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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. 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."
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197:. 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. His lettering attempts drew the attention of his school's headmaster, who encouraged his effort by providing him with more chalk. Because of his age at the time (just after kindergarten), he regarded the letters more as images than as letters--the forms interested him.
296:"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."
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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. He also began using wood to construct
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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. In order to rectify this, he started visiting
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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
412:. 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. His work utilized conceptual modes used by European and American artists but hardly in African countries. Anatsui showed his work at the de Young Museum in
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He began teaching at the
University of Nigeria, Nsukka in 1975. 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. His presence at the University of Nsukka led
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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
554:; 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.
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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.
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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
287:"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."
451:. 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. The art curator of the Biennale,
360:. He also was one of three artists singled out in the 1990 exhibition "Contemporary African Artists: Changing Traditions", which was extended for five years. Anatsui has since exhibited his work around the world, including at the
305:; and concern over Western scholarly misinterpretation of African history and the distortions it has caused. His work is also thematically connected to the West African cultural landscape and ideas of consumption and labor.
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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."
223:, all of whom began to reject foreign influences in their practices in favor of indigenous art forms. After graduating in 1969, Anatsui assumed a teaching position at Winneba Specialist Training College (now
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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
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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. Anatsui was a founding member and fellow of the
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2013:
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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.
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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
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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
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420:, "Danudo," was the first display of his metal sheets in an American city. At this gallery, Skoto Aghahowa presented Anatsui's wood wall panels alongside
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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
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in 2005. This was his first time "appear as part of the permanent collection in a major art museum". Also in 2005, his exhibition at New York's
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2008:
265:, 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.
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It has taken many years to find artists who can occupy a prominent place on the global circuit while choosing to reside outside the
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Anatsui, El and Laura
Leffler James, "Convergence: History, Materials, and the Human Hand--An Interview with El Anatsui,"
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595:, Ghana. In 1983 he won a commission for two large public sculptures made of terrazzo-surfaced cement on the
251:, and El Anatsui has conquered the planet while living and working in the Nigerian university town of Nsukka.
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as an undergraduate student in 1968. The following year he was awarded the Best
Student of the Year at the
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424:'s drawings. This exhibition popularized his bottle-cap works as he gained more recognition in the press.
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in Kumasi, Ghana. He received his postgraduate diploma in Art Education the following year, in 1969, from
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1457:"2015 Venice Biennale News. Venice Biennale Awards Golden Lions to El Anatsui, Susanne Ghez, Names Jury"
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exhibition (2011). Clark Art Institute website, Williamstown, Massachusetts. Retrieved 19 May 2013.
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622:, where he received an honorable mention. That year he was included in the American documentary
489:, Canada. It subsequently toured venues in the United States for three years, concluding at the
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1395:"El Anatsui — from eating Tate & Lyle sugar in Ghana to filling Tate Modern's Turbine Hall"
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Wolfgang Tillmans, Simone Leigh, and El Anatsui Make Time’s ‘100 Most Influential People’ List
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biography at the National Museum of African Art, Washington, D.C.". Retrieved 24 January 2010.
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348:, and eventually internationally. In 1990, Anatsui had his first important group show at the
283:, and more focused on the history of use and the evidence of the human hand in the material.
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Gayer, J. (2008). El Anatsui : Gawu. Espace, (86), 39–40. id.erudit.org/iderudit/9058ac
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in 2000. That year he also became a member of the International Selection Committee for the
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1022:"El Anatsui: the sculptor on making art from waste, and waking up the artist in all of us"
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which consisted of newly built walls for him to display three metal hangings entitled
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886:"Convergence: History, Materials, and the Human Hand—An Interview with El Anatsui"
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1958:'The Installation of El Anatsui's "Dusasa l" (The Nelson-Atkins Museum of Art)
740:"El Anatsui | Biography, Art, Bottle Caps, & Facts | Britannica"
1967:
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LaGamme, Alisa, "The Essential Art of African Textiles: Design without End,"
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1150:. (2010). Rice University Art Gallery, Houston, Texas. Retrieved 19 May 2013.
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408:(2020). In 1995, Anatsui held his first solo exhibition outside of Africa in
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Anatsui was selected for the 2023 Hyundai Commission at the Turbine Hall at
1161:"Rich Legacy of African Textiles on View in Metropolitan Museum Exhibition"
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1507:"Shirin Neshat and Mikhail Baryshnikov Among Praemium Imperiale Winners"
1191:. Fowler Museum at UCLA, Los Angeles, CA. (2007). Retrieved 1 July 2014.
