Content deleted Content added
Tag: references removed |
Kjell Knudde (talk | contribs) Added more categories. |
||
| (48 intermediate revisions by 27 users not shown) | |||
Line 1:
{{Use dmy dates|date=April 2022}}
{{Short description|Ghanaian artist (born 1944)}}
{{Infobox visual artist
Line 15 ⟶ 16:
| death_date =
| birth_place = [[Anyako, Volta Region]], Ghana
| birth_date = {{Birth
| birth_name =
| caption =
Line 22 ⟶ 23:
}}
'''El Anatsui''' (
[[File:El Anatsui - Man's Cloth.jpg|thumb|256px|''Man's Cloth'' by El Anatsui (1998–2001), on display at the [[British Museum]]]]▼
▲'''El Anatsui''' ([ah-nah-ch-wee], born 1944) is a [[Ghana]]ian [[sculptor]] active for much of his career in [[Nigeria]]. He has drawn particular international attention for his "[[Bottle cap|bottle-top]] installations". These installations consist of thousands of [[Aluminium recycling|aluminum pieces sourced]] from alcohol recycling stations and sewn together with copper wire, which are then transformed into metallic cloth-like wall sculptures. Such materials, while seemingly stiff and sturdy, are actually free and flexible, which often helps with manipulation when installing his sculptures.<ref>{{Cite web|url=https://art21.org/artist/el-anatsui/|title=El Anatsui|last=Sollins|first=Marybeth|website=Art 21}}</ref><ref>{{Cite web|last=Christinee|first=Lindsay|date=8 September 2020|title=Fall In Love With These Sustainable Artists|url=https://thewellnessfeed.com/sustainable-artists-making-art-from-trash-0908/|url-status=live|archive-url=|archive-date=|access-date=19 January 2021|website=The Wellness Feed|language=en-US}}</ref>
Anatsui was included in the 2023 [[Time 100]] list of the world's most influential people.<ref>{{cite web | url=https://time.com/collection/100-most-influential-people-2023/6268986/el-anatsui/ | title=El Anatsui: The 100 Most Influential People of 2023 | date=13 April 2023 }}</ref>
==Early life and education==
El Anatsui was born in [[Anyako]], in the [[Volta Region]] of [[Ghana]]. The youngest of his father's 32 children, Anatsui lost his mother and was raised by his uncle. His first experience with art was through drawing letters on a chalkboard.<ref name=":3">{{Cite journal|last=Oguibe|first=Olu|date=Winter 1998|title=El Anatsui: Beyond Death and Nothingness|journal=African Arts|volume=31|issue=1|pages=48–55+96|jstor=3337623|doi=10.2307/3337623}}</ref>
Anatsui received his B.A in 1968 from the [[College of Art and Built Environment (KNUST)]] in Kumasi, Ghana. He received his postgraduate diploma in Art Education the following year, in 1969, from [[Kwame Nkrumah University of Science and Technology|Kwame Nkrumah University of Science and Technology (KNUST)]], also in Kumasi.<ref name=":5">{{Cite web |title=El Anatsui | Curriculum Vitae |url=https://elanatsui.art/curriculum-vitae |accessdate=22 April 2022 |website=El Anatsui}}</ref>
Some of his early artistic influences include [[Oku Ampofo]], [[Vincent Kofi|Vincent Akwete Kofi]], and [[Kofi Antubam]], all of whom began to reject foreign influences in their practices in favor of indigenous art forms.<ref>{{Cite book |last1=Akyeampong |first1=Emmanuel Kwaku |url=https://books.google.com/books?id=39JMAgAAQBAJ&dq=Vincent+Akwete+Kofi&pg=RA1-PA283 |title=Dictionary of African Biography |last2=Gates (Jr.) |first2=Henry Louis |date=2012-02-02 |publisher=OUP USA |isbn=978-0-19-538207-5 |language=en}}</ref> After graduating in 1969, Anatsui assumed a teaching position at Winneba Specialist Training College (now [[University of Education, Winneba|University of Education]]), a role that had previously been filled by Kofi.<ref name=":3" />
