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ocggospel-blog · 5 years ago

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The final night, were over 30 nominated gospel acts for the annual National Gospel Music Awards ( NGMA 2019 ) , were to be awarded either by Public votes, Academy or Board discussion was successfully.

On the 15th of February, 2020 the third edition of the NGMA awards was held at the Bantama Pentecost Church- Kumasi; a night full of surprises from the red carpet, performance, socialization and the real deal, the awards.

These awards and excitations celebrates the excellence in the Gospel Industry of Ghana and recognise the hard work, sacrifice and positive contributions to the Kingdom Work.

The Winners of the ( NGMA 2019 ) National Gospel Misic Awards are :

WORSHIP SONG Of THE YEAR

1.Celestine Donkor- I need Your Touch

2. Diana Hamilton- Nsenkyerene Nyankopong

3. Brother Sammy- Aduro Bia Nkadem

4. Joe Mettle- Mehia Wo Yesu

5. Perpetual Tsahey (Perppy)- God Alone

6. Nana kweku Osei (Nacee)- Efata wo ( WINNER )

PRAISE SONG OF THE YEAR

1. Mary Agyemang -Medea ne wo

2. Joyful Way Inc. Africa Praise

3. Odehyieba Priscilla Agyemang (Odehyieba Priscilla)-Adin bi Agye me (WINNER)

4. Frank Opoku (Minister Frankie) Ebeba mu

5. Piesie Esther – Maseda Kesie

6. Gabriel kojo kwame (Qwame Gaby) – Aseda

7. Joyce Jubin(Obaa Joyce)- Meko M’anim

8. Joyce Blessing- Di Asa (Praise Anthem)

GROUP Of THE YEAR

1. Towdah Sounds– Simply Amazing ( WINNER )

2. Harmonious Chorale- pae mu ka

3. El-Dunamis Minstrel – Jesus

4. The Garrison Children’s Voices.– Ye Yi waye

5. Willie And Mike – Faithful God

6. Daughters Of Glorious Jesus- Worship Mix Vol. 1

COLLABORATION OF THE YEAR

1. Akesse Brempong ft Bernard Franklin – Crazy love

2. Celestine Donkor ft Nhyiraba Gideon- Agbebolo (WINNER)

3.Marian Yamoah (Ewurah ft Joyce Blessing)- Ose Ayeyi

4.Joe Mettle feat Jonathan Nelson (USA) – Hide Me

5. Don Cemon ft Ampong- Aseda

6. Minister Franklyn Ft Piesie Esther- Ebebamu

PROMISING ARTISTE OF THE YEAR

1.Odehyieba Priscilla Agyemang (Odehyieba Priscilla)-Edin Bi Agye Me

2. May Adaeze T- N Hanson (ADAEZE)- You Never Change

3. Towdah Sounds- Simply Amazing

4. Brother Fire- Adom Bi

5. Richard Adu-Gyamfi (Cpl Adu Gyamfi)- Worship Medley

6. MICHAEL ACHEAMPONG GYIMAH (ANOINTED MICHAEL) -Living Testimony

7. Ewurah Gold -Nyame Aye Bi (WINNER)

8. Frank Opoku (Minister Frankie) -Ebebamu

9. EYIAH FREDERICK (ELDER K FRED)-Aba Me So

10.Christabel Nana Akosua Yeboah (Lady Cee)- One Point

NEW GOSPEL ARTISTE Of THE YEAR

1. Nathacha Okang(Mama Tina) Mawu Mo Twumi

2. Odehyieba Priscilla Agyemang(Odehyieba Priscilla)-Edin Bi Agye Me

3. Bernard Stephen Adu-Poku (BiiBi Adu-Poku) -Sound of Abundance (WINNER)

4. Towdah Sounds- Simply Amazing

5. VICTORIA DEBORAH AMOAKO( Abena Badua)- Na You

6. May Adaeze T- N Hanson (ADAEZE)- You Never Change

7. Isaac Odame( Ike Odame)-M’adanfo Pa

8. Brother Fire- Adom Bi

Traditional Song of The Year

1. Richard Adu-Gyamfi(Adu Gyamfi)-Yeyi waye

2. FAFFA –Kpegbadza

3. FRANCIS AMOAH- ESHUN (De Servant)- Yen Egya owo sor (WINNER)

4. Piesie Esther-Maseda Kesie

URBAN SONG OF THE YEAR

1. Tee JAY -Grace Flow

2. Esaias- Oye Adie Yie

3. Akesse Brempong- Alright

4. Christabel Nana Akosua Yeboah (Lady Cee)- One Point

5. Celestine Donkor- Woye Ma Me

6. Don Cemon- Aseda (WINNNER)

7. PAA BOATENG ft Tiss Wayne- Praise Revolution

8. TKC ft Selina Boateng- Ayeyi

CHORAL SONG OF THE YEAR

1. The Garrison Children’s Voices.- Ye Yi waye

2. Harmonious Choral- Pae mu ka (WINNER)

3. The Symphonials- Ayeyi Highlife Medley

4. Celestial City Choir Gh- Yesu Beba Highlife Medley

HYBRID SONG Of THE YEAR

1. Ras Kuuku ft kofi Kinata – Wo

2. Strongman ft Akwaboah – Vision

3.Dada Hafco ft Fameye- our story

4. Kuame Eugene – Obiaato

5. kofi Kinata – Things fall Apart (WINNER)

6. Shatta Wale- God is Alive

VIDEO Of THE YEAR

1. Enoch Narh (The Levite Fletcher Narh)- Ololufemi

2. Diana Hamilton- W’asem (WINNER) (By MAC Willes)

3. Celestine Donkor – Agbebolo

4. Nana kweku Osei (Nacee)- Mpaebo

5. Mary Agyemang ft ABC- Medea ne wo

6. Faith Fafa Gobah(Faffa)- Kpegbadza

ALBUM OF THE YEAR

1. Diana Hamilton

2. Celestine Donkor- Agbebolo (WINNER)

3. Nana kweku Osei (Nacee) – Mpaepo

4. Obaapa Christie- W’agyeme

SONG Of THE YEAR

1. Diana Hamilton- W’asem

2. Mary Agyemang- Medea Ne Wo

3. Obaapa Christie – W’agyeme

4. Celestine Donkor – Agbebolo (WINNER)

5. Akesse Brempong- Alright

6. Joe Mettle- Mehia Wo Yesu

7. Nana kweku Osei (Nacee)- Mpaebo

8. Brother Sammy-Aduro Bia Nkadem

BEST GOSPEL ARTISTE – DIASPORA

1. Enoch Narh (The Levite Fletcher Narh) USA- Ololufemi (WINNER)

2. Nathacha Okang (Mama Tina) Belgium -Mawu Mo Twumi

3. PAA BOATENG – Praise Revolution

4. Nana Akua Afriyie (Belguim)- Bo Bra pa

5. Alex Acheampong- Emmanuel

6. Theodora Boakye-Ansah (Pastor Theodora UK)- it is well

7. Evangelist Esther Cee (UK) ft Kofi Sarpong – Obeye

ARTISTE OF THE YEAR

1. Celestine Donkor – Agbebolo (WINNER)

2. Enoch Narh (The Levite Fletcher Narh) Ololufemi

3. Diana Hamilton– W’asem

4. Nana kweku Osei (Nacee)– Mpabo

5. Akesse Brempong – Alright

6. Obaapa Christie – W’attends

Male Vocalist of the Year (Industry) Nacee ( WINNER)

Female Vocalist of the Year (Industry) Perppy (WINNER)

Song Writer of the Year (Industry) Brother Fire (WINNER)

Worshipper of the Year (Industry) Brother Sammy (WINNER)

Sound Engineer of the Year (Industry) Dan Bassey (WINNER)

Excitation To The Acting President of MUSIGA – Beesah Simon

Excitation To Lydia Yawson Tagoe and Elizabeth Tagoe of Tagoe Sisters

Excitation Rev. Eddy Ayison

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Jesus Christ is Coming Soon.

Full Winners Of The 2019 NGMA Awards The final night, were over 30 nominated gospel acts for the annual National Gospel Music Awards ( NGMA 2019 ) , were to be awarded either by Public votes, Academy or Board discussion was successfully.

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caveartfair · 7 years ago

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Phillips Notches Its Best Sale Ever with Record-Breaking Bradford and £42 Million Picasso

Courtesy of Phillips / Phillips.com.

Anchored by a stunning Picasso painting and a ravishing Matisse sculpture, Phillips 20th Century & Contemporary Art evening sale broke into the big leagues with the firm’s best-ever sale Thursday night, which pulled in £97.8 million ($135.1 million), nearly seven times its total from the previous spring sale in London.

Only four of the 48 lots offered failed to sell, for a trim buy-in rate by lot of eight percent. The hammer tally of £84.5 million, before fees, blasted past the high presale estimate of £73.1 million.

The record result dwarfed last March’s £14.6 million total for the 23 lots sold and clipped the previous $117-million high achieved by the house in its Carte Blanche curated sale in November 2010. Twelve of the 44 lots that sold Thursday night went for over one million pounds; and of those, four exceeded five million pounds. Fifteen of the lots that sold were backed by financial guarantees, 13 with help from third parties and two from Phillips itself.

The last evening sale of London’s spring auction week opened with Jack Whitten’s acrylic, coal, and gold leaf on canvas abstraction Bright Moments: For R.R. Kirk (1995), an homage to the jazz great Rahsaan Roland Kirk and part of the artist’s “Black Monoliths” series, which sold for £270,000 (£333,000 with fees) at an estimate of £200,000-300,000. It was the first time a work by the artist, who died in January at age 78, appeared in an evening London auction.

Lynette Yiadom-Boakye’s expressionist double-portrait of two standing female figures, Politics (2005), executed in oil on canvas, went for an estimate-topping £220,000 (£273,000 with fees). Formerly in the Saatchi Collection, the painting had last sold at Sotheby’s London in October 2013 for £52,500.

Pablo Picasso, La Dormeuse, 1932. Courtesy of Phillips / Phillips.com.

Though looking assuredly like an abstract painting, Wolfgang Tillmans’s Greifbar 27 (2014) is a chromogenic print mounted on aluminum and hailing from an edition of one—plus one artist’s proof—and sold for £380,000 (£465,000 with fees), above its high estimate of £300,000.

The artist used a light source on photographic paper to create the image as was first done with the cliché verre technique developed in the 19th century.

British Pop Art made an appearance with Allen Jones’s highly stylized composition of a pair of legs in vampy stiletto-heels, T-riffic (1966), which sold to Nick Acquavella of New York’s Acquavella Galleries for £580,000 (£705,000 with fees), well above its high estimate of £350,000. The title continues along the stretcher bar of the canvas: “I’LL TAKE THIS ONE PLEASE 1966” and came backed with a third party guarantee. The work was inspired by a visit to Los Angeles in 1965, during which Jones came across a racy Frederick’s of Hollywood mail order catalogue, according to an interview in the auction catalogue.

Figurative art surely dominated the evening entries as Lucian Freud’s nearly 16-by-22-inch Small Naked Portrait (2005) in oil-on-canvas sold, again to Acquavella and again for above its high estimate, for £650,000 (£789,000 with fees). Voluptuous as a Courbet nude, the model’s face is virtually blank, apart from the rich skin tones.

In a different and harsher light, Marlene Dumas’s haunting portrait The Pilgrim (2006) bears an astonishing and ghostly likeness to Osama Bin Laden. It sold to a telephone bidder for £1.45 million (£1.75 million with fees), just under its £1.5 million low estimate.

An early, Mannerist-styled oil-on-canvas painting from 1964 by Georg Baselitz, P.D. Idol, featuring the cropped visage of a long-necked human head and and set in an artist-made frame, sold for £1.6 million (£1.92 million with fees), just scraping past its low estimate of £1.5 million.

Henri Matisse, Nu allongé I (Aurore), conceived in 1907 and cast ca. 1908. Courtesy of Phillips / Phillips.com.

Georg Baselitz, P.D. Idol, 1964. Courtesy of Phillips / Phillips.com.

Still in that figurative mode, Luc Tuymans’s sardonic reprise of a 1952 Hollywood film poster, Singing in the Rain (1996), featuring three rain-coated figures hoisting large black umbrellas against a sky-blue background sold to a telephone bidder for £600,000 (£729,000 with fees) squarely within its estimate range.

Speaking of the cinema, Mark Bradford’s panoramic and richly layered composition, Helter Skelter I (2007) requires a wide-screen view to absorb the encyclopedic range of popular culture references in the silver-colored, mixed media collage on canvas colossus, which measures twelve feet tall and nearly 34 feet long. It sold to another telephone bidder for a record £7.5 million (£8.6 million with fees), towards the high end of its estimate range.

The network of meandering lines that consume every rippling inch of the canvas are replete with scraps of paper detritus that Bradford foraged from his Los Angeles neighborhood, making it a kind of urban archeological dig with a Kurt Schwitters twist. One can make out a large black skull half-buried in that landscape, an American flag emblem, and shards of words such as ‘King’ and ‘Candy’ in the undulating topography of the canvas. The longer you look, the more visual references become apparent.

Sold from the collection of tennis legend John McEnroe, the Bradford was backed by a third-party guarantee. It doubled the artist’s record set earlier this week at Christie’s when Bradford’s Bear Running from the Shotgun (2014) sold to Guggenheim Asher Associates for £3.8 million. It has been a remarkable recent run for Bradford. The artist’s Hong Kong exhibition inaugurates Hauser & Wirth’s new and jumbo space on March 26th, taking up both floors as well as the concurrent solo of new work at the gallery’s mega Los Angeles location—the first gallery exhibition in the artist’s hometown in over 15 years and which sold out in its opening days.

Despite its boutique status as a hip auction house specializing in contemporary art, jewelry, watches, photographs, and prints, Phillips has increasingly succeeded in luring modern works of art to market. This was made evident by the evening’s standout and rare cover lot: Picasso’s spare, yet convincingly sensual La Dormeuse, executed on March 13, 1932 in oil and charcoal on canvas and capturing the sleeping beauty of his muse and mistress Marie-Thérèse Walter. It sold to an anonymous telephone bidder on the line with Marianne Hoet, deputy chairman of Phillips Europe, for a whopping £37 million (£41.8 million with fees), more than doubling its high estimate.

Mark Bradford, Helter Skelter I, 2007. Courtesy of Phillips / Phillips.com.

Bidding opened at £9 million and quickly escalated with phone and room bids. Brett Gorvy of New York and London gallery Lévy Gorvy entered the fray at £22 million and wound up as the underbidder to Hoet’s telephone. It ranks as the ninth-most expensive Picasso to sell at auction.

Never before at auction and sheltered in a private European collection, the painting hails from the artist’s personal collection and was owned for a time by his widow, Jacqueline Rocque-Picasso and then her daughter Catherine Hutin-Blay. After that it went to market at Pace-Wildenstein Gallery in New York, a short-lived, hybrid entity that is no longer in operation. The family of the present owner acquired it there in June 1995. It would have been a perfect candidate for inclusion in the just-opened Tate Modern exhibition, “Picasso 1932—Love, Fame, Tragedy,” but apparently the owners thought otherwise.

Marie-Thérèse’s slumbering nude pose makes her appear as a siren-like giantess, almost floating across a pale blue sky, the charcoal outlines of her body sweeping across the roughly 51-by-63-inch canvas.

There seems to be a Picasso fever raging in London, especially after last week’s round of Impressionist and Modern Art auctions at Christie’s and Sotheby’s when 13 paintings by the artist fetched a cumulative £112.7 million.

