Owusu-Ankomah
| Ein sex anaa gender | male  |
|---|---|
| Country wey e be citizen | Ghana |
| Name wey dem give am | Owusu |
| Family name | Ankomah |
| Ein date of birth | 1956 |
| Place dem born am | Sekondi-Takoradi |
| Languages edey speak, rep anaa sign | English |
| Ein occupation | painter |
| Educate for | Achimota School |
| Dema official website | https://www.owusu-ankomah.de/index.html |
| Has works in the collection | The Nelson-Atkins Museum of Art |
| Copyright status as creator | works protected by copyrights |
| Personal pronoun | L485 |
Owusu-Ankomah (dem born am 1956, Sekondi) be leading contemporary African artist[1] plus origins insyd Ghana. Ein work dey address themes of identity den de body, dey use ein trademark motif of Adinkra symbolism. Ein work sanso "influenced by the art of the Renaissance, handwritten texts from ancient cultures such as the adinkra symbol system of the Akan people of Ghana, Chinese ideograms, and contemporary global cultures."[1] Owusu-Ankomah be a trained artist from Achimota College, near Accra, dem establish insyd 1936 wey insyd 1952 dem incorporate am into de University of Science and Technology at Kumasi."[2]
Early life den education
[edit | edit source]Na dem born Owusu-Ankomah insyd 1956 insyd Sekondi, Ghana. Between 1971 den 1974 he study at de Ghanatta College of Art insyd Accra, Ghana.
Career
[edit | edit source]Dey begin insyd 1979, he embark for a series of journeys to Europe, wey he make contact plus European artists den galleries. Since 1986, Owusu-Ankomah live insyd de city of Bremen insyd Germany. Dem sanso recognize Owusu-Ankomah as an expatriated artist secof ein journey to Germany.[3]
De Asanteman system of adinkra signs dey provide recurring motifs for de artist ein large canvases. He re-interpret dema symbolism insyd de context of gallery art, while he dey retain much of dema original meaning.[4] Owusu-Ankomah ein recent paintings deal plus scientific, technological, metaphysical den spiritual facts den truths.[5] De evolution of de human, consciousness, de nonlocality of de soul den ein eternal progression. He dey believe emphatically say na der be oda ancient highly advanced civilizations before Egypt wey na be adept insyd sacred geometry wich he dey use for ein work insyd. He recognize den present insyd ein latest works more crop circles, ein way of make he dey bear witness to de truth wey dey underly de fact dat we no be alone insyd de universe, dat na dem visit we wey we still be visited. Between 2004 den 2008, he cultivate de lifestyle of a hermit, dey reflect, dey meditate den dey research, dey coin de word Microcron. Na he discover, as na he say den dey say, de ultimate symbol, de symbol of symbols, plus ein accompanying theory den philosophy wey he sanso dey bell de Microcron.[6]
Dey look at some of "his strongest pieces, which have historically been black-and-white, he pushes the relationship between the figures and the symbols further. He also uses two figures rather than one, generating a sense of energy and depth. But some recent paintings included in this exhibition (MICROCRON BEGINS) show a dramatic shift into color, an emphasis on tone rather than line, and a more hierarchical composition. These works seem transitional, as if he is feeling his way toward pieces that are more spacious, sparse, and potentially introspective. Now that he is in his fifties, there is a synthesis in his thought that is looking for new outlets in his visual work. But one hopes he won't leave the linear strength and dynamism of his black-and-white compositions behind."[7]
Owusu-Ankomah exhibit thru out Germany as well as internationally insyd Britain den de US, Europe, South Africa, South America den Asia.[8]
References
[edit | edit source]- ↑ 1.0 1.1 Brown, Carol (2011). "Recent Acquisitions at Two South African Collections: UNISA and Durban Art Gallery". African Arts. 44 (3): 76–83. doi:10.1162/afar.2011.44.3.76. ISSN 0001-9933. JSTOR 41330727. S2CID 57562985.
- ↑ Tschumi, Regula (2008). Art in the buried treasure of the Ga. Benteli. p. 46. ISBN 978-3716515204.
- ↑ Visonà, Monica Blackmun (2005). "Redefining Twentieth Century African Art the View from the Lagoons of Côte d'Ivoire". African Arts. 38 (4): 54–94. doi:10.1162/afar.2005.38.4.54. ISSN 0001-9933. JSTOR 20447735.
- ↑ Enwezor, Okwui, ed. (2004). A Fiction of Authenticity: Contemporary Africa Abroad. Contemporary Art Museum St. Louis. ISBN 978-0971219526.
- ↑ "Owusu-Ankomah". www.owusu-ankomah.de. Retrieved 15 March 2019.
- ↑ "Owusu Ankomah". Online biography. TATE. 17 April 2007. Retrieved 10 September 2009.
- ↑ Hynes, N. J. (20 June 2015). "Owusu-Ankomah Microcron Begins (review)". Nka: Journal of Contemporary African Art (in English). 36 (1): 112–115. doi:10.1215/10757163-2914383. ISSN 2152-7792.
- ↑ "Owusu-Ankomah". International exhibiting history. October Gallery. 22 February 2007. Retrieved 10 September 2009.
Private collections
[edit | edit source]Prince Olivier Doria d'Angri Michele Faissola (Deutsche Bank), Sammlung Kalkmann - Bodenburg (Germany)
External links
[edit | edit source]- Owusu-Ankomah. Online artwork
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- Pages with script errors
- Pages using the JsonConfig extension
- CS1 English-language sources (en)
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- Living people
- 1956 births
- Ghanaians
- Human
- 20th-century Ghanaian painters
- 20th-century male artists
- German artists
- German contemporary artists
- Ghanaian artists
- Ghanaian male artists
- Male painters
- 20th-century Ghanaian male artists
- People wey komot Sekondi-Takoradi