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anatsui

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Journal Article
Nka (2020) 2020 (47): 126–131.
Published: 01 November 2020
...Mostafa Heddaya © 2020 by Nka Publications 2020 RE V IE W S Journal of Contemporary African Art 47 November 2020126 Nka DOI 10.1215/10757163-8719704 © 2020 by Nka Publications EL ANATSUI: TRIUMPHANT SCALE MATHAF: ARAB MUSEUM OF MODERN ART, DOHA, QATAR OCTOBER 1, 2019 JANUARY 31, 2020...
Journal Article
Nka (1994) 1994 (1): 34–40.
Published: 01 May 1994
Journal Article
Nka (1996) 1996 (4): 70–71.
Published: 01 May 1996
Journal Article
Nka (2007) 2007 (21): 134–136.
Published: 01 May 2007
...Nancy Hynes Copyright © 2007 Nka: Journal of Contemporary African Art 2007 part of the transformation is through piece is Sasa; it was created by El EL ANATSUI creative combination...
Journal Article
Nka (2010) 2010 (27): 120–121.
Published: 01 November 2010
...Yemi Onafuwa This review considers the Ghanaian sculptor El Anatsui’s recent work—stitched “cloth” made from recycled liquor-bottle caps—in the context of his entire artistic production and his “remix and recycle” ethos. By transforming glittering gold-colored bottleneck wrappers and silvery bottle...
Journal Article
Nka (2011) 2011 (28): 96–105.
Published: 01 May 2011
... This discussion covers an overview of El Anatsui’s career, his methods of working and inspirations, and his commentary on his work. Enwezor frames the discussion with his opening remarks about what he calls the off-centered condition of contemporary art, arguing that it is important to hold...
Journal Article
Nka (2011) 2011 (28): 142–145.
Published: 01 May 2011
...Terry Smith In his wall hangings of sewn-together tops from alcohol bottles and other detritus, most of them made since 2002, El Anatsui has accomplished one of the very few genuine breakthroughs in contemporary art anywhere in the world today. This exhibition at Royal Ontario Museum, Toronto...
Journal Article
Nka (2011) 2011 (28): 146–148.
Published: 01 May 2011
... in the title and implied in the show’s institutional context overemphasizes the African and ethnographic sources of Anatsui’s art. Rather misrepresenting both Africa and Anatsui, it seems to place the artist in the wrong Africa: the dusty village of ethnic traditions. Anatsui grew up in a small town...
Journal Article
Nka (2014) 2014 (34): 110–115.
Published: 01 May 2014
...Sunanda K. Sanyal Susan Mullin Vogel’s El Anatsui: Art and Life examines the artist’s recent studio practice and the bottle-top tapestries that have won him international acclaim. Vogel’s meticulous investigation of Anatsui’s experiment with medium and process and his commitment to nonfixed forms...
Journal Article
Nka (2011) 2011 (28): 114–129.
Published: 01 May 2011
...Elizabeth Harney Recent readings of El Anatsui’s metal wall hangings celebrate their sheer beauty and grandiosity, marveling at their clever quotations of modernist tropes. However, these readings tend to miss the spiritual drama and melancholy informing his transformation processes; they overlook...
Journal Article
Nka (2011) 2011 (28): 106–112.
Published: 01 May 2011
...Yukiya Kawaguchi The exhibition A Fateful Journey: Africa in the Works of El Anatsui began at the National Museum of Ethnology, Osaka, in September 2010. My two main goals as curator were to dedicate a large-scale show to one living black African artist and to represent Anatsui’s artworks through...
Journal Article
Nka (2021) 2021 (48): 24–39.
Published: 01 May 2021
.... Enwezor’s legacy is instructive. Achieving an inclusive and equitable art history that is sustainable requires decentralizing white, Eurocentric, male, cisgender, and heterosexual hegemony. In two of his final projects, large-scale solo shows of Frank Bowling and El Anatsui, exhibiting these artists...
Journal Article
Nka (2011) 2011 (28): 78–87.
Published: 01 May 2011
...Brett M. Van Hoesen This essay focuses on Who Knows Tomorrow , which ran in Berlin from June 4 to September 26, 2010. Hosted by the Nationalgalerie, Staatliche Museen zu Berlin, this exhibition featured the work of five prominent international artists of African origin— El Anatsui, Zarina Bhimji...
Journal Article
Nka (2009) 2009 (24): 126–135.
Published: 01 May 2009
... artists Ghanian sculptor El Anatsui that proves most such as Zanele Maholi and Berni Searle, who instructive for the purposes of a method based on explore the limits of the representation of female a material notion of memory. Oguibe discusses form outside of simply...
Journal Article
Nka (2011) 2011 (28): 68–77.
Published: 01 May 2011
... by the Nationalgalerie, Staatliche Museen zu Berlin Meier Nka • 69 return us to the late nineteenth century, when Berlin Interventions in German Space 1 figured prominently in the colonization of Africa. El Anatsui’s Ozone Layer and Yam Mound(s) (2010) 2...
Journal Article
Nka (2012) 2012 (31): 148–151.
Published: 01 November 2012
... caps. bottle Anatsui’s to correspond tons but Cave’s example, for sculptures: Anatsui’s El of materiality the with connection astrong is there regard Company. Dance Ailey Alvin the of amember...
Journal Article
Nka (1998) 1998 (8): 54–57.
Published: 01 May 1998
... Anatsui's as part of the Earth Summit in Brazil in 1992) the Temple of My Familiar, 1990, for instance, Erosion, 1992. Since the early '80s, Anatsui's rep• does, in fact, reflect the scope of the environmen• shows a barely suggested half face supporting...
Journal Article
Nka (1996) 1996 (5): 58–61.
Published: 01 November 1996
... in the west would have Adinsibuli Stood Tall, is one of El Anatsui's most been categorized into several "isms," the show makes a state- recent explorations in wood. Behind it a huge I ment about the current trends in this field...
Journal Article
Nka (1999) 1999 (10): 11.
Published: 01 May 1999
... over the banks of the Seine goes to El Anatsui, another artist whose work revolves on the pivot of history, and especially on the history of Africa's momentous encounters with Europe. Itwillbe most interesting to see what Anatsui brings to Paris...
Journal Article
Nka (2021) 2021 (48): 142–145.
Published: 01 May 2021
... Academy of Arts, London. Left: El Anatsui, Castle in the Cloud, 2020. Aluminum copper wire, 33.9 x 22.6 cm. Right: Frank Bowling, Watermelon Bright, 2020. Acrylic on canvas, 185.4 x 297.2 cm. Photo: © Royal Academy of Arts/David Parry London 1983 Who Killed Colin Roach? (2019), I Further and more timely...