Alongside the Picasso nude, a stunning and equally rare Matisse bronze, Nu allongé I (Aurore), conceived by the artist in 1907 and cast in bronze circa 1908 from an edition of ten plus one artist proof, attracted at least four bidders and went to an anonymous telephone for an estimate-crushing £13 million (£14.8 million with fees). At the £9 million mark, the competition narrowed to two telephones and bids suddenly jumped in one million pound increments.

The exquisite, rather muscular figure had resided in the same French family since circa 1950. The artist consigned the bronze to his Paris gallery Bernheim-Jeune in January 1912. It now ranks as the second-most expensive Matisse sculpture to sell at auction.

Remarkably, neither the Picasso nor the Matisse came to market with guarantees or what is sometimes called entering “naked” in the art trade, fitting for two depictions of nudes.

Other modern entries included Jean Dubuffet’s early and heavily incised canvas featuring the grinning profile of a male figure, Profil Genre Aztèque (1945), that sold at its low estimate of £1.2 million (£1.4 million with fees) and Max Ernst’s distorted and hybrid composition of a bird-like figure, Le Surréalisme et la peinture in pastel-on-paper and dated 1942, which sold to a telephone bidder also at its low estimate of £350,000 (£429,000 with fees).

Rudolf Stingel, Untitled, 2012. Courtesy of Phillips / Phillips.com.

Rounding out the Modern entries, Marino Marini’s iconic horseman, Piccolo Cavaliere (1949), in hand-chiseled bronze and standing 16 inches high went for a below-estimate £350,000 (£429,000 with fees). It was acquired by Los Angeles collectors Betty and Stanley Sheinbaum in 1958 and came to market backed by a third party guarantee.

Back on the contemporary front, Anselm Kiefer’s darkly brooding and widely exhibited Die Meistersinger (1981-82), executed in oil, emulsion, sand, and collage elements on canvas, hammered down at its low estimate of £1.5 million (£1.8 million with fees). Fellow German artist Sigmar Polke’s alchemical composition in amber-colored artificial resin on polyester fabric, Untitled (1989), sold to another telephone bidder for its low estimate of £800,000 (£969,000 with fees). Rudolf Stingel’s four-panel, graffiti-incised composition, scaled at 94.5-by-94.5-inches in electroformed copper, plated nickel, and gold, Untitled (2012), sold to a telephone bidder for £4.9 million (£5.7 million with fees). All three came to market with third-party backing.

In the post-sale news conference, Hugues Joffre, the senior advisor to CEO Edward Dolman was asked about the identities of the anonymous Picasso and Matisse buyers.

“They’re both very sophisticated, educated and seasoned collectors,” said Joffre, who is credited with bringing in both works to Phillips.

Before he could utter another word, Dolman interjected to add the obvious: “And rich.”

The evening action takes a breather until the New York sales in May, about which Dolman is optimistic.

“It looks very good to me right now,” he said.

All prices reported include the hammer price and that with the tacked on buyer’s premium calculated at 25 percent of the hammer price up to and including £180,000, 20 percent of the portion of the hammer price above £180,000 and up to and including £3 million and 12.5 percent for any portion above that.

from Artsy News

#Artsy News

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ghlagatindotcom · 5 months ago

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Western Regional Youth Association rejects NAPO's apology over Nkrumah comments

The Western Regional Youth Association has dismissed the apology offered by former Energy Minister, Dr. Matthew Opoku Prempeh (NAPO), for his derogatory comments about Ghana’s first President, Osagyefo Kwame Nkrumah. According to Prof. Frederick Boakye Yiadom, a concern youth, NAPO’s apology is unacceptable due to the consistent disrespect shown by the New Patriotic Party (NPP) towards Nkrumah’s…

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nofomoartworld · 7 years ago

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Hyperallergic: The Many Shades of Glenn Ligon’s Blue Black

Installation shot of Glenn Ligon’s “A Small Band” (2015), neon and paint, 74 3/4 x 797 1/2 inches (189.86 x 2025.65 cm, with Ellsworth Kelly’s “Blue Black” (2000) in the background. (Ligon image courtesy of the artist; Thomas Dane Gallery, London; Luhring Augustine, New York; Regan Projects, Los Angeles, © Glenn Ligon, photo © Alise O’Brien Photography)

ST. LOUIS — In the entrance gallery of the Pulitzer Arts Foundation are a series of figurative painting, sculpture, and a photographic print all staring at each other. This scene of interiority opens the group exhibition Blue Black curated by the artist Glenn Ligon. Kerry James Marshall’s central character in “Untitled (policeman)” (2015), wearing his standard issue, navy blue Chicago Police Department uniform, hand on his hip, looks out in a moment of reflection, at the boy on the other wall in Carrie Mae Weems’ “Blue Black Boy” (1997), whose eyes gape. The peering of the boy represents an image born out of black cultural looking and the white historical gaze. The first is perceived if you focus on the officer’s eyes which make present the knowing glance of a black father at his son. The other image this looking relationship produces, in my mind, is what happens when the effects of the white gaze is recognized to be more than a theoretical construct but something representative of systemic power structures that have real life consequence. Under the white gaze, the black child becomes another black boy, like Michael Brown and the officer, representative of the history of law enforcement as an institution that polices black bodies unjustly, his race evaporates, he is simply an agent of the state, like the white patrolman, Darren Wilson. The looks that passed between Wilson and Brown brought about the final moments of Brown’s life because Wilson, per his testimony, saw the unarmed 18 year-old black boy as a “demon” in that suburban St. Louis street.

