With a heavy heart, I deeply regret to announce the unfortunate passing of a dear friend, brother and colleague, (Dr.) Atta Kwami. Atta, as I called him, died on the afternoon of October 6, 2021 after succumbing to a fight with cancer.

He recently turned 65, on September 14, and we all wished him happiness, good health and long life. Even though I had learnt of the terminal nature of Atta’s illness, his positive response to all the birthday felicitations on social media was so heart-warming, little did I think he would leave us so soon. This makes his transition rather shocking and painful. He was hoping to have visited his dear homeland, Ghana, at least, for the last time, but it was never to be.

Atta Kwami was one of Ghana’s most internationally distinguished artists. He was not only a passionate and consummate painter, and installation artist, he was also an Art Historian, and wrote quite extensively on Ghanaian contemporary art. In 2013, he published the seminal book, “Kumasi Realism – An African Modernism, 1951 – 2007, which documented the development of contemporary art in Kumasi – Ghana’s second biggest city after Accra, the capital – where Kwami spent many years as student and lecturer at Ghana’s premier College of Art of the Kwame Nkrumah University of Science and Technology (KNUST)

As a painter, Kwami had always had an experimental bent, right from the beginning. He started off as an Abstract Expressionist, working in the vein of the Action Painters, sticking pans and other detritus from the environment into his paintings. Shown in Ghana, they were quite a novelty on the largely conservative art terrain, where most artists at the time worked in the representational and figurative mode, intently capturing the genre of the day. His annual exhibitions he jointly held with the Painter/ Sculptor Kofi Setordji and the Painter Emmanuel Anku-Golloh at the Goethe Institute in Accra were very much looked up to with excitement. After many years, Kwami transformed from his earlier Ab Ex style of painting into a Geometric Lyrical Abstractionist, working with loosely constructed grids and strident but sonorous colors. His canvases vibrate with so much energy. In later years he translated these gridded paintings onto free-standing sculptures – monumental arcades, constructed with plywood, and kioks, which are ubiquitous in the Ghanaian urban landscape. While the gridded paintings on the arcades and kioks were hard-edged, his paintings on canvas remained loosely gridded.

Kwami established in Kumasi, Ghana the SaNsA International Artists Workshop, a wing of the International Triangle Artists Workshop (a brainchild of the British Master Sculptor Sir Anthony Caro), which brought local and international artists together for a couple of weeks, to work and exhibit their art. SaNsA in Ghana ran three iterations, from 2004 to 2009.

Kwami specially invited me to be part of the last installment of SaNsA in 2009, with my participation fee, boarding and lodging fully covered by the organization. Unfortunately, I couldn’t honor the invitation, because I had just lost my father and I was saddled with organizing his funeral. Later, in a phone conversation, Kwami told me what I had missed, that the event was immensely successful. “It was like an international biennale,” he excitedly chatted.

While teaching at KNUST, Kwami set up an avant-garde art journal, BAMBOLSE, with the assistance of two of his protégés, who were students at the Art College, the Painter and Musician Henri (Papa) Asare-Baah and the Painter George Afedzi Hughes. BAMBOLSE ran for a few years.

It is significant to mention here a distinguished art teacher of Kwami, who taught him in secondary school, at the prestigious Achimota School, in Accra, then, also, at KNUST Art College – preeminent Ghanaian Painter (Prof.) Ato Delaquis. Interestingly, they later became colleague teachers at the Art College, good friends and lived a few meters apart on the same street.

Kwami himself was born into an artistic family, his father, Robert Kwami, a music teacher and the mother, a prominent first generation Ghanaian contemporary artist, and teacher. She was Grace Kwami (nee Anku).

Kwami maintained studios between Loughborough, U. K. and Kumasi, Ghana.

