Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Sunday, 10 April 2011

'Beyond Form' Painting Exhibition by Edward Ofosu (Runs until 27th April)



EDWARD OFOSU presents for the 1st time these new series of abstract figurative paintings, which came about through a sense of a deeper stillness revealing itself as the space in which our phenomenal experiences occur. The female figure, which has a strong attraction force, is use only as a means to give a state of this
place of stillness. Our eyes-only registers what is familiar in our experience, which comes from the past, and yet there are unlimited infinite possibilities of experiences, which can be seen as well. Using the paintbrush and colors, EDWARD OFOSU tries to bring forth these other realities which we can embrace and use as a vehicle to transcend our limited view of reality. These striking images makes it possible to look at something in a different perspective and he hopes life as we see it can be seen in a different light and we can all meet at the place of no place, from where all is perceived. Together we can experience inner-joy and spiritual ascension into the absolute reality.

ABOUT THE ARTIST
Born in Ghana in 1973, EDWARD OFOSU is a self-taught artist. From the age of eight he knew he would be an artist. He wanted to paint as a career but was encouraged to study science by his family.

By 1997 he could no longer ignore his creative passion so started painting in his spare time. With no formal training EDWARD has learnt from magazines and other painters' work. He feels he should embrace his creative talent and commit to share it with others and keep working with what comes naturally.

Throughout the years he has improved and acquired a state of inner peace by following his instincts and now desires to share his inner beauty with the world and convey the importance of communing with our souls. His works are versatile and he likes to experiment with various mediums and forms of artwork. His works are based on realism but like exploring a more abstract style. Visionary artist Alex Grey and Leonardo Da Vinci have been his source of inspiration. EDWARD moved to London six years ago and has taken part in group exhibitions. In 2009 he was a runner up in the Artist of the year award, organized by Artists & Illustrators magazine.

INFO
EXHIBITION TITLE Beyond Form, _Painting Exhibition by Edward Ofosu
DATES: Thursday 7th April to 27th April
OPENING HOURS: open daily, 12noon to 12midnight
ADDRESS: Open The Gate, 33-35 Stoke, Newington Rd, London N16 8BJ
ADMISSION: Free
INFO / PUBLIC ENQUIRY: Sandrine Herbert : 0207 503 6099 or contact@openthegate.org.uk
(Credit: A big thanks to Freya of: http://www.shadders.net/ for this info)

Thursday, 7 April 2011

Art: Ken Gwira

"In May 1981 seated in my father’s office in Ghana, I wanted a design that would be a symbol for Africa, and a symbol for the world.



I thought of “Woman.”  I pulled out a large sheet of paper and being inspired drew a head with curves, circles and straight lines to depict the eye, nose, mouth and ear.


The eye for vision, the nose for detection, the mouth for communication, and the ear for direction. All purposed with one goal in mind: meaningful development and defense of all we hold dear."Ken Gwira




Woman is The Key by Ken Gwira


Adam

Uncle
 
Due to the mass produced wooden ‘so called’ art pieces coming out of Ghana and the African continent - I sort of went off this genre until I stumbled across the following wooden sculptures by Ken Gwira. His one of a kind, philosophical Objets d′art" are beautiful, relevant and much coveted. For more info visit: http://www.tradefairsite.com/kengwira/

More info about Ken Gwira
Ken Gwira is a self-taught sculptor and artist born in Ghana (West Africa) who has been carving professionally since 1981. He has created countless one-of-a-kind wooden sculptures and is, perhaps, best known for his signature furniture-art series known as “Conversation Seat” and for his philosophical carving, “Woman is the Key.”  Over the years, he has been featured or interviewed in several media including the following: Article in “West Africa” magazine; Article in “Balafon”, the in-flight magazine of Air Afrique; Interviewed by the “BBC”, Interviewed by the “Voice of America” and  Art focus in “Black Ethnic Collectibles” publication.