He began teaching at the University of Nigeria, Nsukka in 1975.<ref name="NMOAA">[http://africa.si.edu/exhibits/anatsui.htm "El Anatsui"] biography at the National Museum of African Art, Washington, D.C.". Retrieved 24 January 2010.</ref> He became a senior lecturer for the Fine and Applied Arts department in 1982, and later became head of that department and full professor of sculpture in 1996, a role he occupied until 2011.<ref name=":5" /> His presence at the University of Nsukka led to his affiliation with the [[Nsukka group]].<blockquote>It has taken many years to find artists who can occupy a prominent place on the global circuit while choosing to reside outside the [[metropolitan area|metropolitan]] centres. [[William Kentridge]] has made his reputation from [[Johannesburg]], and El Anatsui has conquered the planet while living and working in the Nigerian university town of Nsukka.<ref>McDonald, John, [http://www.smh.com.au/entertainment/art-and-design/el-anatsui-out-of-africa-and-taking-the-world-by-storm-20160201-gmin4r.html "El Anatsui: out of Africa and taking the art world by storm"], ''[[The Sydney Morning Herald]]'', 6 February 2016.</ref></blockquote>
== Artwork ==
Anatsui notes that, through school and in university, "everything we were doing was western," especially within the fine arts department of his university; he felt that there was something missing in his education for its lack of focus on his own culture.<ref name=":2">{{Cite web |date=2023-10-09 |title=El Anatsui: the sculptor on making art from waste, and waking up the artist in all of us |url=https://www.theartnewspaper.com/2023/10/09/el-anatsui-the-sculptor-on-making-art-from-waste-and-waking-up-the-artist-in-all-of-us |access-date=2024-03-14 |website=The Art Newspaper - International art news and events}}</ref> In order to rectify this, he started visiting the National Cultural Centre of Ghana, also in Kumasi, to engage with the musicians, graphic artists, textile artists, printers, and creative artists of all types. It was there that he encountered [[Adinkra symbols|Adinkra]], a system of signs and symbols, which was his first introduction to abstract art and opened up a new world of artistic possibilities for him.<ref name=":2" />
In the 1970s, Anatsui worked frequently in wood. He was particularly interested in wooden trays, which he often saw used in the markets to display food items and other wares--he would carve them or engrave them with Adinkra symbols and other marks using hot rods.<ref name=":4" /> He also began using wood to construct wall panels from strips placed next to each other, the surface decorated with designs imparted on the material through the use of chain saws, gouges, flame, or paint.<ref name="NMOAA" /> In the late 70s, he began working in clay: pots, in particular, exploring themes of fragility and dilapidation. He was interested in how, even after a pot breaks and ceases being used in the way we commonly think (for food, water), it takes on a new purpose, even acquires more uses, from the mundane to the spiritual. Most intriguing to him is the use of pot shards for presenting offerings. He said, "It's as if the pot, having broken, is transformed into a dimension which makes it ideal for use by ancestors and deities who are themselves in the spirit dimension."<ref name=":4" />
After his work with the broken pots, Anatsui explored food-adjacent themes in other materials: wood, again, in the form of mortars; equipment used to process [[cassava]], and bottle tops.<ref name=":4" />
