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#Elanatsui Reel by @unknownprojecttrail - Art & Archive featuring the Denver Art Museum - Part 7: "Jeune marchand ambulant" by Alioune Diagne (@aliounediagne_officiel) The Denver Art Museum (
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@unknownprojecttrail
Art & Archive featuring the Denver Art Museum - Part 7: “Jeune marchand ambulant” by Alioune Diagne (@aliounediagne_officiel) The Denver Art Museum (@denverartmuseum) was the first museum in the United States to acquire a piece by artist Alioune Diagne, who was featured in the 2024 Venice Biennale representing Senegal. DAM curator John Lukavic proposed the acquisition for the DAM’s Black Arts Collective shortly after seeing the piece. Born in 1985 in Kaffrine, Senegal, Alioune Diagne (@aliounediagne_officiel) is a painter whose work explores identity, heritage, and social issues through a distinctive visual language. A former student of the Beaux-Arts in Dakar, he developed his signature style in 2013, constructing figurative compositions from countless small, unique elements. His dynamic, intricate scenes depict the everyday lives of the Black community and the African diaspora, engaging with themes of ecology, gender, racism, and cultural transmission. Diagne’s work bridges tradition and contemporary expression, using form and movement to evoke both history and the present moment. His paintings offer a layered reflection on identity and belonging, grounded in a deep engagement with African visual culture. Art & Archive is produced by (Un)Known Project. This video was filmed and edited by Barn & the Biscuit Entertainment #ArtAndArchive #DenverArtMuseum #BlackHistoryMonth #UnknownProject #art Artwork credit line: Alioune Diagne, “Jeune marchand ambulant (The Young Street Vendor),” 2022. Oil paint on canvas; 118 1/8 x 78 6/8 in. Denver Art Museum: Purchased with Black Arts Collective funds. © Alioune Diagne. Photography Courtesy the artist and TEMPLON, Paris – Brussels – NYC. © Isabelle Arthuis
#Elanatsui Reel by @wearetolo.studio - @elanatsui.art 's work transforms everyday materials into monumental artworks of striking visual power. Through intricate assemblages of recycled bo
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@wearetolo.studio
@elanatsui.art ‘s work transforms everyday materials into monumental artworks of striking visual power. Through intricate assemblages of recycled bottle caps and metal fragments, the artist explores themes of memory, consumption, and collective history. He recently unveiled a new work at Art Basel Qatar, once again demonstrating his ability to reimagine materiality on a spectacular scale. Video credits @axelvervoordt_co #elanatsui #contemporaryart #contemporaryartist #artbasel #artbaseldoha #contemporaryafricanart
#Elanatsui Reel by @emeraldpicturesco - Thelma Golden has spent decades redefining what a museum can be 🖼️ Now, the curator welcomes us into the Studio Museum in Harlem's purposeful new hom
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@emeraldpicturesco
Thelma Golden has spent decades redefining what a museum can be 🖼️ Now, the curator welcomes us into the Studio Museum in Harlem’s purposeful new home, a place where artists of African descent are centered and community drives the mission. Emerald Pictures and Rodney Passé present “Inner Worlds” for Nowness with Art Basel. Read more at @_onepointfour! Link in bio. - #EmeraldPictures #RodneyPassé #InnerWorlds #ThelmaGolden ArtBas
#Elanatsui Reel by @unknownprojecttrail - Art & Archive featuring the Denver Art Museum - Part 6: "Rain Has No Father?" by El Anatsui (@elanatsui.art) El Anatsui (Ewe), "Rain Has No Father?,"
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@unknownprojecttrail