Gwira is also a talented poet. One of his poems, “Message of the Tree,” which he wrote to compliment one of his carvings of the same title, is published in “Echoes of Yesterday” by The National Library of Poetry, USA. Gwira’s works can be found in private collections all over the world. (credit: http://tradefairsite.com/kengwira/about-the-artist/

Friday, 12 November 2010

Art: Artist/filmmaker Akosua Adoma Owusu, artist Lynette Yiadom-Boakye and photographer Kwaku Alston are all showing at Studio Museum in Harlem –right now…

Diplomacy III, 2009 by Lynette Yiadom-Boakye


Artist and filmmaker: Akosua Adoma Owusu
Akosua Adoma Owusu’s work is currently showing at the Studio Museum in Harlem’s ‘Changing Same Show’ in their Video Studio and runs until the 13th March 2011).


Photography: Kwaku Alston
To be perfectly honest, I have no idea if uber photographer Kwaku Alston is Ghanaian/of Ghanaian origin or not -but I do know that he is talented and I hope to work with him -someday. I stumble across his work in the latest Issue of Marie-Claire magazine and was pretty impressed (plus my father’s called Kwaku –and they tend to be nice)…

Kwaku’s at the very top of his game and has photographed the likes of: Nelson Mandela, Barack Obama, Oprah Winfrey and Tiger Woods, -worked for hot publications like: The New York Times, Rolling Stone and Essence magazine–and advertising for: Coca Cola, Blackberry and Target, -and is presently showing at the Studio Museum of Harlem –as part of their Harlem Postcards - Fall/Winter 2010/11 show (showing until 13th March 2011).

**Ghana Rising favourite, Lynette Yiadom-Boakye is also showing at the Studio Museum in Harlem -her very first solo museum exhibition entitled ‘Any Number of Preoccupations’, organized by Associate Curator Naomi Beckwith.

For more information visit: http://www.studiomuseum.org/
Studio Museum in Harlem
Address: 144 West 125th Street, New York, New York
Telephone: 212.864.4500
Opening Hours: Thursday 12:00 – 9:00PM; Friday 12:00 – 9:00PM; Saturday 10:00 – 6:00PM; Sunday 12:00 – 6:00PM

Monday, 26 July 2010

Art: AFRIKart Gallerie

Green Forest by Ablade Glover

Northers by Kobina Nyarko

Untitled by Larry Otoo

Kasoa Market by Gabriel Eklou

Play in key d by agorsor

Market Lane – Roof Tops by Ato Delaquis
[All available from: www.afrikart-gallerie.com (prices on application)...]

"AFRIKart Gallerie is a virtual gallery which has been quietly building a reputation for high quality contemporary and modern art of African origin.

It was set up (in 2002) by Kwame & Audrey Akuffo, who are of Ghanaian origin. and it is in its fifth year of operation, putting on three to four exhibitions a year. There have been several great exhibitions in an around London, including exhibitions at Chiswick Business Park, and a six week run at the Royal Commonwealth Society at Northumberland Avenue, Zizi Gallery, FQ2 at 1 Fiztroy Square London W1 AND the OSO at Barnes.

The body of work available and shown (in various group exhibitions) are by artists who are as skilful, creative and modern as any in the world.

The AFRIKart canvas is unique and truly continental, in its outlook. It is crowded with diverse talents, places, outlook and meaning. We work with a number of artists from East and West Africa." http://www.afrikart-gallerie.com/

Sunday, 18 July 2010

Godfried Donkor's ‘African Vogue Series’ [way before its time] ….




African Vogue Series 2008 [Mixed media collage on paper] by Godfried Donkor

There’s so much talk of [a possible] Vogue Africa –right now [like Africa’s some sort homogeneous group of people –living in some small country somewhere, –it’s a continent people]! If you care to google it folks, –you’ll find that everyone and their brother have an opinion on this errrrrm subject –started by photographer Mario Epanya [you can view his work at: http://www.marioepanya.com/accueil.html]! Mario’s known for his interpretation of what he feels Vogue African covers would look like, started a debate about Conde Nast possibly introducing a Vogue Africa [maybe in South Africa?], earlier this year –and blogland has been awash with the aforementioned debate [for the record, I’m kind of bored with it all] -so, I was very pleased when I stumbled across celebrated Ghanaian artist, Godfried Donkor's iconic work with vogue covers [circa 2008]! You can check out Godfried Donkor [one of the biggest names in contemporary African art] at: www.donkor.net/