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Akyeampong, Emmanuel Kwaku; Gates (Jr.), Henry Louis (2 February 2012).
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Oguibe, Olu (Winter 1998). "El Anatsui: Beyond Death and Nothingness".
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drew record-breaking crowds when it opened, in March 2019 at Munich's
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1324:. Exhibition information. Akron Art Museum. Retrieved 19 May 2013.
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1541:"Legendary Ghanaian artist receives honorary degree from Harvard"
1482:"Venice Biennale honours Africa's 'bottle-top artist' El Anatsui"
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336:
Anatsui's career grew gradually, starting in his home village of
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1117:. Brooklyn Museum, Brooklyn, New York. Retrieved 20 August 2014.
754:"Biografía y obras: Anatsui, el | Guggenheim Museum Bilbao"
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campus. He was selected to be one of ten artists invited to the
1336:"El Anatsui: the Turbine Hall has become a mesmerising catwalk"
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1957:
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QuickTime Virtual Reality Image of "Akua's Surviving Children"
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New Traditions from Nigeria: Seven Artists of the Nsukka group
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1995 – Kansai Telecasting Prize, 6th Osaka Sculpture Triennial
996:"El Anatsui: out of Africa and taking the art world by storm"
368:(2011); the Rice University Art Gallery, Houston (2010); the
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Chilvers, Ian and John Glaves-Smith, "Anatsui, El (1944–)",
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installations". These installations consist of thousands of
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El Anatsui piece at the New York Metropolitan Museum of Art
1577:"KNUST honours eight personalities for invaluable services"
161:. He has drawn particular international attention for his "
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1607:"KNUST honours Fibre Optics inventor Dr Mensah and others"
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1990 – Public Prize, 7th Annual Triennale der Kleinplastik
637:, the first Ghanaian to win this international art prize.
396:(2001); the 8th Osaka Sculpture Triennale (1995); the 5th
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Kwame Nkrumah University of Science and Technology (KNUST)
2014:
Kwame Nkrumah University of Science and Technology alumni
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Oguibe, Olu. "El Anatsui: Beyond Death and Nothingness",
512:(exhibition: 2012), the exhibition later traveled to the
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376:, Smithsonian Institution, Washington, D.C. (2008); the
1553:"El Anatsui to receive honorary doctorate from Harvard"
1370:"El Anatsui: Behind The Red Moon at Tate Modern review"
1242:
Lucas, Julian (18 January 2021). "Structure and Flow".
392:(2002); the National Museum of African Art (2001); the
1726:
Binder, Lisa M., "Anatsui, El (born 1944), sculptor",
1918:"El Anatsui lets chance, collaboration into his work"
1315:"Gravity & Grace: Monumental Works by El Anatsui"
1229:. Hayward Gallery, London. Retrieved 29 January 2010.
1026:
The Art Newspaper - International art news and events
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818:"El Anatsui: The 100 Most Influential People of 2023"
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2009 – Artist Honoree, 30th Anniversary Celebration,
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1115:"Gravity and Grace: Monumental Works by El Anatsui"
523:A career-spanning survey of his work, organized by
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Gravity & Grace: Monumental Works by El Anatsui
227:), a role that had previously been filled by Kofi.
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680:Kwame Nkrumah University of Science and Technology
650:1998 – Bronze Prize, 9th Osaka Sculpture Triennial
70:Kwame Nkrumah University of Science and Technology
629:In 2015, the Venice Biennale awarded Anatsui the
1965:
1745:Binder, Lisa M., "El Anatsui: Transformations,"
1424:El Anatsui when I last wrote to you about Africa
614:In 1990, Anatsui was invited to the 44th annual
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1227:"AFRICA REMIX: Contemporary Art of a Continent"
1159:Metropolitan Museum of Art, New York. (2008).
587:Anatsui won an honorable mention at the First
211:Some of his early artistic influences include
1179:, 17 January 2008. Retrieved 29 January 2010.
788:"Fall In Love With These Sustainable Artists"
496:A major exhibition of recent works, entitled
177:list of the world's most influential people.
1720:, Vol. 67, No. 2 (Summer, 2008), pp. 36-53,
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394:Centre de Cultura Contemporània de Barcelona
202:College of Art and Built Environment (KNUST)
2024:Academic staff of the University of Nigeria
1954:, Art21. (n.d.). Retrieved 8 December 2016.
1757:A Dictionary of Modern and Contemporary Art
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570:in Senegal. In 2001 he was a fellow at the
473:A 2010 retrospective of his work, entitled
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1816:Vol. 42, No. 1 (Spring, 2009), pp. 88-99,
1793:Jennifer, Anne Hart, "El Anatsui (1944)",
1749:Vol. 41, No. 2 (Summer, 2008), pp. 24-37,
1211:"El Anatsui interview: Out of West Africa"
884:Anatsui, El; James, Laura Leffler (2008).
785:
200:Anatsui received his B.A in 1968 from the
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1828:El Anatsui: Beyond Death and Nothingness
1826:Vol.31, No.1 (1988), pp. 48–55+96,
1776:El Anatsui: The Reinvention of Sculpture
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786:Christinee, Lindsay (8 September 2020).
539:. From there, the show travelled to the
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340:before branching off to places such as
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1836:, Smithsonian Institution Press 1997,
1774:Enwezor, Okwui and Chika Okeke-Agulu,
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2009:Honorary members of the Royal Academy
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692:2024 – Honorary Doctor of Fine Arts,
475:When I Last Wrote to You About Africa
1695:"El Anatsui (born 1944), Sculptor",
927:"El Anatsui | Curriculum Vitae"
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798:from the original on 22 January 2021
631:Golden Lion for Lifetime Achievement
491:University of Michigan Museum of Art
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633:. In 2017, Anatsui was awarded the
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1935:Inception Gallery Contemporary Art
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1652:"Honorary Degrees at Bard College"
1524:"Nine to receive honorary degrees"
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1334:Sooke, Alastair (9 October 2023).
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14:
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1455:Russeth, Andrew (23 April 2015).
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173:Anatsui was included in the 2023
157:active for much of his career in
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2029:21st-century Ghanaian sculptors
1984:20th-century Ghanaian sculptors
1795:Dictionary of African Biography
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1631:Tessa Solomon (13 April 2023),
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1368:Frankel, Eddy (14 April 2024).
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954:Dictionary of African Biography
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601:Zweites Symposium Nordesekkuste
1290:. New York: Prestel. pp.
1090:. New York: Prestel. pp.
810:
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668:National Museum of African Art
620:5 Contemporary African Artists
589:Ghana National Art Competition
577:
374:National Museum of African Art
316:
1:
1698:Benezit Dictionary of Artists
1258:"El Anatsui Triumphant Scale"
247:has made his reputation from
150:; born 4 February 1944) is a
1960:. Retrieved 17 January 2017.
1911:Victoria & Albert Museum
1866:Vogel, Susan Mullin (2012).
1543:, Pulse.com.gh, 30 May 2016.
1163:. Retrieved 29 January 2010.
711:
624:Nigerian Art-Kindred Spirits
572:Civitella Ranieri Foundation
543:, in Doha, and later to the
231:to his affiliation with the
7:
1913:, London, by Jonathan Greet
1494:"2017 Sculpture El Anatsui"
699:
678:2017 – Honorary doctorate,
672:2016 – Honorary doctorate,
653:2008 – Visionaries! Award,
439:Anatsui was invited to the
18:Ghanaian artist (born 1944)
10:
2050:
1851:. Art21, Inc. p. 31.
1847:Sollins, Marybeth (2012).
1426:. Museum for African Art.
508:in 2013. Organized by the
435:Artempo exhibition in 2007
372:, New York (2008–09); the
370:Metropolitan Museum of Art
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1001:The Sydney Morning Herald
655:Museum of Arts and Design
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541:Arab Museum of Modern Art
402:Arab Museum of Modern Art
89:
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2019:People from Volta Region
1682:"EL Anatsui, Tsiatsia",
1422:Binder, Lisa M. (2010).
1286:El Anatsui: Art and Life
1217:. Retrieved 19 May 2013.
1148:"El Anatsui: Gli (Wall)"
1086:El Anatsui: Art and Life
593:College of Art in Kumasi
404:in Doha (2019); and the
185:El Anatsui was born in
181:Early life and education
1923:31 January 2010 at the
1484:, BBC News, 9 May 2015.