Art & Archive featuring the Denver Art Museum - Part 6: “Rain Has No Father?” by El Anatsui (@elanatsui.art) El Anatsui (Ewe), “Rain Has No Father?,” 2008. Found bottle tops and copper wire. El Anatsui creates dramatic metallic sculptures that resemble great cloths. Employing a workshop of assistants, small pieces of liquor bottle caps are repurposed through folding and binding to create a surface rich with texture and color. The piece takes on a new unique character each time it is hung as the different folds that are created alter the light and shadow that feature so heavily on its surface. Influences on the creation of this piece include the tradition of kente cloths, the history of international trade between Africa and Europe, and the Rocky Mountains to the west of Denver. @denverartmuseum Artwork credit line: El Anatsui (Ewe), “Rain Has No Father?,” 2008. Found bottle tops and copper wire; 153 x 239 in. Denver Art Museum: Funds from Native Arts acquisition fund, U.S. Bank, Richard and Theresa Davis, Douglas Society, Denver Art Museum Volunteer Endowment, Alex Cranberg and Susan Morris, Geta and Janice Asfaw, Saron and Daniel Yohannes, Lee McIntire, Milroy and Sheryl Alexander, Dorothy and Richard Campbell, Wayne Carey and Olivia Thompson, Morris Clark, Rebecca H. Cordes, Kenneth and Rebecca Gart, Tim and Bobbi Hamill, Kalleen and Robert Malone, Meyer and Geri Saltzman, Ann and Gerry Saul, Mary Ellen and Thomas Williams, Nancy and James Williams, Forrest Cason, First Western Trust Bank, Howard and Sandy Gelt, Gene Osborne, Boettcher Foundation, John and Eve Glesne, The Schlegel White Foundation, Jeffrey and Nancy Balter, and Tamara Banks, 2008.891. © El Anatsui. Art & Archive is produced by (Un)Known Project. This video was filmed and edited by Barn & the Biscuit Entertainment #ArtAndArchive #DenverArtMuseum #BlackHistoryMonth #UnknownProject #Art
#Elanatsui Reel by @moadsf - Ramekon O'Arwisters is a multimedia artist best known for his vibrant, freeform sculptures that fuse repurposed ceramics, metal clamps, zip ties, and
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@moadsf
Ramekon O’Arwisters is a multimedia artist best known for his vibrant, freeform sculptures that fuse repurposed ceramics, metal clamps, zip ties, and traditions of quilting and weaving. By entangling broken clay, shredded fabric, and discarded materials, he transforms fragmentation into powerful reflections on emotional trauma and resilience. As a Black and queer man from the American South, O’Arwisters navigates vulnerability, protection, and danger—constructing what he calls “cultural totems” that hold both personal and collective histories. His relationship with the Museum of the African Diaspora began in 2009 with his first collaboration, and that history has come full circle. A recipient of MoAD’s Emerging Artist Program in 2023, O’Arwisters presented key sculptures from across several years of formal experimentation alongside his striking black-and-white self-portraits. In these intimate photographs, materials from his sculptures are transferred onto his own body, creating a sharp, embodied dialogue between object and self. His work is currently featured in Continuum: MoAD Over Time alongside Cheryl Patrice Derricotte, Chester Higgins Jr., JoeSam., Richard Mayhew, Gordon Parks, Lava Thomas, and Sam Vernon. Don’t miss your last chance to experience Ramekon O’Arwisters’ work as part of Continuum: MoAD Over Time through March 8. #MoAD #RamekonOArwisters #ContinuumExhibition #BlackQueerArt #ContemporaryArt
#Elanatsui Reel by @byher.__ - If you care about Black art, go to the Tate this month! • Hurvin Anderson at Tate Britain - his first major solo museum exhibition. A huge institutio
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@byher.__
If you care about Black art, go to the Tate this month! • Hurvin Anderson at Tate Britain — his first major solo museum exhibition. A huge institutional moment! 🔥 • African Heritage Guided Tours at Tate Modern — reframing the collection through African and diasporic histories. Don’t just consume culture online. Go and stand in front of it. . . . #HurvinAnderson #TateBritain #TateModern #BlackArt #LondonExhibitions ArtTokUK
#Elanatsui Reel by @andrestead (verified account) - The new works will be arriving in San Francisco on the 5th and featured at the opening of the @artofcontemporaryafrica gallery. It's been a lot of wor
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@andrestead
