Kwadwo Peprah, left, who spent 2023 as an artist in residence at the Noldor Foundation, discusses one of his paintings with Noldor’s director, Johanes Francis Kuwornu, in Accra, Ghana, Jan. 9, 2024. (Francis Kokoroko/The New York Times).
Weavers produce kente cloth using traditional wooden looms in Bonwire, a center of weaving in the Ashanti region of Ghana, Jan. 10, 2024. Men work the looms at almost incomprehensible speeds, and from the buildings in Bonwire hang woven cloths of kaleidoscopic color. (Francis Kokoroko/The New York Times).
People wear kente cloth as they attend an event in Bonwire, a center of weaving in the Ashanti region of Ghana, Jan. 10, 2024. These textiles were historically worn by royalty but are now used to mark celebrations and special occasions; each pattern has a different meaning. (Francis Kokoroko/The New York Times).
The artist Ibrahim Mahama at his Red Clay studio in Tamale, Ghana, Jan. 7, 2024. A globalized art market has brought attention to Ghanaian artists like Mahama. (Francis Kokoroko/The New York Times).
"Singing to a Mockingbird" by Musah Yussif, 26, on display inside a disused warehouse in Kumasi, Ghana, Jan. 10, 2024. Students at the Kwame Nkrumah University of Science and Technology in Kumasi are encouraged to use the whole city as space for art. (Francis Kokoroko/The New York Times).
Locals visit decommissioned railway carriages on the grounds of Ibrahim Mahama’s Red Clay studio in Tamale, Ghana, Jan. 8, 2024. A globalized art market has brought attention to Ghanaian artists like Mahama. (Francis Kokoroko/The New York Times).
Six decommissioned airplanes are among the attractions on the grounds of Ibrahim Mahama’s Red Clay studio in Tamale, Ghana, Jan. 8, 2024. A globalized art market has brought attention to Ghanaian artists like Mahama. (Francis Kokoroko/The New York Times).
Sena Burgundy, 26, workes inside his studio at the Noldor Artist Residency in Accra, Ghana, Jan. 9, 2024. The Noldor Artist Residency hosts several artists at a time. (Francis Kokoroko/The New York Times).
Ibrahim Mahama’s “Non-Orientable Nkansa, ” a mammoth structure built from the boxes used to hold tools for polishing and repairing shoes, is seen at his Red Clay studio in Tamale, Ghana, Jan. 8, 2024. Red Clay is home to some of his best-known installations. (Francis Kokoroko/The New York Times).
Weavers produce kente cloth using traditional wooden looms in Bonwire, a center of weaving in the Ashanti region of Ghana, Jan. 10, 2024. Men work the looms at almost incomprehensible speeds, and from the buildings in Bonwire hang woven cloths of kaleidoscopic color. (Francis Kokoroko/The New York Times).
Close