It was in Kumasi that most of Ghana's significant artists and curators of the millennial generation and their cotravellers had their epiphany. Bernard Akoi-Jackson, Adwoa Amoah, Ibrahim Mahama, Rita Fatric Bewong, Kelvin Haizel, Selasi Awusi Sosu, Robin Riskin, Kwasi Ohene-Ayeh (IUB), Gideon Appah, Larry Amponsah, Jeremiah Quarshie, Adjo Kisser, Patrick Tagoe-Turkson, Patrick Quarm, Yaw Owusu, Bright Ackwerh, Tracy Naa Koshie Thompson, Benjamin Okantey, Issah Alhassan, Emmanuel Opoku Manu, Priscilla Kennedy, the Asafo Black Collective, and Vabene Elikem Fiatsi (crazinisT artisT) are a few examples. The list is still growing, the range of interests, formats, media, and attitudes is ever expanding; their influence is being felt in Ghana's capital cities and international circuits of contemporary art. More women and cultural and ethnic minorities are beginning to take their place in the unfolding ethos.1 New paradigms of the artist-subject are emerging. These include variations of a social form Jean-Luc Nancy designates...
Transforming Art from Commodity to Gift: kąrî’kạchä seid'ou's Silent Revolution in the Kumasi College of Art
- Share Icon Share
- Views Icon Views
- Search Site
Edwin Bodjawah, Kwaku Boafo Kissiedu (Castro), George Ampratwum (Buma), Kwasi Ohene-Ayeh, Dorothy Amenuke, Michael Adashie, Ibrahim Mahama, Adjo Kisser, Billie McTernan, Bernard Akoi-Jackson, Kezia Owusu-Ankomah, Selom Kujie, Robin Riskin, Tracy Naa Koshie Thompson; Transforming Art from Commodity to Gift: kąrî’kạchä seid'ou's Silent Revolution in the Kumasi College of Art. African Arts 2021; 54 (2): 22–35. doi: https://doi.org/10.1162/afar_a_00581
Download citation file: