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Apple Vision Pro
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11/07/2024
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Apple Vision Pro
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11/07/2024
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Apple Vision Pro
Liam Nicholson, first customer for Apple Vision Pro at Apple Store, Regents Street
11/07/2024
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Apple Vision Pro
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11/07/2024
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Apple Vision Pro
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11/07/2024
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Apple Vision Pro
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11/07/2024
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Apple Vision Pro
Customers using Apple Vision Pro at Apple Store, Regents Street
11/07/2024
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Apple Vision Pro
Customers using Apple Vision Pro at Apple Store, Regents Street
11/07/2024
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Apple Vision Pro
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11/07/2024
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Apple Vision Pro
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11/07/2024
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Apple Vision Pro
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Apple Vision Pro
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11/07/2024
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Apple Vision Pro
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11/07/2024
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Apple Vision Pro
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11/07/2024
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Apple Vision Pro
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Apple Vision Pro
Liam Nicholson, first customer for Apple Vision Pro at Apple Store, Regents Street
11/07/2024
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Apple Vision Pro
Liam Nicholson, first customer for Apple Vision Pro at Apple Store, Regents Street
11/07/2024
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Apple Vision Pro
Liam Nicholson, first customer for Apple Vision Pro at Apple Store, Regents Street
11/07/2024
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Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
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Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
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09/07/2024
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Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
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DUKAS_172145780_EYE
Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
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DUKAS_172145779_EYE
Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
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09/07/2024
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DUKAS_172145778_EYE
Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
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DUKAS_172145777_EYE
Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
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DUKAS_172145776_EYE
Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
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DUKAS_172145747_EYE
Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
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DUKAS_172145746_EYE
Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
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DUKAS_172145745_EYE
Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
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DUKAS_172145744_EYE
Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
Credit: Daniel Hambury / Evening Standard / eyevine
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DUKAS_172145743_EYE
Yayoi Kusama's Pumpkin
Photocall for Yayoi Kusama's Pumpkin at Serpentine Pavilion, Kensington Gardens
Picture by Daniel Hambury
09/07/2024
Credit: Daniel Hambury / Evening Standard / eyevine
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DUKAS_161451556_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
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© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451581_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
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DUKAS_161451584_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451583_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451585_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451582_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451551_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451553_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451555_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451554_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
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(FOTO: DUKAS/EYEVINE)
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DUKAS_161451550_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451578_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451552_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451575_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451577_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451549_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451574_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451572_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
DUKAS_161451571_EYE
El Anatsui at Tate Modern: 'It took a long time for the West to realise there is contemporary art in Africa'
The Ghanaian artist talks about his Turbine Hall commission at Tate Modern, forging a new artistic identity and tackling the transatlantic slave trade in his work.
When Tate came calling, a couple of years ago, to invite the eminent Ghanaian artist El Anatsui to create a new installation for the Turbine Hall Hyundai Commission, his first idea was to plant a field of sugar cane, to wave in the autumn breezes that flow down the ramp from the gallery's entrance doors.
Anatsui, now 81, knew that those white gold grains were the key, however. "I was born in the colonial Gold Coast and the only sugar brand was Tate & Lyle, so I grew up knowing that Tate & Lyle benefited from the aftermath of the transatlantic trade. So I had to do something that has something to do with that period, when the continents were linked, whether for good or bad."
Artist El AnaisuiI pictured with his latest work, Behind the Red Moon as it is unveiled at Tate Modern's
Turbine Hall.
09/10/2023
© Daniel Hambury / Evening Standard / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
E: info@eyevine.com
http://www.eyevine.com
(FOTO: DUKAS/EYEVINE)
© Evening Standard / eyevine. All Rights Reserved. -