"Godfried Donkor (born 1964) is a Ghanaian artist, living and working in London. He is known primarily for his work in collage, and has been described as similar to Keith Piper and Isaac Julien in his output. Some of his pieces depict boxers, such as Jack Johnson and Mohammad Ali. He has been the subject of numerous solo exhibitions, both in the United States and in Europe, and was Ghana's representative to the 2001 Venice Biennale. Donkor's work is in the collection of the National Museum of African Art at the Smithsonian Institution." [Credit: http://en.wikipedia.org/wiki/Godfried_Donkor]

**You can see more of his work here: http://www.nmafa.si.edu/exhibits/evidence/donkor.html#

Tuesday, 1 June 2010

Prince Whipple (c.1750–1797) depicted in 'Washington Crossing the Delaware' by Emanuel Leutze

 African Americans are rarely depicted in nineteenth-century paintings, unless they were shown as servants. Emanuel Leutze’s familiar and dramatic Washington Crossing the Delaware (1851) is no exception. Many viewers of the work would focus on General Washington standing at the bow without noticing the leaning, straining boatman pictured behind the general’s right leg. Legend has it that the African American man depicted rowing at Washington’s knee is an actual figure from history, the slave named Prince Whipple. Scholarship and documentation tell another story, but the debate has continued for more than 150 years. His place in Revolutionary artwork may be dubious, but Prince was indeed a Revolutionary War veteran and abolitionist.

Accurate records for slaves are scarce. Mostly, they show up in their owner’s wills, as property being left to heirs. But historical accounts place Whipple’s birthplace in a village in Amabou, Africa, which was probably Anomabu in present-day Ghana, known as the Gold Coast when Prince Whipple was born, in the mid-1700s. His parents’ names are unknown, but oral history suggests Whipple was born free and affluent and was sent abroad with a brother (or cousin) named Cuff (or Cuffee), two years his junior, to study in America. Instead, the youths were sold into slavery in North America. First sold in Baltimore, the boys were then purchased and renamed. Prince was purchased by William Whipple and Cuff by William’s brother Joseph. The two were white merchants in Portsmouth, New Hampshire. Prince Whipple maintained that his name reflected the actual status he had left behind in Africa, which could very well be true. But many slaves were dubbed “Prince” mockingly by their owners.

Accompanies Master to War
An account of Whipple’s experience exists in the form of a collective document Whipple and twenty other slaves signed in 1779 that describes being “torn by the cruel hand of violence” from their mothers’ “aching bosom,” and “seized, imprisoned and transported” to the United States and deprived of “the nurturing care of [their] bereaved parent,” according to Mark J. Sammons and Valerie Cunning ham in Black Portsmouth .

As with his name and origins, time and dubious reporting have left almost everything about Whipple’s life open to question. It is known that William Whipple was a prominent member of Portsmouth society who would later represent New Hampshire by signing the Declaration of Independence. It is also known that William Whipple was a colonel in the First New Hampshire Regiment, who later became a brigadier general in the Revolutionary War. Some accounts suggest that he took his slave with him into battle. “During the American Revolution some of the most ardent Patriots could be found among the colonies’ African-American residents,” writer Jon Swan noted in MHQ: The Quarterly Journal Of Military History . However, historians overlooked the African Americans who participated in the American Revolution “until it was popular to include them.”

Legend Results from Confusing Records
Prince Whipple’s legend may have been part of this trend to include African Americans in later versions of Revolutionary history. History written decades after the war tell of Prince’s participation in the American Revolution, but no documentation from the war substantiates the claim that Prince accompanied William Whipple on early revolutionary campaigns or to the Continental Congress in Philadelphia in 1776.

