Profile Bio: George Ampratwum
George Ampratwum is an Art exhibition historian, Art Market professional and lecturer at the Kwame Nkrumah University of Science and Technology-Kumasi, Department of Painting and Sculpture. Born in 1977, Kumasi, he completed his first degree in Fine Art at KNUST. He graduated from Kingston University-London with an MA degree in Arts Market (History, Professional practise and Museum Studies). His PhD at KNUST-2021 focused on 'Mapping Exhibition Histories and Cultures in Ghana since the 1960s; A Critical Perspective.'
Since 2011, his research collaborations and pedagogical emancipatory teaching interventions with Dr karî’k?chä seid'ou, Professor Edwin Bodjawah and Kwaku Boafo Kissiedu have been instrumental in spearheading the radical ruptures and resurgence of young Ghanaian contemporary artists, mainly from the Department of Painting and Sculpture on the world stage. The crux of this "interventionist Emancipatory Art Teaching project led by Dr karî’k?chä seid'ou was to unhinge art from deterministic interpretations into a space of multiplicity, de-substantialized and sited in a void.
In this way, true egalitarian visions emancipate practitioners into critical, independent and politically sensitive practice.
As a Co-initiator of blaxTARLINES, he served as one of the Artistic Directors in a trilogy of exhibitions (2017 "Orderly Disorderly", 2016 "Cornfields in Accra" 2015 "the Gown must go to Town") held at the Museum of Science and Technology- Accra. These exhibitions featured emerging contemporary artists/curators such as Jeremiah Quashie, Ibrahim Mahama, Bernard Akoi-Jackson, and established artists like Ablade Glover, Edwin Bodjawah, and Professor El Anatsui (Guest of Honor), Goddy Leye and Selected Students.
His recent projects investigate the historical and theoretical currents behind the shifting exhibition paradigms and critical artistic forms in Contemporary Art in Ghana. In addition, his historical work traces the contemporary histories of art and exhibition in Ghana. Presently, his research is focused on the pivotal role of k?rî'k?chä seid'ou post-conceptual and socially engaged practice as the catalyst for the new paradigm of critical experimental exhibitions formats and curatorial pedagogical turn.