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Enamel jewelry by the Rhode Island-based artist Tanya Crane explores the complexities of racial identity. Using a limited palette, she often creates work in black and white. She uses the sgraffito enamel technique, painting black enamel over white and then scraping away the black to reveal the underlying white color. For this necklace, Crane drew inspiration from African history, specifically the life of King Mansa Musa, who ruled the Malian people during the 14th century. She describes his convoy which, she says, “purportedly included 60,000 men, including 12,000 slaves each carrying four pounds of gold bars and heralds dressed in silks possessing gold staffs, horses, and handled bags.” In designing this large, statement necklace, the artist asks us to imagine the king today, showcasing his wealth and power with flashy, bling-bling jewelry. There’s an inherent tension in this adornment, however, with Crane stating that today “black bodies are still seen as quantifiable objects. Moneymakers. Hip-hop stars and athletes are modern slaves offered to the highest bidder."
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Big Pimpin'
Tanya Crane (American, born in 1974)
American
2014
Medium/Technique
Gold (18k), copper, enamel, gold leaf, gold plated brass
Dimensions
Length x width: 61 × 20 cm (24 × 7 7/8 in.)
Credit Line
The Heritage Fund for a Diverse Collection
Accession Number2021.448
ClassificationsJewelry / Adornment – Necklaces and neck bands
Enamel jewelry by the Rhode Island-based artist Tanya Crane explores the complexities of racial identity. Using a limited palette, she often creates work in black and white. She uses the sgraffito enamel technique, painting black enamel over white and then scraping away the black to reveal the underlying white color. For this necklace, Crane drew inspiration from African history, specifically the life of King Mansa Musa, who ruled the Malian people during the 14th century. She describes his convoy which, she says, “purportedly included 60,000 men, including 12,000 slaves each carrying four pounds of gold bars and heralds dressed in silks possessing gold staffs, horses, and handled bags.” In designing this large, statement necklace, the artist asks us to imagine the king today, showcasing his wealth and power with flashy, bling-bling jewelry. There’s an inherent tension in this adornment, however, with Crane stating that today “black bodies are still seen as quantifiable objects. Moneymakers. Hip-hop stars and athletes are modern slaves offered to the highest bidder."
DescriptionFive large black and white sgraffito enamel medallions, with graphic pattering, arranged in a circle. Reverse is 24-ct gold leave. Pendant is suspended form thick gold plated chain.
Provenance2021, sold by the artist to the MFA. (Accession date: June 16, 2021)