El Anatsui: Transformations

Chance was integral to his work with clay; when installing wood sculptures in galleries, there are almost always instructions for the sections to be arranged at the curators discretion; while working in residence, he tends to take a good deal of time reacting and responding to the space of the lands...

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Veröffentlicht in:African arts Jg. 41; H. 2; S. 24 - 37
1. Verfasser: Binder, Lisa M.
Format: Journal Article
Sprache:Englisch
Veröffentlicht: 238 Main St., Suite 500, Cambridge, MA 02142-1046, USA James S. Coleman African Studies Center, University of California, Los Angeles 22.06.2008
MIT Press
University of California
MIT Press Journals
African Studies Center
Schlagworte:
African art
African artists
Anatsui, El
Art exhibitions
Art exhibits
Art markets
Artists
Artists studios
Artists, African
Boats
Cognitive problems, arts and sciences, folk traditions, folklore
Conversation
Criticism and interpretation
Ethnology
Fabrics
Generalities
Modern art
Museums
Performance art
Plastic arts, handicrafts
Politics
Recycling
Sculptors
Sculpture
Signatures
Works
Africa
United States
Art
Transformation
Sculpture
Painting
ISSN:0001-9933, 1937-2108, 1937-2108
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Beschreibung
Zusammenfassung:Chance was integral to his work with clay; when installing wood sculptures in galleries, there are almost always instructions for the sections to be arranged at the curators discretion; while working in residence, he tends to take a good deal of time reacting and responding to the space of the landscape before beginning; and most recently, the elements of his "cloth series" began when he found a pile of bottle-caps while looking around his studio for a "pot monument" (Fig. 1).1 Arguably, it is the cloth series that has garnered him the most attention from the Western art world in recent years. [...] in conversation with the artist, it became clear that this historical connection to a specific cloth type was secondary to the transformation of material and the significance of this change in relation to local and global political and societal conditions.2 As popular as the cloth sculptures are in Europe and America, the 2006 Dak'art Biennale marked the first time his work- Society Women's Cloth (2004)-was exhibited in Africa (Fig 2).
Bibliographie:Summer, 2008
ObjectType-Article-1
SourceType-Scholarly Journals-1
ObjectType-Feature-2
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ISSN:0001-9933
1937-2108
1937-2108
DOI:10.1162/afar.2008.41.2.24