Much of Anatsui's work features found materials, or materials that had a life of use prior to being formed into this artworks. His emphasis on the found object, however, is less [[Marcel Duchamp|Duchampian]], and more focused on the history of use and the evidence of the human hand in the material.<ref name=":4" /> <blockquote>"When something has been used, there is a certain charge, a certain energy, that has to do with the people who have touched it and used it and sometimes abused it. This helps to direct what one is doing, and also to root what one is doing in the environment and the culture."<ref name=":2" /></blockquote>Metal bottle caps are a favorite material of his; like cloth, Anatsui describes, an arrangement of bottle caps is versatile, allowing him to consider his art both sculpturally (through the form of the caps) and in a painterly manner (through the colors of the caps). Further, he appreciates the glimpse that bottle caps give into current and historical political and sociological issues, by virtue of the names and colors of various drink brands that are printed onto the caps.<ref name=":2" /><blockquote>"The most important thing for me is the transformation. The fact that these media, each identifying a brand of drink, are no longer going back to serve the same role but are elements that could generate some reflection, some thinking, or just some wonder. This is possible because they are removed from their accustomed, functional context into a new one, and they bring along their histories and identities."<ref name=":4" /></blockquote>A number of themes are present in Anatsui's work: the destruction and subsequent reconstitution of material as a metaphor for life and the changes Africa faced under colonialism and since independence; traditional themes and motifs of West African strip woven cloth and other [[African textiles]]; and concern over Western scholarly misinterpretation of African history and the distortions it has caused.<ref name="NMOAA" /> His work is also thematically connected to the West African cultural landscape and ideas of consumption and labor.<ref name=":4" />
The idea of [[Sankofa]] [translated as "go back and retrieve"] is also present in Anatsui's work. He views it as a way of drawing on the past, the lessons it offers, to chart a mode of moving forward. For him, Sankofa described a need to draw from what was immediately around him; Ghana became independent when he was in high school, and much of his education had been focused on western art and art history, and so he felt called to 'go back and retrieve' aspects of Ghanaian culture that had been suppressed, something he described as a sort of "quest for self-discovery."<ref name=":4" />
==Exhibitions==
▲[[File:El Anatsui - Man's Cloth.jpg|thumb|
Anatsui's career grew gradually, starting in his home village of [[Nsukka]] before branching off to places such as [[Enugu]] and [[Lagos]], and eventually internationally.<ref name=":03"/> In 1990, Anatsui had his first important group show at the [[Studio Museum in Harlem|Studio Museum]] In [[Harlem]], [[New York (state)|New York]]. He also was one of three artists singled out in the 1990 exhibition "Contemporary African Artists: Changing Traditions", which was extended for five years.<ref name=":03"/>