Kwami and I participated in a number of major group exhibitions together, notable among them, (1): “West to West: Owusu-Ankomah and Friends,” 2013 at the State Gallery of Bremen, Bremen, Germany, which also featured Owusu-Ankomah himself, Bright Bimpong, Sokari Douglas Camp, Godfried Donkor, Romaould Hazoume, George Afedzi Hughes and Lawson Oyekan, and (2): “The Poetics of Cloth: African Textiles/Recent Art,” at the Grey Art Gallery, New York University, New York, U. S. A, 2008, featuring other African giants, El Anatsui, Samuel Cophie, Viye Diba, Sokari Douglas Camp, Group Bogolan Kasobane, Abdoulaye Konate, Rachid Koraichi, Grace Ndiritu, Nike Okundaye, Owusu-Ankomah, Yinka Shonibare,, Malick Sidibe, Nontsikelelo “Lelo” Valeko and Sue Williams.

Kwami’s work was exhibited all over the world and featured in many important publications on contemporary African art. They found their way also into major private collections and museum holdings in Africa, Europe and the U. S. A., including, Movenpick Ambassador Hotel, Accra, Ghana; Ghana National Museum, Accra, Ghana; Kenya National Museum, Nairobi, Kenya; The Smithsonian National Museum of African Art (SNaMAA), Washington, D. C., U. S. A.; Newark Museum, Newark, New Jersey, U. S. A.; Metropolitan Museum and Brooklyn Museum, both in New York City, NY, U. S. A.; the V & A and the British Museums, London, U. K. . Earlier this year, 2021, Kwami deservingly won the 2021 Maria Lassing Foundation Prize, which had a 50,000 Euro (£42,000) component; an exhibition project with the Serpentine Galleries, London and a monograph publication in 2022.

Kwami was represented in the U. K. by the Beadsmore Gallery, London; in Switzerland by the Nicholas Krupp Gallery, Basel, and in the United States by the Howard Scott Gallery, Chelsea, New York. He had at least three solo shows with his New York gallery, Howard Scott, before it closed down a few years ago.

Two of some of Kwami’s monumental public sculptures, a twin arcade rendered in his usual hard-edge, gridded, colorful composition, and a small cluster of kioks, painted in a similar manner, were on display at the Folkestone Triennial 2021 from July 22 to November 2, 2021. The exhibition was on when Kwami sadly passed. The twin arcade was titled, “Atsiafu fe agbo nu,” in his native Ewe (Ghana) language, which literally translates to, “Gateways of the Sea,” The colorful kiosk, also titled in Ewe, “Dusiadu,” which translates to, “Every Town,” emphasizing the ubiquity of the kioks, which come in varied shapes and colors and are a constant presence along the roads iin the urban centers in most Sub-Saharan African countries, especially, in the artist’s own country, Ghana, as I intimated earlier. These works were specially commissioned for the Folkestone Triennial 2021, which is U. K.’s biggest urban outdoor contemporary art exhibition, in the Kent coastal town of Folkestone, a former seaport.

Kwami was a keen intellectual, very erudite, I must say. Apart from our art, we shared a common passion – a crazy, inveterate indulgence in profuse art literature, art history, libraries, books and writing. We would often discuss new books we were reading. Kwami was always very much abreast with new publications on art, especially, African art, and he would recommend a book or two to me. On one of his visits home from the U. K., he brought me a gift of the newly published catalog on El Salahi, accompanying his retrospective at the Tate Modern, London, which I appreciated very much. It has a special place in my library.

I do not know when Kwami joined ACASA  (The Arts Council of the African Studies Association). As far as I could remember, he had always been a member of ACASA. He was already a member before the advent of the Internet in Ghana. He must have joined the association in the 1980s or early 1990s.

Being one of the longest standing living Ghanaian members of this august association, it was just appropriate the mantle fell on Atta Kwami to deliver the keynote address at the opening of the 17th ACASA Triennial Symposium on African Art, which took place in Accra, Ghana; at the verdant University of Ghana – Legon campus. This was the first time ACASA, obviously the biggest body in the world with its members specializing in the study and scholarship of African art, and the material and expressive cultures of the African continent, in its over-five-decades of existence was having its triennial conference on African soil.