Chronology
c. 1750 -Born in Amabou, Africa
1776 -Likely attends continental congress with William Whipple; Washington crosses the Delaware
1777 -Accompanies Whipple on military campaigns in Saratoga, New York
1778 -Accompanies Whipple on military campaigns in Rhode Island
1779 -Signs collective testimony with other slaves stating mistreatment by slave owners
1781 -Marries Dinah Chase; gains freedom from William Whipple
1784 -Emancipated by Whipple
1785 -William Whipple dies; Whipple’s widow allows Prince and family to reside on Whipple estate
1797 -Dies in Portsmouth, New Hampshire
1851 -Emanuel Leutze paints Washington Crossing the Delaware

Emanuel Leutze paints Washington Crossing the Delaware
According to Sammons and Cunningham, the documentation argues against Prince’s place in the boat with George Washington at the crossing of the Delaware River in December 1776. On that date, William Whipple was attending Congress, first in Philadelphia and then in Baltimore. Were Prince with him, it seems unlikely that William would have sent his slave unaccompanied 130 miles to a war zone. Prince’s place in the Delaware River story first appears in William C. Nell’s 1855 Colored Patriots of the Revolution , written at the height of the abolitionist movement. This volume was taken as factual for 150 years. Even in the early 2000s, such reference sources as PBS’s Africans in America , various encyclopedias, and dozens of printed and electronic sites present Nell’s information as historical truth.

Sammons and Cunningham suggest that Nell could have recorded an undocumented but accurate family tradition from Prince’s heirs, a confused family tale, or attached Prince to the story to make up for previously overlooked black participation in the revolution. Leutze’s painting (1851) does indeed include a black man, but New England traditions place other black men in Washington’s boat, for example, Prince Estabrook of Lexington, Massachusetts. Moreover, enough time and geography were between the historical events and Leutze’s painting to put accuracy at risk.

Leutze Paints Crossing with License
Leutze was born in Germany, and though he came to America with his parents at an early age, he spent half his life abroad. In fact, not only was Washington Crossing the Delaware painted seventy-five years after Washington’s actual crossing of the river, but it was painted in Germany, where Leutze used live models. The work now hangs at the Metropolitan Museum of Art in New York City, where art historian Natalie Spasskey accepts the theory that the African American depicted is Prince Whipple.

Evidence bears out that Prince Whipple was involved in the revolution. He accompanied William Whipple, by then a brigadier general, on military campaigns to Saratoga, New York, in 1777 and to Rhode Island in 1778. There is also proof that Prince Whipple was steeped in revolutionary thinking. Prince was among twenty enslaved men, including Windsor Moffat, who signed a 1779 petition for the abolition of slavery in New Hampshire. Prince, Moffat, and the other signatories were slaves in prominent and politically active white patriot families and were thus privy to the revolutionary rhetoric coming from their owners’ dining tables and parlors. Their petition was shelved, however, and slavery was not abolished in New Hampshire until 1857.

Gains Emancipation Years after War
Colored Patriots of the Revolution states that William Whipple emancipated Prince as a reward for his war service. The fact is Prince did not actually gain his freedom until seven years after the war. Prince married Dinah Chase of New Castle and Hampton, New Hampshire, on February 22, 1781. For the event, William Whipple prepared a special document that allowed Prince the rights of a freeman, but Prince was not formally emancipated until three years later. The document may have been drawn up at the behest of Chase’s owner, a clergyman who emancipated Chase on her wedding day. Sammons and Cunningham suggest the tale of Prince being freed for his war service was told “as an increasingly abolitionist local white society preferred to remember it.”

Free life was daunting for the Whipples. Though slavery had been formally abolished, there was little room in white society for recently freed slaves. Prince served as master of ceremonies at Assembly House balls for white socialites. Given recollections about his fine manners and general deportment, Prince was suited for the role. These events occasionally included other blacks as caterers and musicians, and it seems that Prince also acted as a liaison and manager of the black help for the white hosts.

William Whipple died one year after Prince’s emancipation, and Whipple’s widow allowed Prince and Dinah to live in a house on a lot behind her mansion. Prince, Dinah, their daughters, Esther and Elizabeth, Cuff, and Cuff’s wife Rebecca Daverson, and their children crowded in to the house and lived there for forty years. Dinah also operated the Ladies Charitable African School for black children out of the house and worked for the North Church.