Carrie Mae Weems, “Blue Black Boy (1997), blue-toned print, 15 3/8 x 15 1/4 inches (39 x 38.7 cm) Framed: 31 1/8 x 31 1/8 x 1 7/16 inches (79.1 x 79.1 x 3.8 cm) (Collection Jack Shainman, New York, © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York)

If you walk into the frame of Weems’ photograph, which is to say the blue black boy’s line of vision, your presence is mirrored back — you are looking and looked at. If you don’t walk into his line of sight, he peers out at Jack Whitten’s abstracted version of himself in “Self Portrait I” (2014). The hang of all the mounted works is inspired by Lynette Yiadom-Boakye’s exhibiting technique that places her black fictive figures within eyesight of each other. In this gallery, Ligon places Yiadom-Boakye’s “Messages from Elsewhere,” a 2013 oil of a black female figure wearing a lapis lazuli dress, gazing over her shoulder, lost in contemplation. She’s daydreaming in the direction of Whitten’s face. Sitting in the center of the room is Simone Leigh’s sightless femme terracotta statuette, “Dunham” (2017), sporting an afro. There’s something spiritual about the way she sees nothing, yet is seen by every figure in the room.

If the figures are looking, they must be thinking, searching, and seeing too. But what are they searching and seeing? Inside, the gallery, I didn’t wonder, I knew: the blue black experience.

Kerry James Marshall, “Untitled (policeman)” (2015), synthetic polymer paint on PVC panel with plexi frame, 60 x 60 inches (152.4 × 152.4 cm) (image courtesy The Museum of Modern Art, New York. Gift of Mimi Haas in honor of Marie-Josée Kravis, 2016, Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY)

It’s not the general black, African-American journey. It’s a more limited and yet liberating voyage taken by and through skin so black, so dark, it coruscates blue. The men, women and child, exchanging what Ligon calls, “black looks,” are a reminder that there are various hues of the various black identities that coalesce into the African-American experience. “Blue-black is the kind of black where you go, ‘Black!,’” writes Ligon in his curatorial essay. He continues:

Perhaps that’s because blue-black traces its roots back to a mythic point of origin in Africa, whereas “black,” along with “Negro” and “African-American,” might be considered just one more stopping point on the way to an as-yet-unknown destination.

In a culture where the color of your skin is paramount, each color category — from the highest of yellows which can slip into an off-white of privilege, to the blues of black, which can make one feel like an Ellisonian disappearing act — comes with its own unique experiences of racism, colorism, freedom and death. Visually, racially, formally, metaphysically, each of the artists’ blue black representations appear together as you walk through the gallery, acclimating you to Ligon’s curatorial thinking about color and race.

Andy Warhol, “Liz #4” (1963), synthetic polymer paint silkscreened on canvas, 40 x 40 inches (101.6 x 101.6 cm) (images courtesy private collection, © 2017 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York)

Born in the South Bronx in 1960, Ligon’s earliest grammar school memory is of words changing the trajectory of his life. “Words were the ticket,” he tells me, laughing. In kindergarten, Ligon’s teacher asked the class to write four letters of the alphabet and a word that starts with each letter. Five-year-old Ligon asked his teacher to write out the rest of the alphabet for him and he wrote words to match. The school’s administration called his mother, a nurse’s aide, into a meeting and said that he needed to go to a different kind of school. Ligon says while his mother was explaining that she didn’t have the money to send her young boys to private school, a teacher interjected, “Your kids might be smart here, but in a real school they will only be average.” “Ok, I’m going to find a real school for my kids to be average in,” said Ligon’s mother, “because in this school they’ve already been written off in kindergarten.” Ligon ended up at the tony Walden School and says, “that alphabet, those words, changed my life.” In the exhibition, Ligon’s pays sly homage to that 1965 moment by including his 2001 work, “Malcolm X, Sun, Frederick Douglass, Boy with Bubbles (version 2) #2,” a large-scale silkscreen of a page out of a 1960s Black Power-themed coloring book, representing a new kind of knowledge that awaited him.

Blue Black itself is an extension of Ligon’s fascination with language. The artist organizes the show less like a curator and more like a poet, arranging the work around three lyrical combinations of the words blue and black. One section meant to respond directly to an Ellsworth Kelly sculpture is titled, “blue black,” after the wall work that inspired the exhibition. The second, “blueblack,” features works that blur the lines between the two colors. The last, “blue-black” is partially inspired by Toni Morrison’s 1992 Guardian interview in which she articulates the heart of American identity: “In this country, American means white. Everybody else have to hyphenate.” The slippage of language inspired Ligon to utilize a poet’s ability to sublimely marshal simple words with debilitating force. The exhibition includes Ligon’s text painting, “Untitled (I Am Not Tragically Colored)” (1990). It’s a work in which the artist appropriates the line, “I am not tragically colored,” from Zora Neale Hurston’s celebrated 1928 essay, “How It Feels to Be Colored Me,” and stencils it in bluish-black oil repeatedly on a wooden door. With each impression, the phrase gets messier, less visible, and broken into pieces: “I am not,” and single words, “colored,” alluding to the intertextuality and mutability of language. The work “Untitled (I Am Not Tragically Colored)” is an overture to Ligon’s three-decades-long practice of using text, painting, installation and video to investigate the rhetorical power of the black voice.