From March through May 2010, Kwami was an artist-in-residence at the Smithsonian National Museum of African Art in Washington, D. C., which is strongly affiliated to ACASA, having won the second edition of the Philip Ravenhill Fellowship, the first having been won by the artist, writer, academic and fellow ACASA member, Dr. Tobenna Okwuosa. The Ravenhill Fellowship was awarded by the UCLA (University of California, Los Angeles) Fowler Museum, another strong affiliate of ACASA, and instituted in memory of Philip Ravenhill, Chief Curator of the National Museum of African Art, Smithsonian Institution, (1987 – 97).

At the end of his residency at the National Museum of African Art, Smithsonian Institution, Atta Kwami was in conversation with the esteemed Art Historian, Prof. Sylvester Ogbechie of University of California, Santa Barbara; who is, also, the Founder and Editor of the journal, “Critical Interventions, ” and a long-standing member of ACASA. This was in the Fall of 2010, at the Fowler Museum and it was part of the museum’s public programming, “Fowler Outspoken Conversation.” The topic under conversation was, “Africa and Modernity.” The two gentlemen explored modernity and African art as embodied in university and local art practices in West Africa, specifically, Ghana.

Atta was a gentleman, in the truest sense of the word. He always had a calm disposition about him and would welcome you with a broad smile. He was always gracious in his manners, generous and humble.

Atta Kwami died in the U. K. His mortal remains was interred in a simple but colorful ceremony, attended by friends and family, at the Prestwold Natural Ground Cemetery, Loughborough, in Central U. K. on Friday, October 15.

Atta Kwami was survived by his dear artist spouse, Printmaker Pamela Clarkson-Kwami. My heartfelt condolences to Pamela, his numerous friends and family (home and abroad) and the Ghanaian art world. Ghana has, indeed, lost a rare gem of an artist and an intellectual!

Journey well, my brother. I wish you eternal rest in the bosom of the Lord, our Creator.

DAMIRAFA DUE!!!…

DAMIRAFA DUE!!!…

DAMIRAFA DUE!!!…

DUE NE AMENEHU!!!!!!!…..

By Rikki Wemega – Kwawu

We remember Yusuf Adebayo Cameron Grillo, who passed away on August 23, 2021 at the age of 86 after a brief illness. A foremost artist, administrator, and educator, he leaves behind an indelible imprint on the landscape of contemporary Nigerian art.

Born in the Brazilian Quarter of Lagos in 1934, Grillo had an early interest in art and mathematics in school. He continued these activities into his university education at the Nigerian College of Arts, Science, and Technology (now Ahmadu Bello University) in Zaria. While there, he and a group of fellow students including Uche Okeke, Bruce Onobrakpeya, Demas Nwoko, and Simon Okeke formed the Zaria Art Society in 1958. Art Society members challenged their Eurocentric education and sought to establish an artistic mode more fitting for a nation on the eve of its independence. They developed an artistic philosophy they called “Natural Synthesis,” which advocated merging indigenous Nigerian subject matter and forms with select European techniques.

Grillo took this synthesis as a foundation to develop a painting practice that presented Nigerian life through a palette of rich hues and fractalized compositions. He was a renowned colorist, and his canvases are often characterized by their different tonalities of blue. Grillo found inspiration for his artistic subject matter in people he knew, scenes he encountered on the streets of Lagos, Yoruba spiritual beliefs, and oriki. His artwork, for the most part, centered on the human figure and he is perhaps most well-known for his portrayals of Yoruba women and musicians. Indeed, these predominant themes reflected his compositional concerns. While Grillo greatly admired European Impressionists and Post-Impressionists, the influence of which can be seen in his thick brushstrokes and expressive use of color, he also seemed to have found equal inspiration in Yoruba dress and music. The linear and geometric qualities of the flowing folds of his figures’ garments often extended into the rest of the composition, and the layered angular divisions in his canvases imbued them with a certain rhythm.

