From the start of the day, we researched our object through the internet, handouts, and the Cooper Hewitt collection list. We found 3 objects from the collection list, but unfortunately, the necklace was in nowhere. We aimed to draft a short description of the objects that likely be our B-text, the label describing an object exhibited in a museum. My assigned object was the hat. I found a lot of distinctive features of the hat, which made it tough to get the description concise. Below is the final draft:
In the Cameroon Grasslands, the human head is considered an essential subject of appreciation, which makes hats an essential tradition. Hats serve a religious and ceremonial function and also indicate marital status. This geographically distinctive hat, known as an ashetu, provides spiritual protection. It is made with woven hemp fibers and represents a unique ‘knotless knitting’ technique. The crocheted burls reflect the tufted hairstyle worn by high-ranking men, and each of them contains a small wooden peg, an original way to maintain its shape. Additional traditional, aesthetic, and symbolic decorations such as cowry shells, trade beads, and feathers further emphasize the massive wealth and high status of the wearer.
I further included the information regarding the Cameroon tribes and culture. Since there was no name of the makers of the hat, I studied comparable types of hats, known as an ashetu, from the same geographical region, Cameroon. Below is the result:
The Cameroon Grasslands is organized into chiefdoms, which are ruled by a fon, or king. The Fon regulates the use and production of material possessions, such as the Ashetu. Ashetu, or prestige hats, are only worn on special and ceremonial occasions; they are part of multiple Cameroon Grasslands cultures, such as the Bafo, Bamum, and Bamileke kingship societies. In addition to the hat, hairstyles, wooden masks, and body paint are essential parts of the Cameroon Grasslands cultures and their ideas of beauty. The tribes display their social and political ideals through the art of the body.
After the research, we joined with Cristina and Peg, the other curator, and wrote the title and the A-text, the overview of the exhibition. A-text describes relations between objects and themes, so the users know what to expect from the exhibition. The title was “Design in the 20th Century: Aesthetic Innovations in Craft.” Below is the A-text: Top of their classes, these designers paved the way for new and innovative techniques in their fields. Each object represents a great example of the mastery of its craft. The following four objects from different periods, cultures, and aesthetic perspectives connect through the theme of innovation. The Man’s Hat from Cameroon, known as an Ashetu hat, uses form and technique known as “knotless knitting,” one of the oldest textile construction methods in Central Africa. Glassmaker, Toots Zynsky, made the unique Sculptural Vessel using her inventive design by fusing and firing glass filaments. Through its new visual vocabulary of bold colors and minimal graphics, the Adler Typewriter poster designed by Lucian Bernhard was innovative in its time to connect directly to viewers and potential consumers of this product. Sharp, vibrant, and striking- Thorn Beads Necklace by Pier Voulkos uses polymer clay to create a unique complexity in its final form. We invite you to immerse yourself in our exhibition.