Anatsui has since exhibited his work around the world, including at the [[Brooklyn Museum]] (2013);<ref>[http://www.brooklynmuseum.org/exhibitions/el_anatsui/ "Gravity and Grace: Monumental Works by El Anatsui"]. Brooklyn Museum, Brooklyn, New York. Retrieved 20 August 2014.</ref> the [[Clark Art Institute]] (2011);<ref>[http://clarkart.edu/exhibitions/anatsui/content/exhibition.cfm ''El Anatsui''] {{Webarchive|url=https://web.archive.org/web/20110707020903/http://clarkart.edu/exhibitions/anatsui/content/exhibition.cfm |date=7 July 2011 }} exhibition (2011). Clark Art Institute website, Williamstown, Massachusetts. Retrieved 19 May 2013.</ref> the Rice University Art Gallery, Houston (2010);<ref>[http://www.ricegallery.org/
▲Anatsui has since exhibited his work around the world, including at the [[Brooklyn Museum]] (2013);<ref>[http://www.brooklynmuseum.org/exhibitions/el_anatsui/ "Gravity and Grace: Monumental Works by El Anatsui"]. Brooklyn Museum, Brooklyn, New York. Retrieved 20 August 2014.</ref> the [[Clark Art Institute]] (2011);<ref>[http://clarkart.edu/exhibitions/anatsui/content/exhibition.cfm ''El Anatsui''] exhibition (2011). Clark Art Institute website, Williamstown, Massachusetts. Retrieved 19 May 2013.</ref> the Rice University Art Gallery, Houston (2010);<ref>[http://ricegallery.org/new/exhibition/newinstallation.html "El Anatsui: Gli (Wall)"]. (2010). Rice University Art Gallery, Houston, Texas. Retrieved 19 May 2013.</ref> the [[Metropolitan Museum of Art]], New York (2008–09);<ref>Metropolitan Museum of Art, New York. (2008). [http://www.metmuseum.org/press_room/full_release.asp?prid=%7B3856BFF5-CB85-40AD-A346-BFDAF9AC4896%7D "Rich Legacy of African Textiles on View in Metropolitan Museum Exhibition"]. Retrieved 29 January 2010.</ref> the [[National Museum of African Art]], Smithsonian Institution, Washington, D.C. (2008);<ref>[http://www.artnet.com/magazineus/news/artnetnews/artnetnews1-17-08.asp "El Anatsui at NMAA"], ''Artnet'', 17 January 2008. Retrieved 29 January 2010.</ref> the [[Fowler Museum at UCLA]] (2007);<ref>[http://www.fowler.ucla.edu/exhibitions/el-anatsui-gawu "El Anatsui: Gawu"]. Fowler Museum at UCLA, Los Angeles, CA. (2007). Retrieved 1 July 2014.</ref> the [[Venice Biennale]] (1990 and 2007);<ref name="interview">Preece, R. J. (2006). [http://www.artdesigncafe.com/el-anatsui-interview-2006 "El Anatsui interview: Out of West Africa"]. ''Sculpture/artdesigncafe''. Retrieved 19 May 2013.</ref> the [[Hayward Gallery]] (2005);<ref>[http://www.southbankcentre.co.uk/find/hayward-gallery-and-visual-arts/hayward-gallery-exhibitions/past/africa-remix "AFRICA REMIX: Contemporary Art of a Continent"]. Hayward Gallery, London. Retrieved 29 January 2010.</ref> the [[Liverpool Biennial]] (2002);<ref name="interview" /> the National Museum of African Art (2001);<ref name="interview" /> the [[Centre de Cultura Contemporània de Barcelona]] (2001);<ref name="interview" /> the 8th Osaka Sculpture Triennale (1995);<ref name="interview" /> the 5th [[Gwangju Biennale]] (2004); the [[Arab Museum of Modern Art]] in Doha (2019);<ref name="Lucas 40">{{cite magazine |last=Lucas |first=Julian |date=2021-01-18 |title=Structure and Flow | magazine=The New Yorker | page=40}}</ref> and the [[Kunstmuseum Bern]] (2020).<ref>{{cite web |title=El Anatsui Triumphant Scale | url=https://www.kunstmuseumbern.ch/en/see/today/925-el-anatsui-120.html}}</ref>
[[File:Artempo ElAnatsui.jpg|thumb|Palazzo Fortuny Artempo exhibition|267x267px]]▼
In 1995, Anatsui held his first solo exhibition outside of Africa in [[London]]. He expressed a variety of themes and demonstrated how African art can be shown in a multitude of ways that are not seen as "typical" African.<ref name=":03">{{Cite book|title=El Anatsui: Art and Life|url=https://archive.org/details/elanatsuiartlife0000voge|url-access=registration|last=Vogel|first=Susan|publisher=Prestel|year=2012|isbn=978-3-7913-4650-2|location=New York|pages=[https://archive.org/details/elanatsuiartlife0000voge/page/11 11], 41–45, 85–89, 164}}</ref> His work utilized conceptual modes used by European and American artists but hardly in African countries.<ref name=":03"/> Anatsui showed his work at the de Young Museum in [[San Francisco]] in 2005. This was his first time "appear[ing] as part of the permanent collection in a major art museum".<ref name=":0">{{Cite book|title=El Anatsui: Art and Life|url=https://archive.org/details/elanatsuiartlife0000voge|url-access=registration|last=Vogel|first=Susan|publisher=Prestel|year=2012|isbn=978-3-7913-4650-2|location=New York|pages=[https://archive.org/details/elanatsuiartlife0000voge/page/78 78]–85}}</ref> Also in 2005, his exhibition at New York's [[Skoto Gallery]], "Danudo," was the first display of his metal sheets in an American city.<ref name=":0" /> At this gallery, Skoto Aghahowa presented Anatsui's wood wall panels alongside [[Sol LeWitt]]'s drawings. This exhibition popularized his bottle-cap works as he gained more recognition in the press.<ref name=":0" />
▲[[File:Artempo ElAnatsui.jpg|thumb|left|Anatsui's [[Palazzo Fortuny]] Artempo exhibition
Anatsui was invited to the [[Venice Biennale]] in 2006 and again in 2007 where he was commissioned to make two hanging metal tapestries. During the 2007 edition, he exhibited his works at the [[Palazzo Fortuny]] which consisted of newly built walls for him to display three metal hangings entitled ''Dusasa''.<ref name=":0" /> Each artwork demonstrated different textures and colors including golds, reds, and blacks. The way the bottle tops draped throughout the hangings created a sense of gentleness that made it stand apart from the other works in the gallery.<ref name=":0" /> The art curator of the Biennale, [[Robert Storr (art academic)|Robert Storr]], mentions that the artist's series "reaches back into a whole series of things in the postwar period-it has a kind of exaltation I have not seen before".<ref name=":0" /> During this Venetian showing, Anatsui wanted to create a new experience for his viewers conceptually. He believes that "human life is not something which is cut and dried. It is something that is constantly in a state of change."<ref name=":03"/> At this point, he began to refer his metalworks as hangings instead of "cloths".<ref name=":03"/>
[[File:Another Man's Cloth, 2006, El Anatsui at Rubell DC 2022.jpg|thumb|right|''Another Man's Cloth'' (2006) at the [[Rubell Museum#Rubell Museum DC|Rubell Museum DC]] in 2022]]
A 2010 retrospective of his work, entitled ''When I Last Wrote to You About Africa'', was organized by the [[Museum for African Art]] and opened at the [[Royal Ontario Museum]] in [[Toronto|Toronto, Ontario]], Canada. It subsequently toured venues in the United States for three years, concluding at the [[University of Michigan Museum of Art]].
A major exhibition of recent works, entitled ''Gravity & Grace: Monumental Works by El Anatsui'', had its [[New York City|New York]] premiere at the [[Brooklyn Museum]] in 2013. Organized by the [[Akron Art Museum]] (exhibition: 2012), the exhibition later traveled to the [[Des Moines Art Center]] (2013–14) and the [[Bass Museum|Bass Museum of Art]] in Miami (2014).<ref>[http://akronartmuseum.org/exhibitions/details.php?unid=2700 "Gravity & Grace: Monumental Works by El Anatsui"] {{Webarchive|url=https://web.archive.org/web/20130325213447/http://akronartmuseum.org/exhibitions/details.php?unid=2700 |date=25 March 2013 }}. Exhibition information. Akron Art Museum. Retrieved 19 May 2013.</ref>