Grillo would famously spend years creating his paintings. He worked on several works at once, stopping, starting, and returning to the canvases over long periods of time. In fact, he was in the habit of not signing his paintings because he never saw them as completed. For Grillo, the painting process involved a back-and-forth between the artist and the canvas that merged the conscious with the unconscious and unfolded organically. Rather than deeming a painting “finished,” he decided to move on only after he finally felt he could let go of it.

In addition to his painting practice, Grillo created stained glass pieces and a number of sculptural public artworks. The medium of stained glass particularly lent itself to Grillo’s interest in mathematics and the geometric division of his compositions. Perhaps his most well-known public artworks are his mosaic mural at Lagos’s City Hall and his cement murals at the Murtala Mohammed International Airport. With these works, Grillo contributed to the city he called home throughout his life.

Grillo has also been an important presence in the professionalization of the Nigerian art world. He was a founding member of the Nigerian Society of Artists (SNA) in 1963, and in 1964, he was elected the organization’s first president. Under his tenure, the SNA participated in yearly independence celebration exhibitions. He also brought the SNA into the UNESCO-affiliated International Association of Art, which led to opportunities for him and SNA representatives to travel and exhibit internationally.

Grillo received his post-graduate diploma in education in 1961 and also studied arts education at the University of Cambridge in 1966. His role as an educator has had a lasting impact on Nigerian art. He taught at Yaba College of Technology for decades, at times serving as Head of the Department of Art, Design & Printing and Rector for the entire institution until his retirement. Grillo was passionate about teaching his students the foundational methods of art-making as the building blocks to develop their own artistic language. Although he was a towering pillar in the Nigerian art world, he did not encourage followers. Instead, he pushed his students to move beyond his and his fellow pioneers’ influences to find their own visual modes and approaches. Today, the art gallery on campus bears his name.

Grillo was celebrated as one of Nigeria’s leading contemporary artists throughout his lifetime, receiving recognition through numerous honors and awards. These included first prize at the All African Competition in Painting in 1972, the laudatory retrospective “Master of Masters: Yusuf Grillo” at Nigeria’s National Gallery of Art in 2006, and becoming the namesake for the Yusuf Grillo Pavilion, an exhibition space in Ikorodu, Lagos that exhibits many of Nigeria’s foremost artists.

Grillo’s life and work leaves us with a lasting presence: his name is quite literally etched into the cultural infrastructure of Nigeria. His memory will be continued by his family, his students, his peers in the Nigerian art world, and those in the ACASA community who had the privilege to meet and know him.

By Rebecca Wolff

Robert Farris Thompson, born December 30, 1932, was the Colonel John Trumbull Professor of the History of Art, on the faculty since 1965, and Master of Timothy Dwight College, at Yale University, 1978 until 2010. He passed away on November 29, 2021, at 88 years of age.

Professor Robert Farris Thompson – “Who is this man,” I thought when I first met him. It was around 1974, and I was dutifully cataloguing slides at the Eliot Elisofon Archives, Museum of African Art, as a young master’s student, and new archivist. He rushed into the room, gasping for images of Africa, and awe-struck by everything he saw, exclaiming in Yoruba, complete with expletives, wild with enthusiasm, and finding gold mines of evidence everywhere. I was a student of dance and art, with pretensions of becoming an art historian, and a few years later, the head of my dance department, Shirley Wimmer, called me up with great excitement, saying she had just heard a lecture by Robert Farris Thompson, and knowing my desire to get into African art, she said “You have to go to Yale.”

Robert Farris Thompson was a legendary professor of the history of art in Africa and the African Diaspora in the Western Hemisphere and throughout the world. Yale University was his home throughout his adult life, and Thompson and Yale have been synonymous for thousands of Yale graduates for a half century. From Yale, he received his BA in 1955, his MA in 1961, and his PhD in 1965. He studied for the doctorate under Professor George Kubler, then a specialist in Spanish art. But his heart was in African American and Latin American culture. His dissertation fieldwork was conducted among the Yoruba in Nigeria because he wanted to find the sources of African American arts and culture. He began teaching in the History of Art in 1961, and was later honored as the Col. John Trumbull Professor of the History of Art. His undergraduate course, “From West Africa to the Black Americas: The Black Atlantic Visual Tradition,” was considered part of the tradition for any Yale College student. From 1978 to 2010 he served as Master of Timothy Dwight College, the longest run of any serving master. TD students revered him as “Master T,” and the College produced sweatsuits showing a caricature of Thompson as a muscular bodybuilder, with the word “ashe” – the Yoruba term for “inner power.”