1215:Sculpture/artdesigncafe
477:, was organized by the
225:University of Education
167:aluminum pieces sourced
1999:21st-century sculptors
1903:at Praemium Imperiale.
1539:Gyamfi Asiedu, Kwasi,
1209:Preece, R. J. (2006).
640:Other awards include:
564:Forum for African Arts
479:Museum for African Art
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436:
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298:
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1989:Ghanaian male artists
1496:, Praemium Imperiale.
1320:25 March 2013 at the
1282:Vogel, Susan (2012).
1094:, 41–45, 85–89, 164.
1082:Vogel, Susan (2012).
514:Des Moines Art Center
461:
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384:(1990 and 2007); the
378:Fowler Museum at UCLA
324:
294:
285:
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2034:Recycled art artists
1583:. 14 December 2017.
1558:11 June 2023 at the
1513:, 12 September 2017.
1173:"El Anatsui at NMAA"
483:Royal Ontario Museum
48:Anyako, Volta Region
1940:15 October 2013 at
1134:7 July 2011 at the
767:Sollins, Marybeth.
463:Another Man's Cloth
366:Clark Art Institute
328:(1998–2001) at the
276:, and bottle tops.
217:Vincent Akwete Kofi
1931:, 25 January 2010.
1832:Ottenberg, Simon,
1511:The New York Times
1189:"El Anatsui: Gawu"
1004:, 6 February 2016.
674:Harvard University
662:Prince Claus Award
635:Praemium Imperiale
518:Bass Museum of Art
516:(2013–14) and the
481:and opened at the
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437:
390:Liverpool Biennial
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208:, also in Kumasi.
94:Prince Claus Award
1929:Houston Chronicle
1858:978-0-615-54566-0
1842:978-1-56098-800-7
1807:978-0-19-985725-8
1769:978-0-19-172675-0
1740:978-1-884446-05-4
1711:978-0-19-989991-3
1613:. 5 December 2017
1505:Chow, Andrew R.,
1433:978-0-945802-56-3
1301:978-3-7913-4650-2
1101:978-3-7913-4650-2
964:978-0-19-538207-5
792:The Wellness Feed
529:Chika Okeke-Agulu
520:in Miami (2014).
245:William Kentridge
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2004:Ghanaian artists
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1778:, Damiani, 2022
1728:Grove Art Online
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1874:. Prestal.
1818:read online
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1718:Art Journal
1703:read online
1690:read online
1680:(in French)
957:. OUP USA.
890:Art Journal
611:, in 1984.
578:Recognition
552:Tate Modern
531:, entitled
326:Man's Cloth
317:Exhibitions
56:Nationality
1968:Categories
1870:El Anatsui
1685:Le Delarge
1617:19 January
1591:19 January
1564:ArtPremium
1399:www.ft.com
1128:El Anatsui
931:El Anatsui
802:19 January
574:in Italy.
500:, had its
431:Anatsui's
422:Sol LeWitt
281:Duchampian
213:Oku Ampofo
163:bottle-top
102:El Anatsui
80:Visual Art
37:1944-02-04
25:El Anatsui
1442:800807190
1348:0307-1235
902:0004-3249
712:Footnotes
547:in 2020.
243:centres.
189:, in the
84:Sculpture
1938:Archived
1921:Archived
1585:Archived
1556:Archived
1466:23 April
1318:Archived
1132:Archived
1032:14 March
936:22 April
910:40598941
796:Archived
700:See also
687:Time 100
605:Cuxhaven
502:New York
358:New York
175:Time 100
155:sculptor
152:Ghanaian
60:Ghanaian
1909:at the
1637:ARTnews
1404:8 April
1379:8 April
1353:8 April
856:3337623
684:2023 –
660:2009 –
469:in 2022
332:in 2009
310:Sankofa
274:cassava
263:Adinkra
256:Artwork
159:Nigeria
50:, Ghana
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773:Art 21
597:Nsukka
583:Awards
449:Dusasa
410:London
354:Harlem
338:Nsukka
219:, and
187:Anyako
90:Awards
1294:–85.
906:JSTOR
852:JSTOR
657:(MAD)
618:show
346:Lagos
342:Enugu
195:Ghana
1876:ISBN
1853:ISBN
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1803:ISBN
1782:ISBN
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1707:ISBN
1663:2024
1619:2021
1593:2021
1468:2015
1438:OCLC
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