Over the past decade, Ghana has become a hotbed for creative talent in the art world.

Painters, sculptors, and personalities in similar art forms have taken the world by storm with their thrilling works.

This phenomenon has opened doors for other burgeoning artists, making the potential in their craft more apparent than ever.

One artist who has seen such success is Joseph Awuah-Darko, who founded the Noldor artist residency in 2020.

The institution aims to support emerging African artists by providing them with studio space and resources in Accra, a move that has been lauded by many.

However, recent developments have given rise to criticism regarding the dealings of the young founder.

These details surfaced after Mr. Awuah-Darko, in May 2024, accused renowned American artist Kehinde Wiley of sexual assault, claiming the incidents occurred in June 2021.

Renowned pan-African news website AfrikMag.com published an article detailing some of the developments on July 2.

This situation has sharply divided public opinion on the matter, triggering calls for closer scrutiny of the claims.

To begin with, 47-year-old Kehinde Wiley is celebrated for his vibrant and iconic portraits of African-American people in classic poses inspired by traditional European art.

Mr Wiley gained worldwide recognition for his unique style and ability to reinterpret historical masterpieces with contemporary subjects. One of his most famous works is his portrait of Barack Obama, commissioned by the Smithsonian's National Portrait Gallery.

He also founded the Black Rock residence in Senegal in 2019, a residence which aims to support emerging artists by providing them with studio space, housing, and the opportunity to engage with local culture and community.

Black Rock’s initiative has played a crucial role in promoting African talent and provides a platform for artists to develop and showcase their work globally.

According to AfrikMag, the Noldor residence has been criticized for its intense demands and potentially exploitative practices with several artists described the residence as a "sweatshop" where African artists were exploited. The publication cites anonymous complaints which highlighted the lack of artistic freedom and difficult working conditions.

“For example, an artist revealed that he had to produce 26 paintings in a short period of time, including a particularly stressful requirement to complete 12 paintings in just three weeks.

“These conditions have raised concerns about the sustainability and fairness of such expectations,” the publication added.

The magazine further posited that renowned gallerists and conservatives have also criticized the residence including a particular Instagram post by Emma Prempeh, a highly respected artist with dual nationality, who detailed these difficult conditions, attracting attention and support from the artistic community.

Portions of the ArikMag publication that also raised eyebrows were the financial dispute with Joseph’s JAD Advisory Limited.

The publication brings up an artist Foster Sakyiamah, who claims that he is owed more than $266,527 for works of art sold under an agreement with Awuah-Darko and his company.

A summons against Awuah-Darko was issued by lawyers of the artist Foster Sakyiamah just prior to Awuah-Darko's allegations against Wiley.

Financial statements reportedly cited by AfrikMag show that Awuah-Darko received more than $630,000 in income from the works of Foster Sakyiamah over a 15-month period, from which he was to share $267,000 with the artist.

The magazine goes on to suggest that these financial challenges, combined with the problems at the Noldor residence, could explain why Awuah-Darko launched a public appeal for funding.

Mr Awuah-Darko’s lawyer, Frank Owusu told Artnet that “My client intends to file a counterclaim and maintains that Foster Sakyiamah has benefited substantially from the Noldor Residency’s support over the years and that any funds owed are offset by the $338,886.98 that Foster Sakyiamah has already received from the program and sale of his works since he was first represented.”

AfrikMag noted that Joseph has never been one to shy away from his luxurious lifestyle.

But the magazine suggests that the fact that he has removed posts showcasing his luxurious lifestyle, suggest an attempt to present a different image.

For instance, he deleted posts displaying expensive art acquisitions, such as a contemporary African art piece worth 1.5 million rands.

Despite the display of affluence on social media, including designer brands and high-end art acquisitions, Joseph Awuah-Darko is actively fundraising online, asking for donations via PayPal and Cash App to cover his legal fees.

In a video, he is seen wearing $2,000 shoes and sitting on a $30,000 chair, which seems incongruous for someone soliciting financial help.

For example, he deleted several posts showcasing his collection of luxury brand clothing like Chanel and Louis Vuitton, a move AfrikMag believes could indicate an attempt to present a different image to garner public sympathy.

Additionally, Awuah-Darko has received numerous donations from the United States, especially since he launched the campaign three days after the release of the P. Diddy and Cassie video.

Some close to the situation claim told AfrikMag that he has already raised substantial amounts. Regardless of his reasons, the campaign appears to be working.

These displays of wealth contradict his public appeal for financial help, raising doubts about the authenticity of his financial situation, per the July 2 publication.

Photos of his frequent travels, stays in luxury hotels, and participation in art auctions depict a comfortable, even extravagant lifestyle. Yet, these public displays of wealth contrast sharply with his appeal for financial help to cover legal fees.

People in the arts community have juxtaposed this with the Ghanaian artist’s sexual assault allegations against Mr Wiley and are wondering if there may be parallels in the front of integrity.

The magazine also pointed out that Joseph Awuah Darko’s May 2024 accusations came almost three years after the alleged incidents, coinciding with other significant events in the art world.

It questioned the timing of the allegations raising doubts about their legitimacy and underlying motives.

Meanwhile, Mr Wiley has refuted the allegations, claiming he had a consensual relationship with Awuah-Darko.

He provided evidence of continuous friendly interactions and expressed his intention to pursue legal options to clear his name including one where he says Mr Awuah-Darko tried to visit his house in New York City and attended his exhibition, posting praises on Instagram.

Mr Wiley also pointed out that these allegations were a slap in the face to all real victims of sexual abuse, strengthening his defensive position.

The AfrikMag publication essentially puts forward public skepticism about Joseph Awuah-Darko's call for financial help due to his luxurious lifestyle, questioning the authenticity of his financial needs and the motives behind his allegations against Kehinde Wiley.

According to them, the timing of the allegations, nearly three years after the incidents, further raises doubts reiterating the need for careful scrutiny of such public claims to ensure justice and maintain transparency and integrity in the art world, emphasizing support and encouragement for artists rather than exploitation.