Probably his most pivotal piece of writing was the article in which he explored “An Aesthetic of the Cool,” appearing in African Forum, in 1966. Thompson is known internationally for his continually groundbreaking publications, beginning with the catalogue for an exhibition at UCLA based upon his PhD dissertation, entitled Black Gods and Kings: Yoruba Art at UCLA (1971). In 1974, UCLA and the National Gallery of Art, sponsored an exhibition that revolutionized thinking about African art and culture, with a book entitled African Art in Motion: Icon and Act in the Collection of Katharine Coryton White. Again, for an exhibition at the National Gallery in 1981, he published, with Joseph Cornet, The Four Moments of the Sun: Kongo Art in Two Worlds. In 1984, drawing upon his decades of lecturing on the arts of Africa trans-Atlantic world, he published one of the most influential works on the continuity of African art in the new world, entitled Flash of the Spirit: African and Afro-American Art and Philosophy. His Face of the Gods: Art and Altars of Africa and the African Americas, in 1993, for the Museum for African Art, New York, accompanied the exhibition that traveled around the world to great acclaim as an examination of ensembles of sculpture never before considered by art historians. 

Thompson was born to a wealthy El Paso, Texan, family, son of Dr. Robert Farris Thompson, a surgeon, and Virginia Hood Thompson, a patron of the arts, and received a patrician education attending secondary school at Phillips Academy Andover, in Massachusetts, before admission to Yale. But he was anything but orthodox, despite his tweed sport coats and penny loafers. As a “Yalie,” he would slip out of New Haven and go down to New York to the smoky Black jazz clubs, where he got to know all the early jazz greats. He started out, after getting his BA in 1955, traveling to Paris, with the hope of becoming a jazz player. He later championed such musicians as Tito Puente and Coltrane. His earliest article was on “Afro-Cuban dance and music,” published in 1958, followed by another in 1961 on “African Music.” He wrote a book on Tango, and his last teaching years were devoted to his course, “New York Mambo: Microcosm of Black Creativity.” 

His art history was published in the traditional academic venues, but also in The Village Voice, The Fat Abbot, Rolling Stone, and Saturday Review. Among his many exhibitions, two of his most monumental were at the National Gallery of Art in Washington DC: African Art in Motion, 1974; and The Four Moments of the Sun: Kongo Art in Two Worlds, 1981. He was recognized by the Arts Council of the African Studies Association with its “Leadership Award” in 1995. He was awarded the College Art Association’s inaugural “Distinguished Lifetime Achievement Award for Art Writing” in 2003, and was named CAA’s Distinguished Scholar in 2015. In 2007, Thompson was honored with the “Outstanding Contribution to Dance Research” award by the Congress on Research in Dance. In 2021, Thompson was awarded the honorary degree – his fourth Yale degree — Doctor of Humanities, by the President of Yale University. The College Art Association aptly described him as a “towering figure in the history of art, whose voice for diversity and cultural openness has made him a public intellectual of resounding importance.”

Long before “globalism” was even a word, he was preaching it in his classroom. The first day in class, the students were shown a slide of the world which Thompson zoomed in on until he reached Tokyo, Japan, and this was his springboard to upset all the preconceived notions about a bounded and traditional Africa. If he could find Africanisms in Japan, it was not such a leap to the Americas. He coined the term, “The Black Atlantic.” His forceful 1983 work, Flash of the Spirit: African and Afro-American Art and Philosophy, was the culmination of his lectures at Yale, and was as much a praise song to African American culture as a tediously-researched, groundbreaking work of scholarship.