A career-spanning survey of his work, organized by [[Okwui Enwezor]] and [[Chika Okeke-Agulu]], entitled ''Triumphant Scale'' drew record-breaking crowds when it opened, in March 2019 at Munich's [[Haus der Kunst]]. From there, the show travelled to the [[Arab Museum of Modern Art]], in Doha, and later to the [[Kunstmuseum Bern]] in 2020.<ref name="Lucas 40"/>
Anatsui was selected for the 2023 Hyundai Commission at the Turbine Hall at [[Tate Modern]]; a vast display space for large-scale sculptural and site-specific artworks. His work, "Behind the Red Moon," is made of thousands of metal bottle tops and fragments, building upon his work with materials linked to the transatlantic slave trade, and will be on view through April 14, 2024.<ref>{{Cite news |last=Sooke |first=Alastair |date=2023-10-09 |title=El Anatsui: the Turbine Hall has become a mesmerising catwalk |url=https://www.telegraph.co.uk/art/what-to-see/el-anatsui-hyundai-commission-tate-modern-review/ |access-date=2024-04-08 |work=The Telegraph |language=en-GB |issn=0307-1235}}</ref><ref>{{Cite web |last=Frankel |first=Eddy |date=2024-04-14 |title=El Anatsui: Behind The Red Moon at Tate Modern review |url=https://www.timeout.com/london/art/el-anatsui-behind-the-red-moon |access-date=2024-04-08 |website=Time Out London |language=en-GB}}</ref><ref>{{Cite web |title=El Anatsui — from eating Tate & Lyle sugar in Ghana to filling Tate Modern's Turbine Hall |url=https://www.ft.com/content/c5fe7635-5de8-4619-b1fa-9937b0ea0513 |access-date=2024-04-08 |website=www.ft.com}}</ref>
==Other activities==
Anatsui was selected to be a member of the International Society for Education through Art (InSEA) world council in 1992 for his work in education.<ref name=":03"/> Anatsui was a founding member and fellow of the [[Forum for African Arts]] in 2000. That year he also became a member of the International Selection Committee for the [[Dakar Biennale]] in Senegal.<ref name=":03"/> In 2001 he was a fellow at the [[Civitella Ranieri Foundation]] in Italy.<ref name=":1">{{Cite book|title=El Anatsui when I last wrote to you about Africa|last=Binder, Lisa M. |date=2010|publisher=Museum for African Art|isbn=978-0-945802-56-3|oclc=800807190}}</ref><ref name=":03"/>
==Recognition==
Line 58 ⟶ 77:
Other awards include:
* 1990 – Public Prize, 7th Annual Triennale der Kleinplastik<ref name=":03"/>
* 1995 – Kansai Telecasting Prize, 6th Osaka Sculpture Triennial<ref name=":1" /><ref name=":03"/>
Line 65 ⟶ 84:
* 2009 – [[Prince Claus Fund|Prince Claus Award]]
* 2009 – Artist Honoree, 30th Anniversary Celebration, [[National Museum of African Art]]<ref name=":03"/>
* 2016 – Honorary doctorate, [[Harvard University]]<ref>Gibson, Katie, [https://news.harvard.edu/gazette/story/2016/05/nine-to-receive-honorary-degrees/ "Nine to receive honorary degrees"], ''Harvard Gazette'', 26 May 2016.</ref><ref>Gyamfi Asiedu, Kwasi, [http://www.pulse.com.gh/lifestyle/el-anatsui-legendary-ghanaian-artist-receives-honorary-degree-from-harvard-id5090626.html "Legendary Ghanaian artist receives honorary degree from Harvard"], Pulse.com.gh, 30 May 2016.</ref><ref>[http://www.artpremium.com/harvard-el-anatsui/ "El Anatsui to receive honorary doctorate from Harvard"] {{Webarchive|url=https://web.archive.org/web/20230611003524/https://artpremium.com/harvard-el-anatsui/|date=11 June 2023}}, [[ArtPremium]], 3 June 2016.</ref>▼
