(Barth, 1979; Berman, 1988; Salehi, 2008)
(Barrett, 1997; Hick, 2004; Sanders, 2006.
There is negative perception about postmodern art which need critical academic scrutiny.
Ghana has witnessed massive cultural and technological transformation from its time of colonisation.
The turn of 20TH the century showed marked advances in technology.
These advances which has established closer synchronism between culture , globalisation and development are so intense that it has affected the social, economic and political structure of society.
This global change in the art front also influenced Ghanaian artists (Annku & Adu-Agyem, 2012).
“an external cultural hegemony”. It is their position that “we [Ghanaians] must not lose sight of the pecking order since the adopter culture must survive at all costs” Annku and Adu-Agyem (2012).
Calls for “a new philosophical framework” in a quest for the “possibility that individuals can reject certain prevailing cultural attitudes and embrace new myths” (Gablic, 2009).
This study therefore sought to do an inquest into Ghanaian postmodern art via an analyses of the concepts, materials and philosophical underpinnings informing this ripple of art praxis. This in the researcher view will help demystify and help clarify the many uncertainties surrounding this art movement.