No one who ever sat through a Thompson lecture ever forgot it. It was an extravaganza of masterful drum playing, dance, song, and all the poetry and cadence of a southern preacher in the Black church. His performance never diminished — even when he was stuck in a little seminar room with three of us graduate students around a table, our jaws dropped to the floor. He would assign us readings in any language – You don’t read Dutch? — get a dictionary. He would punctuate his lectures with Haitian Creole, French, German, Hebrew, Italian, Kikongo, Portuguese, Spanish, Yoruba, and other languages, without translation. He once told me the secret to his success: “I am shameless.” His kiKongo wasn’t perfect, and he didn’t have a dancer’s body, but he never let that stop him from going full out to learn every tango and mambo dance step, every multimeter rhythm, every chant and praise song that he could. He didn’t care if you liked it. He liked it, and that was abundantly obvious as he reveled in all that he did.

Bob will be greatly missed by his dozens of Yale protégés now prominent in the fields of African and African American Art, thousands of Yale College graduates, and the world of lovers of African and African American music, dance, and art. A memorial service will be held in the Spring at Yale University.

— Frederick John Lamp, Yale University PhD, 1982; Retired Curator of African Art, Yale University Art Gallery, and Lecturer in Theater Studies and The History of Art, Yale University

In Remembrance of Robert Farris Thompson

I first met Robert Farris Thompson when I was a student at UCLA. He had come to campus to give a lecture for the opening of his Yoruba exhibition Black Gods and Kings. I got to help him set up his slides in the auditorium sound booth and all of a sudden he just started drumming on the counter. I started drumming along with him and next thing I knew he invited me on stage to drum with him in the middle of his talk. As he moved through his lecture he presented ideas and issues I rarely heard other art historians engage, and I was honestly in awe. Two Yoruba gentlemen were sitting in the front row, and they liked what he was saying too, nodding as he repeatedly made critical points. Of all the things that impressed me, what captured me most completely was his ability to demonstrate and bring to life the fundamental relevance of art to social life and human imagination. His talk was liberating.

Shortly thereafter I moved to New Haven and become one of his graduate students, and then I became a graduate assistant for his big African survey course. That was a transformative experience, not just for me but for the huge number of undergraduates who found themselves most fortunate to be taking such a class. He brought artists up from New York city to share their knowledge and experiences with us. He maintained a huge class bulletin board for the class that was mind boggling in its dense, rich, near chaotic presentation of words and images. He had a penetrating consciousness that virtually compelled you to think. As his student, he seemed to me a paradox: rigorous and demanding and very attuned to scholarly detail on the one hand, while simultaneously offering a freedom to explore that I found exhilarating. He made boundaries seem ripe with the potential to be challenged. He made you work, very hard. But he made you feel tremendous. I loved art history before I met Robert Farris Thompson. Being his student stretched the discipline’s worthiness for me in wonderful ways. 

He has never stopped being all that to me. And more. Once after I finished my degree and was off teaching, I came back to New Haven to give a lecture. He was then the Master of Timothy Dwight College and known to all as Master T. We went to coffee and then he showed me his Master’s living quarters. There were several bedrooms, each with a double bed.  And piled high on all of them were books and articles and notes and photographs; an enormous jumble of material, some quite rare and hard to find, with each bed’s treasures dedicated to a different research project. He kept vocabulary flash cards in a number of languages in his bathroom. He never stopped working with those flash cards or on each bed’s lush array of data. Put that together with the ways he totally submerged himself with people in the cultures where the arts he loved were made, and it is hardly a surprise that his research was spectacular, his writing evocative.

 I very often think of RFT, and what he gave me. He made it clear, all the time, that you should understand the people whose art you study as full of sophisticated and complex ideas, rich practices and significant experiences, all worthy of our attention. His sense of humanity, his profound dedication, his ability to balance philosophy and practicality, his mind as fertile as minds can get: these qualities will always define my memories of a person I deeply cared for.

– Patrick McNaughton

-Cécile Fromont