Ellsworth Kelly’s “Blue Black” (2000), Painted aluminum panels 336 x 70 x 2 1/8 inches (photo courtesy Pulitzer Arts Foundation, photograph by Robert Pettus)

The idea for the group exhibition came to Ligon as he gazed up at Ellsworth Kelly’s monumental work “Blue Black” (2000), a 28-foot-tall painted wall sculpture commissioned for the Tadao Ando designed main exhibition hall of Pulitzer Arts. As he looked at the rectangular blocks of blue and black, he tells me he “heard Louis Armstrong’s gravel-strewn voice singing, ‘What did I do to be so black and blue?’” Given the title, other associations could have come to mind: the sound of Miles Davis’s trumpet on his 1959 modal jazz masterpiece, Kind of Blue; President Obama when he tried to convey to Ta-Nehisi Coates that his Kenyan father was certifiably black by exclaiming, “he was like a blue-black brother;” The popstar Rihanna, when she wails on her ballad, “Love on the Brain,” that love “beats me black and blue;” the queer black film, Moonlight adapted from Tarell Alvin McCraney’s play, In Moonlight Black Boys Look Blue. For me, when I was growing up blue black wasn’t something you wanted to be. Light skinned black boys on the playground would tease darker children by saying, “You so black, you blue!” Nowhere in Ligon’s exhibition is the shadier descriptor — a black person’s fear of being too black! — explored. Nor is what happened after the teasing on the playground revealed: darker skinned students would lead inquisitions to determine if those of us who could easily win membership to any blue vein society were black enough. “To my friend who acts white, but you still my dog Antwizzy,” one friend wrote in my eighth grade yearbook. “Hope you never change. Love ya the way you are. Stay black/white ha ha ha.”

In contrast to my own experience, when it turns to matters of personhood, the art in the exhibition tends to show blue blackness as a source of pride, or pain inflicted not by colorism, but by white racism. The self taught artist, Bill Traylor’s cardboard painting, “Man and Woman” (c.1939–1924), for instance, depicts a white man in a blue skirt and a pitch-black woman in a blue shirt, exchanging glances. The painting is presented in the context of his life: He was born into slavery in rural Alabama in 1853. Similarly, Kara Walker’s large tempera and watercolor collage, “Four Idioms on Negro Art #1 Folk” (2015), is a scene of stereotype and systemic white racism. In the work on paper, black figures slide down stripper poles and hold their hands up, as military men aim rifles at their bodies. It’s as if they are saying “don’t shoot,” but the limbs scattered throughout the grounds suggest they are murdered anyway, socially and physically. Viviane Sassen’s “Kinee,” (2011), an abstracted image of the beautiful Senegalese model, Kinee Diouf, in a field of sky blue, feels aspirational, showing how blue-blackness has ascertained a certain desirability in fashion and life. (The inclusion of this Sassen image also brings to my mind, the fact that, blue-blackness as identity is a purely African-American invention. Africa’s history of colonialism has, country by country, created different measures of blackness.)

Simone Leigh’s “Dunham” (2017), terracotta, porcelain, raffia, steel, glass bead, epoxy, India ink, 35 x 30 x 30 inches (88.9 x 76.2 x 76.2 cm) (Courtesy of the artist and Luhring Augustine, New York, © Simone Leigh, Installation view of Blue Black, Pulitzer Arts Foundation, 2017 Photograph © Alise O’Brien Photography)

The work entitled, “A Small Band” (2015), is a zigzagging, large-scale blue neon sign comprised of three words: Blues, bruise, and blood. For the piece the artist appropriates a slice of the audio from composer Steve Reich’s Come Out (1966), that quotes Daniel Hamm, a young Harlem resident accused of murder and beaten by the police, describing to a court how he managed to convinced the cops to release him: “I had to open the bruise up and let some of the blues … bruise blood come out to show them.” On the stand, Hamm’s tongue gets tied and, like an unwitting poet, he turns three simple words into new meaning, revealing a truth about black pain and how black musicians sang the blues so convincingly. Standing before the Ligon text sculpture, flashing blue in the main gallery, it was impossible for me not to think of other short lyrical phrases packing the power of racialized color. “Black Is Beautiful,” “Black Lives Matter,” “I Can’t Breathe,” all made under duress in times of black struggle.

Given Ligon’s extreme care in organizing a diverse and conceptually challenging exhibition featuring some nearly sixty works by artists including Wade Guyton, Byron Kim, Lyle Ashton Harris, and ones already mentioned, I wondered during my visit whether the museum’s policy of not including wall text with the works will help or hinder his effort to have color considered beyond race. There’s a real possibility, save for the lone iconic Warhol of Liz Taylor, that the audience without information in captions, will assume that Blue Black is of work by black artists toiling solely in matters of race, instead of a show of the colors and metaphorical meanings of blue and black as ways to challenge simple categorizations of race and art.