*2017 – Honorary doctorate, [[Kwame Nkrumah University of Science and Technology]]<ref>{{Cite web |last= |first= |date=14 December 2017 |title=KNUST honours eight personalities for invaluable services |url=https://www.graphic.com.gh/news/education/knust-honours-eight-personalities-for-invaluable-services.html |url-status=live |archive-url=https://web.archive.org/web/20181219134408/https://www.graphic.com.gh/news/education/knust-honours-eight-personalities-for-invaluable-services.html |archive-date=19 December 2018 |access-date=19 January 2021 |website=Graphic Online |language=en-gb}}</ref><ref>{{Cite web |last= |first= |date=5 December 2017 |title=KNUST honours Fibre Optics inventor Dr Mensah and others |url=https://www.graphic.com.gh/news/education/knust-honours-fibre-optics-inventor-dr-mensah-and-others.html
* 2023 – ''[[Time 100]]''<ref>Tessa Solomon (13 April 2023), [https://www.artnews.com/art-news/news/wolfgang-tillmans-simone-leigh-el-anatsui-time-100-list-1234664115/ Wolfgang Tillmans, Simone Leigh, and El Anatsui Make Time’s ‘100 Most Influential People’ List] ''[[ARTnews]]''.</ref>
▲* 2016 – Honorary doctorate, [[Harvard University]]<ref>Gibson, Katie, [https://news.harvard.edu/gazette/story/2016/05/nine-to-receive-honorary-degrees/ "Nine to receive honorary degrees"], ''Harvard Gazette'', 26 May 2016.</ref><ref>Gyamfi Asiedu, Kwasi, [http://www.pulse.com.gh/lifestyle/el-anatsui-legendary-ghanaian-artist-receives-honorary-degree-from-harvard-id5090626.html "Legendary Ghanaian artist receives honorary degree from Harvard"], Pulse.com.gh, 30 May 2016.</ref><ref>[http://www.artpremium.com/harvard-el-anatsui/ "El Anatsui to receive honorary doctorate from Harvard"], [[ArtPremium]], 3 June 2016.</ref>
* 2024 – Honorary Doctor of Fine Arts, [[Bard College]]<ref>{{Cite web |last=College |first=Bard |title=Honorary Degrees at Bard College |url=https://www.bard.edu/commencement/honorary-degrees/ |access-date=2024-06-06 |website=www.bard.edu |language=en}}</ref>
▲*2017 – Honorary doctorate, [[Kwame Nkrumah University of Science and Technology]]<ref>{{Cite web|last=|first=|date=14 December 2017|title=KNUST honours eight personalities for invaluable services|url=https://www.graphic.com.gh/news/education/knust-honours-eight-personalities-for-invaluable-services.html|url-status=live|archive-url=|archive-date=|access-date=19 January 2021|website=Graphic Online|language=en-gb}}</ref><ref>{{Cite web|last=|first=|date=5 December 2017|title=KNUST honours Fibre Optics inventor Dr Mensah and others|url=https://www.graphic.com.gh/news/education/knust-honours-fibre-optics-inventor-dr-mensah-and-others.html|url-status=live|archive-url=|archive-date=|access-date=19 January 2021|website=Graphic Online|language=en-gb}}</ref>
==See also==
Line 78 ⟶ 97:
==Further reading==
* {{in lang|fr}} "EL Anatsui, Tsiatsia", ''[[:fr:Le Delarge|Le Delarge]]'', [http://www.ledelarge.fr/23550_artiste_EL_ANATSUI read online].
* "El Anatsui (born 1944), Sculptor", ''[[Benezit Dictionary of Artists]]'', [http://oxfordindex.oup.com/view/10.1093/benz/9780199773787.article.B00203576 read online], {{ISBN|
* Anatsui, El and Laura Leffler James, "Convergence: History, Materials, and the Human Hand--An Interview with El Anatsui," ''Art Journal'', Vol. 67, No. 2 (Summer, 2008), pp. 36-53, [https://www.jstor.org/stable/40598941 read online]
* Lisa M. Binder, "Anatsui, El (born 1944), sculptor", ''Grove Art Online'', [http://oxfordindex.oup.com/view/10.1093/gao/9781884446054.article.T2086250 read online], {{ISBN|9781884446054}}.▼
*
*
* Chilvers, Ian and John Glaves-Smith, "Anatsui, El (1944–)", ''A Dictionary of Modern and Contemporary Art'', [http://oxfordindex.oup.com/view/10.1093/acref/9780199239665.013.0080 read online], {{ISBN|978-0-19-172675-0}}.