The new works will be arriving in San Francisco on the 5th and featured at the opening of the @artofcontemporaryafrica gallery. It’s been a lot of work preparing for the show and I look forward to this new chapter. Thanks to everybody involved with bringing these works to market in the USA. #andrestead #sculpture #exhibition
#Elanatsui Reel by @hammer_museum (verified account) - That's a wrap on Made in L.A. 2025, the Hammer's biennial exhibition! 🌴 Sunday, March 1 is your final chance to experience this year's edition and w
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@hammer_museum
That’s a wrap on Made in L.A. 2025, the Hammer’s biennial exhibition! 🌴 Sunday, March 1 is your final chance to experience this year’s edition and walk through the galleries. Plan your visit now and we’ll see you for the next biennial in 2027. ✌🏽 __ 🎥 by @ceremony_blue
#Elanatsui Reel by @casildart_contemporary - A special moment in the gallery with Hassan Aliyu, sharing the inspiration behind his work "Wo-Man-ity v Love" with visitors to the exhibition, About
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@casildart_contemporary
A special moment in the gallery with Hassan Aliyu, sharing the inspiration behind his work “Wo-Man-ity v Love” with visitors to the exhibition, About Love. It’s always a treat to hear the story from the artist himself, bringing their work to life in the flow of a conversation. �Hassan’s work is still available in the gallery. DM for enquiries. #contemporaryart #aboutlove #artcollectors #blackgallery #artandlove
#Elanatsui Reel by @thenovagalleryart - What you are seeing is the monumental intervention by El Anatsui at Tate Modern Turbine Hall, commissioned as part of the Hyundai Commission: Behind t
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@thenovagalleryart
What you are seeing is the monumental intervention by El Anatsui at Tate Modern Turbine Hall, commissioned as part of the Hyundai Commission: Behind the Red Moon. Anatsui transforms thousands of recycled bottle caps into vast, cascading metallic tapestries that appear fluid, almost oceanic. What seems at first glance like a waterfall is in fact a labor-intensive assemblage of hand-linked aluminum fragments — each piece carrying the residue of global trade, consumption, and colonial histories tied to alcohol distribution in West Africa. Installed in the Turbine Hall, the work behaves architecturally. It does not simply hang; it drapes, folds, collapses, and expands like a living skin. The scale is epic, yet the material is humble. That tension is precisely where Anatsui’s power resides: he elevates discarded matter into a shimmering monument that speaks about migration, extraction, capitalism, and memory. The suggestion of a ship — sails caught in invisible wind — subtly invokes the Atlantic passage, trade routes, and the movement of bodies and goods. But nothing is didactic. The work seduces before it confronts. Monumentality does not require marble. Sometimes it begins with what the world has discarded. El Anatsui reminds us that material is never neutral. Every surface carries history. Every shimmer contains a scar. The most radical gesture in contemporary art today is not excess — it is transformation. What overlooked material could become tomorrow’s masterpiece? #TateModern #ContemporaryInstallation #ArtCollectors #SustainableArt
#Elanatsui Reel by @themacmuseum - It's the final weekend to see our incredible exhibitions Beyond the Dot, Bamboo Entwine as they Grow, Inner Reserve, and Off the Wall 2025. Don't mi
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@themacmuseum
It’s the final weekend to see our incredible exhibitions Beyond the Dot, Bamboo Entwine as they Grow, Inner Reserve, and Off the Wall 2025. Don’t miss works by artists including Lucas Davidson, Tiyan Baker, Cindy Yuen‑Zhe Chen, Sarah Ong, Alair Pambegan, Corrie Fullard, Djarrayaŋ Wunuŋmurra, Douglas Archibald, Jeanette James, Jim Ridgeway, Jonathan Jones, Judy Watson, Mervyn Bishop, Nicole Monks, Ruby Djikarra Alderton, Saretta Fielding, and Wendy Murray. Cover image: Lucas Davidson Inner Reserve, MAC yapang 2026.

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