Lynette Yiadom-Boakye, “Messages from Elsewhere” (2013), oil on canvas, 59 x 55 inches (149.9 x 139.7 cm) (Private Collection, Chicago © Lynette Yiadom-Boakye, image courtesy of the artist, Jack Shainman Gallery, New York, and Corvi-Mora, London)

Installation view of Blue Black with a work by Ligon on the left, West Gallery, Pulitzer Arts Foundation, 2017 (Photograph © Alise O’Brien Photography)

Norman Lewis, “Blue and Boogie” (1974), oil on canvas 44 1/4 x 56 inches (112.4 x 142.24 cm), Framed: 46 x 58 x 2 1/2 inches (116.8 x 147 x 6.4 cm) (courtesy The Studio Museum in Harlem; gift of the Estate of Norman Lewis 1981.1.1, photo: Marc Bernier)

Installation view of a Yoruba sculpture and a work by Ed Adkins at Blue Black, West Gallery, Pulitzer Arts Foundation, 2017 (Photograph by Jim Corbett © Alise O’Brien Photography)

Tim Rollins and K.O.S., “Invisible Man (after Ralph Ellison)” (2015), Indigo and matte acrylic on book pages on panel, 36 x 36 inches (91.4 x 91.4 cm) (Courtesy Studio K.O.S., Lehmann Maupin, New York and Hong Kong, Courtesy Studio K.O.S., Lehmann Maupin, New York and Hong Kong, photo: Christopher Burke Studios, LLC)

Installation view with works by Chris Ofili and Philip Guston in Blue Black, West Gallery, Pulitzer Arts Foundation, 2017 (Photograph © Alise O’Brien Photography)

Overall installation view of Blue Black, West Gallery, Pulitzer Arts Foundation, 2017 (Photograph © Alise O’Brien Photography)

Derek Jarman, “Blue” (1993), digitized 35 mm film (Courtesy of Basilisk Communications/Zeitgeist © Basilisk Communications Ltd, installation view of Blue Black, South Gallery, Pulitzer Arts Foundation, 2017 Photograph by Jim Corbett © Alise O’Brien Photography)

Installation view of Blue Black with works by David Hammons and Ed Mack, West Gallery, Pulitzer Arts Foundation, 2017 (Photograph © Alise O’Brien Photography)

Blue Black continues at the Pulitzer Art Foundation (3716 Washington Boulevard, St. Louis, Missouri) until October 7.

The post The Many Shades of Glenn Ligon’s Blue Black appeared first on Hyperallergic.

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obuabamedia · 2 years ago

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ICYMI: All what happened at NPP’s Nat’l Annual Delegates’ Conference

NATIONAL CHAIRMAN Gifty Asantewaa Ayeh (Daavi Ama) - 44 Sammy Crabbe - 32 Prof Christopher Ameyaw Akumfi - 101 Akwasi Osei Adjei - 20 Stephen Ayesu Ntim - 4,014 Stephen Asamaoh Boateng - 1,010 Kwabena Abankwah-Yeboah - 294 VICE CHAIRMAN Ismael Yahuza - 613 McJewels J. Annan - 155 Danquah Smith Buttey - 2,982 - 1st Rita Talata Asobayire - 2,927 - 2nd Edmond Oppong-Peprah - 479 Kiston Akomeng Kissi - 2,069 Derek Kwaku Nkansah - 491 Michael Omari Wadie - 1,635 Nuworu Ken-Wud - 520 Alhaji Masawudu Osman - 2,128 - 3rd GENERAL SECRETARY John Boadu - 2,524 Iddrisu Musah - 104 Ramseyer Ahmed Agyeman-Prempeh - 8 Charles Bissue - DNF Frederick Opare Ansah - 50 Justin Kodua Frimpong - 2,837 NATIONAL TREASURER Mary Posch Oduro - 1,320 Dr Charles Dwamena - 2,917 Dr Yussif Tedam - 125 Collins Nuamah - 1,197 NATIONAL ORGANISER Bright Essilfie Kumi - 137 Seth Adu-Adjei - 25 Daniel Nii Kwatei Titus Glover - 2,274 Eric Amoako Twum - 185 Henry Nana Boakye - 2,870 Nana Owusu Fordjour - 44 WOMEN'S ORGANISER Kate Gyamfua - 620 Ellen Ama Daaku - 9 Hajia Sawudatu Saeed - 32 NATIONAL YOUTH ORGANISER Abanga Fuseini Yakubu - 153 Salam Mohammed Mustapha - 255 Prince Kamal Gumah - 101 Michael Osei Boateng - 120 NASARA COORDINATOR Haruna Maiga - 5 Abdul Rahman Diallo - 2 Issaka Muaza Kunata - 199 Awal Mohammed - 24 Sulemana Alhassan Atakpo - 9 Abdul Aziz Haruna Futa - 328 Stephen Ntim delivers victory speech

“It's been 20 long years of wandering in the wilderness before clinching this position as National Chairman of the New Patriotic Party and I assure you that after 20 years of labouring in the wilderness before getting into this path, I'm going to cherish the chairmanship position.” - Stephen Ntim Freddie Blay swears in new leaders