Mourned by Portsmouth Blacks and Whites
Documents show that Prince was not involved with Portsmouth’s Negro Court, but his signature on the abolition petition alongside those of Portsmouth’s black king, viceroy, sheriff, and deputy confirms Prince’s active participation in the local black community. Prince’s age was never known, but Sammons and Cunningham suggest he was probably at least a decade older when he died in 1797 than the age of forty-six sometimes supposed.

Prince was not buried in Portsmouth’s segregated Negro Burial Ground, which may have been closed by the time he died. His grave in the North Burial Ground was marked with two rough stones until a grandson, John Smith, installed a more impressive stone. It is marked as that of a Revolutionary War veteran.

Read more: Whipple, Prince(c.1750–1797) - Slave, Accompanies Master to War, Legend Results from Confusing Records, Chronology, Leutze Paints Crossing with License http://encyclopedia.jrank.org/articles/pages/4512/Whipple-Prince-c-1750-1797.html#ixzz0oKvPQcbz

Wednesday, 28 April 2010

Culture: Nana Oforiatta Ayim

Nana Oforiatta Ayim is a cultural historian, writer and filmmaker based in Accra and London. She is currently working on a research publication and exhibition for the EU/AU on cultural heritage and contemporary arts institutions in Africa with architect David Adjaye (2011, Bozar, Brussels) and a book on Ghanaian photographer James Barnor (2010, Trolley Books, London). Her writing has appeared in publications such as The National Geographic, The Statesman, The Dubliner and Time Out. She has lectured and presented her scholarship at Universities, including Cambridge, Kumasi, London and Oxford. She has curated exhibitions and events for institutions such as The British Council, The British Museum, The Liverpool Biennial, The Royal Festival Hall and The Victoria and Albert Museum. In her fiction and short films she deals with the themes of translation and the gaps within language. Her first fiction book 'The Tightrope Walker' will be published in May 2010. Her films have been nominated for awards at various festivals, such as The Milan African Film Festival, The RAI Ethnographic Film Festival and The Real Life Documentary Film Festival. They have also been shown at venues such as The Museum of African Diaspora and used in university curricula. She is a founding director of ANO, a non-profit organization dedicated to the interface of culture and development in Africa and its Diaspora. She has an MA in African Art History and is completing a PhD in African Languages and Cultures at the University of London. [Credit: http://www.thisismyafrica.com/]

Thursday, 22 April 2010

Art: Reiner Opoku


As an international curator and contemporary art dealer, Reiner Opoku has been a leading figure on the global art market since 1983. He has managed some of this era’s premiere avant-garde artists such as Georg Dokopil and Martin Kippenberger and has worked on projects with Julian Schnabel and Sigmar Polke. Through his role as artist manager, he has successfully established a broad network of contacts which has bolstered his capacity as both curator and developer.

The projects to which he has contributed, include the establishment of the Asian sales network of Benedikt Taschen’s publishing house as well as the founding of KUNSTHAUS- Europe's first art department store. KUNSTHAUS of which he is co-owner, offers high quality art including paintings, drawings, prints, sculptures and photographs of numerous artists.

As curator, Reiner Opoku has delivered numerous exhibitions of principal artists such as Andy Warhol, Keith Haring and Josef Beuys as far a field as Tokyo, Prague, Vienna, Berlin and Hamburg. He was recently the curator of the prestigious St. Moritz Art Masters (SAM). The St. Moritz Arts Masters gave visitors a taste of the varied mediums of contemporary art, including paintings, sculptures, photography, video and audio installations. Works from more than 250 international artists including Pablo Picasso, David Duncan Douglas, David LaChapelle, Carl Andre, Leiko Ikemura, Helmut Newton, Yves Klein, Joseph Beuys were just a few of the artists showcased.