* Simon Ottenberg, ''New Traditions from Nigeria: Seven Artists of the Nsukka group'', Smithsonian Institution Press 1997, {{ISBN|9781560988007}}▼
* Enwezor, Okwui and Chika Okeke-Agulu, ''El Anatsui: The Reinvention of Sculpture'', Damiani, 2022 [https://www.damianibooks.com/products/6208763] {{ISBN|9788862087636}}
* {{Cite book|title=El Anatsui|url=https://archive.org/details/elanatsuiartlife0000voge|url-access=registration|last=Vogel|first=Susan Mullin|publisher=Prestal|year=2012}}▼
* {{cite book|last1=Sollins|first1=Marybeth|title=art:21 vol.6|publisher=Art21, Inc|isbn=978-0-615-54566-0|pages=31|year=2012}}▼
* Oguibe, Olu. "El Anatsui: Beyond Death and Nothingness", ''African Arts,'' Vol.31, No.1 (1988), pp. 48–55+96, http://www.jstor.org/stable/3337623 ▼
* Gayer, J. (2008). El Anatsui : Gawu. Espace, (86), 39–40. id.erudit.org/iderudit/9058ac
▲*
* LaGamme, Alisa, "The Essential Art of African Textiles: Design without End," ''African Arts'' Vol. 42, No. 1 (Spring, 2009), pp. 88-99, [https://www.jstor.org/stable/20447939 read online]
▲* Oguibe, Olu. "El Anatsui: Beyond Death and Nothingness", ''African Arts,'' Vol.31, No.1 (1988), pp. 48–55+96, [http://www.jstor.org/stable/3337623 El Anatsui: Beyond Death and Nothingness]
▲*
▲* {{cite book|last1=Sollins|first1=Marybeth|title=art:21 vol.6|publisher=Art21, Inc|isbn=978-0-615-54566-0|pages=31|year=2012}}
▲* {{Cite book|title=El Anatsui|url=https://archive.org/details/elanatsuiartlife0000voge|url-access=registration|last=Vogel|first=Susan Mullin|publisher=Prestal|year=2012|isbn=9783791346502 }}
==External links==
Line 92 ⟶ 115:
* [http://www.praemiumimperiale.org/en/laureate-en/laureates-en/anatsui-en "El Anatsui"] at Praemium Imperiale.
* [http://www.dumdum.co.uk/sphericalvr/akuas_surviving_children.html QuickTime Virtual Reality Image of "Akua's Surviving Children"]{{Dead link|date=August 2019 |bot=InternetArchiveBot |fix-attempted=yes }} at the [[Victoria & Albert Museum]], London, by Jonathan Greet
* Doug Britt, [http://blogs.chron.com/peep/2010/01/el_anatsui_lets_chance_collabo.html "El Anatsui lets chance, collaboration into his work"] {{Webarchive|url=https://web.archive.org/web/20100131012221/http://blogs.chron.com/peep/2010/01/el_anatsui_lets_chance_collabo.html |date=31 January 2010 }}, ''Houston Chronicle'', 25 January 2010.
* [http://www.inceptiongallery.com/en/artists/item/233-el-anatsui Inception Gallery Contemporary Art] {{Webarchive|url=https://archive.today/20131015072408/http://www.inceptiongallery.com/en/artists/item/233-el-anatsui |date=15 October 2013 }}
* [https://web.archive.org/web/20111028182517/http://museumchick.com/2011/10/el-anatsu-metropolitan-museum-new-york-city.html El Anatsui piece at the New York Metropolitan Museum of Art]
* [http://www.art21.org/artists/el-anatsui "El Anatsui"], Art21. (n.d.). Retrieved
* [https://vimeo.com/180996156 'The Installation of El Anatsui's "Dusasa l" (The Nelson-Atkins Museum of Art)]. Retrieved 17 January 2017.
Line 104 ⟶ 127:
[[Category:Living people]]
[[Category:20th-century Ghanaian sculptors]]
[[Category:Ghanaian male
[[Category:21st-century sculptors]]
[[Category:Ghanaian artists]]
[[Category:Honorary
[[Category:Kwame Nkrumah University of Science and Technology alumni]]
[[Category:People from Volta Region]]
[[Category:Academic staff of the University of Nigeria
[[Category:21st-century Ghanaian sculptors]]
[[Category:Recycled art artists]]
| |||