Outgoing National Chairman of the New Patriotic Party (NPP) Freddie Blay has sworn the newly elected executives of the party into office. This puts paid to his almost eight-year role as Chairman of the party. The Director of Electoral Services of the Electoral Commission, Ghana (EC), Dr Serebour Quaicoe, is declaring official results of the polls. Among the winners are Stephen Ayesu Ntim, Justin Kodua Frimpong, Kate Gyamfua, Abdul Aziz Haruna Futa and Dr Charles Dwamena. Counting has ended for all ballots for the various positions for the National Executive Elections of the New Patriotic Party (NPP). Delegates as well as party supporters are awaiting the official declaration by the Electoral Commission, Ghana (EC). One held for 'impeding the election process' The police have announced arresting one person at the Accra Sports Stadium for impeding the ongoing National Delegates' Conference of the New Patriotic Party (NPP). Read the full article

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soccernetghana · 3 years ago

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Ghana Transfer Window deadline :Â Full list of 2021-22 Ghana Premier League transfers

The Ghanaian Football Transfer window closed on October 10 and below is a comprehensive report of players signed by the Ghana Premier League clubs ahead of the start of the 2021-22 Ghana Premier League season.Asante Kotoko and Bibani Gold Stars are the two teams with the most signings in the just-ended transfer window.Check the list below:Accra Lions FC (11)Evans Eenee, Abass Samari Salifu, Fawzan Alhassan Dandawa, Richard Sackey, Alex Ketu, Kwadwo Junior Kyeremanteng, Shawkan Hunalf Mohammed, Frederick Akatuk, Daniel Awuni, Hagan Frimpong, Progress Uzondu NwachukwuAduana Stars (6)Emmanuel Gyamfi, Welbeck Takyi, Kwame Adom Frimpong, Shaibu Iddrisu, Eric Kwakwa, Shadrack MensahAsante Kotoko (12)Clinton Opoku, Stephen Amankona, Richmond Lamptey, Maxwell Agyemang, Samuel Boateng, Isaac Oppong, Richard Boadu, Dickson Afoakwa, Augustine Agyapong, Sheriff Mohammed, Samuel Appiah, Joseph AmoakoAshantiGold SC (4)Aminu Adams, John Josiah Andoh, Kennedy Ashia, Joseph AmoahBechem United (10)Paul Kwei Junior, Eric Bello, Ezekiel Tetteh, Obuoba Yaw Dasi, Samuel Akwasi Amoto, Francis Acquah, Emmanuel Avornyo, Samuel Osei Kuffour, Augustine Okrah, Manuel AnkumahBerekum Chelsea (6)Zakaria Fuseini, Braimah Foster Ali, Nelson Ladzagla, Justice Anane, Benjamin Nana Yeboah, Enock AddoBibiani Goldstars FC (12)Mahmud Oshie, Maxwell Ansah, Abdul Latif, Kofi Ansah, Lateef Abubakar, Frank Agyei Jnr, Michael Ainoo, Mohammed Polo, Charles Gyamfi Kamara, Samuel Amofa, Abubakar Aziz, Evans OwusuDreams FC (2)Dana Blessing, Amadu AmaduEleven Wonders (6)Abass Mohammed, Yaw Acheampong, Michael Yeboah, Isaac Kwain, Joseph Baah, Razak IssahElmina Sharks (3)Kingsley Braye, Michelle Sarpong, Emmanuel Adjetey,Great Olympics (9)Gabriel Nudakpa, Solomon Adomako, Abdul Razak Yusif, George Asamoah, Frimpong Boateng, Iddrisu Murad, Sulley Ibrahim, Maxwell Owusu, Emmanuel AsanteHearts of Oak (10)Gladson Awako, Enock Asubonteng, Salim Adams, Benjamin Yorke, Isaac Agyenim Boateng, Seidu Suraj, Kofi Kordzi, William Opoku Asiedu, Yaw Amankwah Baafi, Ushau AbuKarela United (7)Emmanuel Owusu Boakye, Emmanuel Anaful, Matthew Kelvin Andoh, Ebenezer Ocran, Samuel Attah Kusi, Philip Flamini, Rashid SeiduKing Faisal (9)Frank Sarfo Gyamfi, James Opoku Nyimfah, Emmanuel Sarkodie, Gadafi Amadu Junior, Frank Sarfo Gyamfi, Ibrahim Osman, Godfred Asiamah, Frank Boateng, Kwabena KyeremantengLegon Cities (10)Rashid Mohammed, Samuel Ayitey Okine, Nafiu Sulemana, Michel Otou, Nii Gyashie Acquaye Bortey, Eric Ofori Antwi, Mubarak Issah, Ali Hashim, William Essu, Hamzah Abdul NassiruMedeama SC (11)Patrick Kofi Ansu, Seth Sowah, Samadu Abdulai, Junior Alipio Ranious, Boris Junior Mandjui, John Moosie, Mathew Essiam, Kofi Asmah, King Archerson, Akesse Akesse, Benjamin AbaidooReal Tamale United (11)Mohammed Nurudeen Yussif, Effah Francis, Prince Attah Antwi, Ishmael Nketiah, Kwame Boakye, Osei Yaw, Abdul Fatawu Issahaku, Appiah Yaw Clinton, David Abagna Sanda, Mohammed Yakubu, Abdulai HafizWest African Football Academy (WAFA) SC (2)Anthony Brebo, Razak Simpson source: https://ghanasoccernet.com/

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