Opoku’s reputation, acquaintances and extensive industry knowledge combine give Wolfgang Roth & Partners, Fine Art a platform for confident dealing and a clear view of the marketplace. [Credit:http://www.wrpfineart.com/html/information.asp]

**I’m so happy to share uber curator, Reiner Opoku with you. I heard about him -a while back and thought he was [and continues to be] a great asset to the Ghanaian community. I don’t know if he has worked in Ghana [or is planning to] but wouldn’t it be fabulous to see him working with Ghanaian artists?

Friday, 2 April 2010

Art/Design: Kofi Opoku-Ansah

Infinite Blossom by Kofi Opoku-Ansah

Heartbreak by Kofi Opoku-Ansah

Untitled-1 by Kofi Opoku-Ansah

“Currently studying 3D Animation at Ravensbourne College of Design and Communication, I am a dedicated graphic designer and web designer, I focus mostly on photo manipulation and vector design. Admin and founder of DigitalFlow. It is a community dedicated to building a community of artists helping each other out, learning and sharing. We also have a selection of professional artists creating work for ‘Exhibitions’.” Kofi Opoku-Ansah


I was googling for photographs of fashion designer Kofi Ansah’s latest collection –and happily stumble across these incredible abstract art works by freelance illustrator, -Kofi Opoku-Ansah. I truly love his designs –and hope to work with him in the near future. For more information about Kofi Opoku-Ansah’s creations please visit: http://www.koansah.com/

Tuesday, 30 March 2010

Enjoy Ghanaian Art and Cultural history at The British Museum

‘Man’s Cloth’ by El Anatsui [2001]


Art by Owusu Ankomah [2006]

‘Kokrobite’ by Atta Kwami [2007]

‘Kente Rhapsody’ by El Anatsui [2001] –with Ghanaian Kente from the 20th Century [Adwineasa] in the background.





King Alex and I went to The British Museum to see their newly extended African Collection –and we were pleasantly surprised to discover a whole section on Ghanaian Art and Culture comprising: ‘funky coffins’, drums, royal swords [and other royal regalia’s], photographs of Ghanaians, funeral artifacts, stools –and much more on the ground floor. The basement was awe inspiring with art work by uber Ghanaian artists -El Anatsui, Atta Kwami and Owusu Ankomah. The British Museum also carries an extensive array of Kentes, masks, and art from other African countries. Presently, they have a fabulous exhibition about the ‘Kingdom of Ife’ [a must for all African art lovers]. For more information about The British Museum please visit: http://www.britishmuseum.org/

The British Museum
Great Russell Street
London
WC1B 3DG
020 7323 8000

Monday, 22 March 2010

Object of Desire: 'Lobi Welcome I' wood stool by Abubakari Alhassan

“The customs of the Lobi people inspire Abubakari Alhassan to replicate this traditional stool, usually reserved for visiting friends. Their tribal name, Lobi, means "children of the forest," and they originate from Burkina Faso, Ivory Coast and northern Ghana. They believe it is a sign of respect to offer this stool to guests, as a sign of welcoming hospitality and respect. It is also used in the kitchen when cooking.” www.novica.com

**I’m not a big fan of the crudely made, -obsessively churned out furniture that continues to come out of Ghana and other African countries –in the name of art [more like commerce to me] –but I truly love the stool above, -it’s beautiful. We need more of this type of design –and less of the rushed stools that are littering the internet….because true Ghanaian ‘objets d’art’ –will loose its value.

$129.95 now on sale! $116.96 http://www.novica.com/itemdetail/index.cfm?pid=154958

Friday, 19 March 2010

Art: 'Off My Back' by Kwesi Owusu-Ankomah

1995  [The Smithsonian's National Museum of African Art]

b. 1956, Ghana
Owusu-Ankomah was born in Secondi, Ghana, and attended art school in the capital Accra. After several trips to Europe in the early 1980s, the artist established a studio near Bremen, Germany, where he currently resides and works.

