View allAll Photos Tagged ElAnatsui
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.
(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!
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.
Thanks to my contact Trish Mayo for reminding me about the work of the wonderful West African artist El Anatsui. The piece seen here, Hovor II, is in the de Young Museum, San Francisco.
El Anatsui, 'TSIATSIA - searching for connection', 2013. Aluminium, (bottle-tops, printing plates, roofing sheets) and copper wire, 15 x 23 metres
This stunning opener to the show is TSIATSIA – Searching for Connection (2013) by the West African artist, El Anatsui (b. 1944). ‘I was very excited when the Royal Academy commissioned me,’ he says. ‘Having grown up with many teachers of British origin, I was familiar with the Academy. While I wanted the building to work like a kind of frame for the artwork, I also wanted my piece to look very contemporary and fresh. I use discarded bottle tops, woven together with copper wire. They are things that are easily overlooked, easily seen as rubbish, but which have at the same time a huge historical significance. They are about the relationship between Europe and Africa in the sense that it was the Europeans who first brought bottles to Africa. Gin, schnapps and whisky were imported by traders for bartering. Now these drinks are manufactured by local distillers. They have names from Nigeria, where I now live. And when you collect them from the streets – and it is important to me that all these caps have been used, touched and so loaded with what I think of as a human charge – they give you a sense of the sociology and the history of a place. A material that looks commonplace and ordinary is loaded with a new significance and meaning.’
Taylor Hall in the Saint Louis Art Museum's new East Building. The twins are viewing "Fading Cloth" (2005) by El Anatsui.
(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!
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).
Sharjah Biennial 8 is the biggest art event in the region. It will include 81 artists from 40 countries, including major contemporary artists such as Alfredo Jaar, Mona Hatoum, and El Anatsui and many more.
The theme for this year is “art ecology and the politics of change” opening from the 4th of April to the 4th of June. If anyone is in the region at this time it is a show definitely not to be missed.
Art enthusiasts as well as students of the region have been asked to volunteer to help out in the production of the work; this is a fantastic opportunity for them to work hand in hand with the artists to increase their knowledge about the definition of art and what happens behind the scenes when putting up a major exhibition such as this.
(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!
BOUQUETS TO ART 2017 .
ACME FLORAL COMPANY-KIRK WILDER (SAN FRANCISCO)
EL ANATSUI- HOVOR II 2004
The de YOUNG MUSEUM lets florists pay homage to various paintings and sculptures.
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Seen along The High Line, an elevated garden in Manhattan, this wall sculpture by El Anatsui is made of recycled pressed tin and mirrors.
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
(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!
(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!
(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!
(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!
(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!
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).