
Nigerian
Brass alloy
4 1/4 inches diameter
Racine Art Museum, Gift of Mr. and Mrs. James Eiler Molbeck, Sr.
Photography: Rachel Comande
RAM Showcase: African Adornment
May 13, 2026 – February 20, 2027
at Racine Art Museum
Implying a body whether or not one is present, adornment speaks to the human condition regardless of where, when, or by whom it was created or worn. People choose to adorn their bodies for a multitude of reasons, and how and with what they do it speaks volumes—forming a complex web of meaning linked to material or social value, luxury, fashion, emotions, status, wealth, and commerce. Not all societies approach these issues from the same perspective, but adornment can play a pivotal role in reflecting some or all of these concepts.
This exhibition is comprised of objects with layered and potentially uncomfortable histories. Specifically, these works are from a collection of incised metal bracelets and neckpieces from West Africa that span the eighteenth through twentieth centuries. Objects like this were used as currency, often within a trade or barter network, in exchange for local agricultural and luxury products. However, they were also often used in transatlantic slave trade negotiations.
Recognizing the complexity of this kind of work and sensitive to its compelling history, RAM staff wanted to find an informed and authentic context to share it. To that end, RAM engaged contemporary jeweler Tanya Crane, who addresses historical connections and layers of existence in her own work, to respond to what she sees within these pieces. Crane’s exhibition in a nearby gallery features neckpieces, brooches, and bracelets that she created, reflecting both her aesthetic style and the influence of the African metalwork as well as other patterns connected to global Indigenous communities.
RAM’s collection is mainly comprised of art jewelry—wearable and decorative pieces that express ideas and explore materials or the potential of design. This work may be made just for an exhibition, not necessarily to be worn on the street (if it is even wearable at all). Rooted in theory and experimentation, this framework of production is very different than the one that supported the historical African adornment. Those pieces—collected by someone interested in coinage and currency—still connect to concepts of value and social status but in a way that is different than the concepts that frame the art jewelry in the rest of the collection. Arriving at the museum with only countries of origin and approximate dates noted, these objects cannot be distinguished by the names of the makers or those who wore them, however important those things are in their history and life prior to their time in a private and, finally, public collection. Tanya Crane’s response serves to ground the work in a continuum of making and provides a context that can empower the voices that are speaking (of makers or wearers), even over time and distance.
More About Tanya Crane’s Exhibition
RAM Showcase: African Adornment
May 13, 2026 – February 20, 2027
at Racine Art Museum
Bracelet (Manilla), 20th Century
Nigerian
Brass alloy
4 1/4 inches diameter
Racine Art Museum, Gift of Mr. and Mrs. James Eiler Molbeck, Sr.
Photography: Rachel Comande
Implying a body whether or not one is present, adornment speaks to the human condition regardless of where, when, or by whom it was created or worn. People choose to adorn their bodies for a multitude of reasons, and how and with what they do it speaks volumes—forming a complex web of meaning linked to material or social value, luxury, fashion, emotions, status, wealth, and commerce. Not all societies approach these issues from the same perspective, but adornment can play a pivotal role in reflecting some or all of these concepts.
This exhibition is comprised of objects with layered and potentially uncomfortable histories. Specifically, these works are from a collection of incised metal bracelets and neckpieces from West Africa that span the eighteenth through twentieth centuries. Objects like this were used as currency, often within a trade or barter network, in exchange for local agricultural and luxury products. However, they were also often used in transatlantic slave trade negotiations.
Recognizing the complexity of this kind of work and sensitive to its compelling history, RAM staff wanted to find an informed and authentic context to share it. To that end, RAM engaged contemporary jeweler Tanya Crane, who addresses historical connections and layers of existence in her own work, to respond to what she sees within these pieces. Crane’s exhibition in a nearby gallery features neckpieces, brooches, and bracelets that she created, reflecting both her aesthetic style and the influence of the African metalwork as well as other patterns connected to global Indigenous communities.
RAM’s collection is mainly comprised of art jewelry—wearable and decorative pieces that express ideas and explore materials or the potential of design. This work may be made just for an exhibition, not necessarily to be worn on the street (if it is even wearable at all). Rooted in theory and experimentation, this framework of production is very different than the one that supported the historical African adornment. Those pieces—collected by someone interested in coinage and currency—still connect to concepts of value and social status but in a way that is different than the concepts that frame the art jewelry in the rest of the collection. Arriving at the museum with only countries of origin and approximate dates noted, these objects cannot be distinguished by the names of the makers or those who wore them, however important those things are in their history and life prior to their time in a private and, finally, public collection. Tanya Crane’s response serves to ground the work in a continuum of making and provides a context that can empower the voices that are speaking (of makers or wearers), even over time and distance.
More About Tanya Crane’s Exhibition
Sample of Work in the Exhibition
Click/tap an image for more information
Exhibitions at RAM are made possible by:
Platinum Partners
Anonymous
The Estate of Karen Johnson Boyd
Ron and Judith Isaacs
The Estate of Marilyn Rothschild
Windgate Foundation
Diamond Partners
David Charak
Ruffo Family Foundation
Ruth Arts Foundation
Diane Zebell
Gold Partners
Judith and David Flegel Fund
Osborne and Scekic Family Foundation
Reliance Controls Community Fund
W.T. Walker Group, Inc.
Silver Partners
Anonymous
Anonymous
Bader Philanthropies
Baird
A.C. Buhler Family
Dave’s Wine Garage
Paula and E.L. Donovitz Memorial Endowment Fund
Ben and Dawn Flegel
Tom Harty
Horizon Retail Construction, Inc.
Johnson Financial Group
Robert E. Kohler Jr. Fund
Luanne Frey and Mark Lukow
Sheri and Frank Sullivan
Bronze Partners
Sandy and Gus Antonneau
Carol Baylon
Susan Boland
Rose and Peter Christensen
Educators Credit Union
Carol Griseto
Julia Ann Oas and Don Gloo
Hitters Baseball
Debbie and Chuck Hoffman
Susan and Dan Horton
Gary Van Wert and Ronald Jacquart
Paula Kalke
Bill and Debbie Keland
Nancy Kurten
Susan Manalli
Norbell Foundation
O&H Danish Bakery
Rita Petretti
Rasmussen Diamonds
SC Johnson
Harold and Lois Solberg
Twin Disc
Marc J. Wollman
Amy and Robb Woulfe
Media Sponsor
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