**Do we have work by Kwesi Owusu-Ankomah in Ghana?

Saturday, 13 February 2010

Art: Lynette Yiadom Boakye


Diplomacy II [2009]

'The Magnifying Monkey's Glass' 2009

'I like the decadence of oil paint. I like decadence in general. I wanted to paint the person that soul singers have written love poetry for, or the type that missionaries would like to teach. In the end, the history and act of painting is what matters.' Lynette Yiadom-Boakye

It’s lovely when there’s a creative buzz about you –and Lynette Yiadom-Boakye has been causing artistic explosions since 2007. Ekow Eshun called her, ‘a rising star'; Charles Saatchi is 'sitting-up-and-taking-note'....and she continues to exhibit internationally -yep, Yiadom-Boakye is hot right now! You can catch her at the upcoming ‘The Armory Show 2010' in NYC this March. ...Contact Details:
Date: March 4th -7th 2010
The Armory Show, Inc.
7 West 34th Street, Suite 1027
New York, NY 10001 USA
TELEPHONE -212.645.6440
www.thearmoryshow.com

Saturday, 6 February 2010

Home & Art: El Anatsui’s wall hanging.......


I’m loving the golden wall hanging by uber artist El Anatsui on the wall of Rosita Missoni[founder of fashion house Missoni]’s home. Rosita Missoni’s beautiful sitting room demonstrates perfectly – how to display [and decorate with] African art in the home.... [Photo: House & Garden magazine]

Saturday, 30 January 2010

Art: TAFA is named Sport Artist of the Year 2010


Congratulations to Ghanaian born artist, TAFA who has been named 'Sport Artist of the Year 2010' by the American Sport Art Museum and Archives (ASAMA). TAFA competed against other sport artists from around the world for the honor. He was nominated by Paul Goodnight, who was the 1997 Sport Artist of the year. TAFA lives and paints in Harlem, NY.

Tuesday, 12 January 2010

Dr Gus Casely-Hayford’s Lost Kingdoms of Africa on BBC Four is a must see [Tuesdays at 9pm]


I’ve just finished watching this week's ‘Lost Kingdoms of Africa’ by Dr Gus Casely-Hayford [featuring the ancient Kingdom of Ethiopia] -and he’s the best, –engaging and passionate [with none of that patronizing verve that most art historian Possess]. Part of the most influential black family in the UK, -like the rest of Casely-Hayford clan –he is at the top-of-his-game. **Don’t forget to watch Dr Gus next Tuesday –it’s about the lost Kingdom of Great Zimbabwe. Please visit the BBC website for more information. www.bbc.co.uk

Thursday, 7 January 2010

Art: Stanley Lumax ...


As many of you will know [by now] –I’m always on the look out for the ‘Next Big Thing’ or other ‘Yummy Happenings’ in the Ghanaian community –and I’m very pleased to introduce you to photographer, Stanley Lumax. As a fashion stylist, –I’m always on the look out for good photographers –and I love Lumax’s work. With an impressive portfolio, -that includes Nike and Converse campaigns, exhibitions [in Ghana and in the States] and various publications - Stanley Lumax is ‘Hot Right Now’. But his talents don’t stop with photography –no sirree, Stanley Lumax is also an Advertising Executive [and I’m hoping he can contribute to my next project]! For more information please visit: www.stonefacephotography.com

Sunday, 3 January 2010

Art: Phillip Butah [fine Artist]


“Phillip Butah is an outstanding draughtsman whose skills are particularly suited to portraiture. Apart from the accuracy and detail of visual appearance, Phillip's drawings also capture the character and personality of the person in front of him.” www.phillipbutah.com

I’m loving the above Self Portrait by Fine Artist Phillip Butah –and the minute I loose my baby weight [yes I know my Jojo is five years old –hehehe] I will commission him, -and that will be my treat. To commission Phillip or buy from his existing collection -please visit: www.phillipbutah.com

Tuesday, 29 December 2009

Preserving the cultural heritage of Ghana [Do we have an ‘Acquisition’s of (Heritage) Arts team in Ghana?]….

