Donkor, Kimathi (2024) The British Museum collection display of 'Yaa Asantewaa Inspecting the Dispositions at Ejisu'. [Show/Exhibition]
'Yaa Asantewaa Inspecting the Dis ... | Installing 'Yaa Asantewaa Inspect ... | Kimathi Donkor with 'Yaa Asantewa ... |
Installation photograph of 'Yaa A ... | Installation photograph of infor ... |
Type of Research: | Show/Exhibition | ||||||
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Creators: | Donkor, Kimathi | ||||||
Description: | The British Museum collection display of Kimathi Donkor's 2014 painting 'Yaa Asantewaa Inspecting the Dispositions at Ejisu' was installed in Room 25 (aka 'The Africa Galleries', aka 'The Sainsbury Galleries') on July 4th, 2024 with an indefinite duration. The painting was intentionally situated next to the display of brass plaques produced in 16th century Benin (also known as 'The Benin Bronzes') which had been looted from Benin by British forces in the 1897 'Punitive Exhibition'. INSTALLATION DETAILS The second panel, under the heading 'Repression, rebellion and exile: the Anglo-Asante wars' described the historical context of Asante resistance to British colonialism and offered more detail about Yaa Asantewaa, including her death after 21 years in captive exile, following the defeat of her forces. The panel concluded by noting the British Museum's 'long-term loan' of Asante gold regalia to the Manhyia Palace Museum, Kumasi in Ghana. Directly beneath the painting, the museum's curatorial label noted that the sitter for 'Yaa Asantewaa Inspecting the Dispositions at Ejisu' was the artist's British-Nigerian wife, Risikat Donkor. |
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Keywords/subjects not otherwise listed: | Black British Art, African Diaspora Art, History of Ghana | ||||||
Your affiliations with UAL: | Colleges > Camberwell College of Arts Research Centres/Networks > Transnational Art Identity and Nation (TrAIN) |
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Date: | 4 July 2024 | ||||||
Funders: | The British Museum | ||||||
Related Websites: | https://www.britishmuseum.org/collection/object/E_2017-2054-1, https://ualresearchonline.arts.ac.uk/id/eprint/20880/, https://ualresearchonline.arts.ac.uk/id/eprint/12019, https://www.kimathidonkor.net/page-11/page17.php | ||||||
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Related Publications: | Donkor, Kimathi (2016) Making ‘Yaa Asantewaa Inspecting the Dispositions at Ejisu’. In: Revisiting Picturing Blackness, 4 April 2016, The Banqueting Suite, Chelsea College of Arts, London, England., Donkor, Kimathi (2019) Unmasking Africana in British Art. In: African Studies Centre Seminar, 31 January 2019, St Anthony's College, University of Oxford., Donkor, Kimathi (2015) Africana Unmasked: Fugitive signs of Africa in Tate's British Collection. PhD thesis, University of the Arts London., Eshun, Ekow. (2022) In the Black Fantastic. Hayward Gallery Publishing, Thames & Hudson. London, Spring, C., (2019) Africa, Art and Knowing Nothing: Some Thoughts on Curating at the British Museum by Chris Spring. IN Buckley, B., Conomos, J., A Companion to Curation. Wiley Blackwell. London. | ||||||
Projects or Series: | Queens of the Undead, Africana Unmasked | ||||||
Locations / Venues: | Location From Date To Date The British Museum, London, England 4 July 2024 |
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Material/Media: | Oil paints on canvas | ||||||
Measurements or Duration of item: | 223.5 x 180 x 10cm (Framed); 210 x 165 (unframed). | ||||||
Date Deposited: | 16 Dec 2024 14:33 | ||||||
Last Modified: | 16 Dec 2024 14:33 | ||||||
Item ID: | 23122 | ||||||
URI: | https://ualresearchonline.arts.ac.uk/id/eprint/23122 |
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