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Broken Bridge, Brahim El Anatsui (2012).
Tapisserie métallique de grattoirs à céréales rouillés sur la façade du musée Galliera, actuellement en réparation.
Statue of Sir Joshua Reynolds with the backdrop of 'TSIATSIA – Searching for Connection' (2013) by El Anatsui
'TSIATSIA – Searching for Connection' uses the Ewe (Niger-Congo) verb Tsia meaning 'to connect'.
The piece (15.6m x 25m) consists of an estimated quarter of a million aluminium bottle caps, and metal sheets and plates, all individually linked to their neighbour.
The piece was submitted to the Royal Academy's 245th Summer Exhibition.
The statue of Joshua Reynolds (1723-92), first President of the Royal Academy of Arts. The bronze statue was erected in 1931, the work of Alfred Drury (1856-1944).
(CC) Eva Blue. Feel free to use this photo but please credit me when you use it and if you're really nice, you'll send me a message informing me where you used it. Thanks!
Posted on PigPog: pigpog.com/2014/06/18/totems-at-the-eden-project/
A lot of shots of burnt wood totems in the rainforest biome at the Eden Project, by sculpture El Anatsui. PanoEdit actually failed to stitch these, so I resorted to DoubleTake. It took a long time, as they don’t really join up very neatly at all, but I eventually worked out how they fit together.
'Behind the Red Moon' by El Anatsui (b.1944 Ghana). Shown here, two of the cascading metal hangings in the Tate Modern's Turbine Hall. London Borough of Southwark.
Head art handler Tom Lopez discusses placement of the artwork with curator Kinsey Katchka.
DI24861-25
From the British Museum display card:
Man's Cloth Recycled metal foil bottle-neck wrappers, copper wire) by El Anatsui, Ghana, 1998-2001
The traditional narrow-strip woven silk kente cloth of Ghana is a source of pride and a receptacle of cultural memories. It is a leitmotif that runs through much of El Anatsui's work. He uses it to pursue the themes of memory and loss, particularly the erosion of cultural values through unchecked consumerism, here symbolised by the bottle-neck wrappers. Yet El Anatsui's work is ultimately optimistic, in this case using cloth as a metaphor for both the fragility and the dynamism and strength of tradition.
Statue of Sir Joshua Reynolds with the backdrop of 'TSIATSIA – Searching for Connection' (2013) by El Anatsui
'TSIATSIA – Searching for Connection' uses the Ewe (Niger-Congo) verb Tsia meaning 'to connect'.
The piece (15.6m x 25m) consists of an estimated quarter of a million aluminium bottle caps, and metal sheets and plates, all individually linked to their neighbour.
The piece was submitted to the Royal Academy's 245th Summer Exhibition.
The statue of Joshua Reynolds (1723-92), first President of the Royal Academy of Arts. The bronze statue was erected in 1931, the work of Alfred Drury (1856-1944).
El Anatsui, Ghanaian, born 1944, active in Nigeria.
Discarded aluminum and copper wire. I like how the artist used scrap pieces of metal and liquor labels that he found and pieced this together. It reflects the changes his community has gone through economic growth.
I also like how this piece is "site responsive" meaning that each museum can decide how to mount his work. NCMA decided to hang it and have the folds of the "fabric" show.
El Anatsui
When I Last Wrote to You about Africa
March 30 - June 26, 2011
The Davis Museum at Wellesley College
Watch the video: Installing El Anatsui
This is a closeup of just a very small section of a wall sized artwork at the Metropolitan Museum of Art. It is made of recycled materials, discarded aluminum bottle caps. You can see the entire artwork here:
amarettogirl.squarespace.com/blog/2009/1/31/el-anatsui-at...
or more images from Flickr of his work: www.flickr.com/search/?w=all&q=dusasa&m=text
Copyright 2010, Amy Strycula
Perry has created a small ‘replica’ using similar materials and techniques that were used to create the NCMA’s El Anatsui wall sculpture. There are several reasons for his endeavor. He gained insight into the materials and processes used by the artist to create this artwork and secondly, the reproduction provides a useful educational aide that can be handled by the public (unlike Anatsui ‘s work or any other museum artwork). The public can experience firsthand the skill and ingenuity of the construction, but also the fragility of it.
El Anatsui .Fire damaged wood from Falmouth docks. Rainforest Biome, Eden Project, St Blazey, Cornwall, UK.
This mockingbird is swooping down from atop a High Line sculpture (El Anatsui's Broken Bridge II) to defend its winterberry bush from an intruder.
Snow dances over the edge--usually almost invisible--of El Anatsui's Broken Bridge II at the High Line.
Recycled, re-reused bottle caps joining strips with joining the flattened bottle caps
Ready to be joined
Recycled metal foil bottle-neck wrappers, copper wire
By El Anatsui, Ghana, 1998-2001
The traditional narrow-strip woven silk kente cloth of Ghana is a source of pride and a receptacle of cultural memories.
It is a leitmotif that runs through much of El Anatsui's work. He uses it to pursue the themes of memory and loss, particularly the erosion of cultural values through unchecked consumerism, here symbolised by the bottle-neck wrappers. Yet El Anatsui's work is ultimately optimistic, in this case using cloth as a metaphor for both the fragility and the dynamism and strength of tradition.
El Anatsui (1944-) was born in Ghana but since the 1970s has been working at Nsukka where he is Professor of Sculpture at the University of Nigeria.