Feast your eyes on the following art treasures –they hail from Ghana. Wouldn’t it be amazing to own a piece of Ghanaian history –or better still, wouldn’t it be great if these treasures were back in Ghana -where they belong? Can someone tell me if we have an ‘Arts Acquisition’ team in Ghana right now? Do we have a team of people ethically and legally buying back or protecting our [national] treasures – so we can preserve the cultural heritage [ancient art and artifacts] of [this] our great nation? I might need to contact the Director of Ghana National Museum & Monuments……

Object of Desire: Asante Polychrome Sculpture of a Man Holding a Black Ram

Origin: Southern Ghana
Date: 20th Century AD
POA Website: www.artofancientafrica.com
Object of Desire: Asante Bronze Head

Origin: Southern Ghana
Date: 17 th Century AD to 19 th Century AD
POA Website: www.artofancientafrica.com

I stumbled across the following text –as I was searching for a [possible] Ghanaian Antiquities Arts Acquisition’s team via google… Enjoy it, its an eye opener…..

Title: Ghana's Vanishing Past: Development, Antiquities, and the Destruction of the Archaeological Record By: Benjamin W. Kankpeyeng and Christopher R. DeCorse
Ghana's past is being destroyed at a rapid rate. Although the Ghana Museums and Monuments Board has in some instances successfully intervened to stop the illicit trading of antiquities, the destruction of archaeological sites as a consequence of development over the past two decades has been staggering and the pace is accelerating. The potential of the legislation that established the Ghana Museums and Monuments Board and empowered it to manage and preserve the country's archaeological past has not been realized. The lack of political action, limited relevant public education, insufficient funding, and the poverty of the majority of the Ghanaian populace have allowed for the widespread destruction of both sites and historic buildings. Conspicuously, both the absence of integrated development planning by the Ghanaian government and the inability of development partners (both foreign and domestic) to recognize the potential value of cultural resources have contributed significantly to the continued loss of the archaeological record. While the antiquities trade is a continuing threat to Ghana's cultural resources, it is, in fact, tourism and economic development that pose the major menace to the country's archaeological past. This article reviews the history of cultural resource management in Ghana, including both traditional attitudes toward preservation and current legislation. Case studies are used to illustrate the problems faced. [Credit: http://www.springerlink.com]
Contact: crdecors@maxwell.syr.edu

“Many museum directors, art dealers and auction houses in the West seem to have nothing but contempt and disdain for rules and regulations, especially international rules, intended to control illicit traffic in artefacts which they perceive as attempts to limit their right to acquire artefacts by any means. No wonder that in the last few years that many have been involved in scandals and criminal cases which do not reflect on their standing. Still there are museum directors and others who have more sympathy for looters than for legislators who seek to control the illicit market.
All who have studied the problem of looting of African artefacts have concluded that unless the West limits its demand for African artefacts, there is no way this traffic can be controlled. They add however that there is a lot that the African States themselves could also do if they are seriously concerned by the systematic depletion of their cultural heritage.
The looting of African cultural artefacts for the West which reached its levels of climax in the invasion of Magdala, Ethiopia (1868), Kumasi, Ghana (1874), and Benin, Nigeria (1879) still continues in our time, albeit with different methods and persons but with devastating effects on the cultural heritage of the African countries.”
Dr Kwame Opoku [Credit:http://www.modernghana.com]

** What are we going to do about this folks? I know many of you will state the obvious -lack of funding etc -but could it be that we [or the powers that be] haven't fully comprehended the true value of these treasures? Surly it is common knowledge -that a nation without a past, history or Art is a nation without a future?

Friday, 25 December 2009

Art: George Hughes

Heritage
Genealogy
Mask
“Art has become a ‘forum’ through which I visually analyze the predicaments of humanity such as war, violence and tragedy. Our beliefs, occupations, destiny and how they affect our relationship with fellow human beings, continues to intrigue and inspire me to work.” George Hughes

As you all know, -I love Art and I’m very exited by these Abstract gems by contemporary Ghanaian artist and poet, George Hughes aka Afedzi. Just feast your eyes on Heritage-1, Genealogy and Mask, ‘09, I want them –now! For more information about George Hughes please visit: www.gohughes.com

George Hughes at work [2007]

I was wondering, –when was the last ‘Retrospective’ of George Hughes work in Ghana or better still, –do we have a museum dedicated to contemporary Ghanaian Artist? ...xx