Unseen Art Scene (mirror)

Artist: Bruce Onobrakpeya Title: Okoroko Material: Lino Engraving Size: 12 x 17 cm Date: 1975 Art, Artists and Art Criticism Situational Report in Nigeria from 1950 – 2004 Introduction This article is focused on some issues concerning contemporary art and its practitioners and art critics as it relates to Nigeria from 1950 to date. In any way the article may not be able to discuss in minute detail due to space constraint. At the same time the theoretical framework of the paper will be historical and also analytical in order to be able to state the author’s views on some issues raised here. The history of contemporary art in Nigeria cannot be complete without referring to the instrumental figures who through their solo efforts brought Nigerian modern art into the world art history. The history started with Aina Onabolu 1881-1963 as a leading figure who did not only start the art of drawing and painting but also fought single handedly to put art in the school curriculum in 1927. Onabolu

Here is an article written by one of the most imaginative, talented artists; originally from Ghana, George Afedzi Hughes. Contemporary Visual Art from Ghana by George Afedzi Hughes Image by George Afedzi Hughes An Overview Museums and galleries all over the world regard traditional African art of high aesthetic value. A reputation ignited by the overwhelming influence African art had on modernist European artists at the beginning of the twentieth century. This impact and positive status of traditional African art has over decades resulted in laudable exhibitions, acquisition and documentation of such antiques. Nevertheless, not much favourable interest and documentation is offered most contemporary art of Africa. It is being criticized for being universal and failing to meet the stereotypical African art tradition. This is also the case for contemporary art in Ghana. Contemporary Art in Ghana The idea of grouping Ghanaian artists is an anomaly because of its complexity. The artistic cl

East Africa, especially Kenya and Kenyans have waited a long time to find a combination as tangible as Peterson Kimwathi and David Kaiza. Finally they have found their writer/artist duo, similar to Oscar Wilde and J.M. Whistler, Eric Newton and Henry Moore, Martin Scorsese and Robert De Niro. Kenya is a nation more familiar with literature than art but the work produced by Peterson speaks volumes. With holes in newspapers encouraging ideas of the media and institutional deceit or seen as forms of masks or white hoods worn by the infamous Klu Klux Klan; all these ideas builds the blatant picture of betrayal. It would be fair to say these artworks are on similar lines to sketches drawn by Francisco Goya in the early 19th Century, 'Disparate quieto', later to develop into the Black Painting of 1819-1823 or ‘The Inevitable’ by Ibrahim El Salahi as within these eight pieces of work, which were created over a 16 month period, rests the weight of a entire Nation. Similar to these Mast

Algiers festival to mark African "cultural renaissance" 2009-04-19 The upcoming Pan-African Festival is being fêted as a major event marking Africa’s return to the international cultural stage. For the first time in forty years, African nations will join together to celebrate the continent's artistic revival. By Mouna Sadek for Magharebia in Algiers – 19/04/09 [Getty Images] Algerian Minister of Culture Khalida Toumi announces PanAf 2009. African artists will showcase the diversity and creative heritage of their continent at the second Pan-African Festival, which will be held in Algiers from July 5th-20th under the theme "African Renaissance". For two weeks, the stirring rhythms of Africa will pulsate across Algeria. "Forty years after the famous PanAf of 1969, Algeria will once again celebrate Africa’s cultural renaissance. Algeria is back! And so is Africa!" Algerian Culture Minister Khalida Toumi proclaimed at an Algiers press conference held last

I would like to yet again return to essays and texts written over 40 years ago by the writers such as Ben Enwonwu and Okwui Enwezor. The articles written in the 1960's seem to have as much relevance today as they did years ago pressing the constant question, why does African art seem to be asking the same questioning and posing the same problems over half a century of contemporary artistic development? 1968 - First Printed in Paris Paris: Editions Presence Africaine THE AFRICAN VIEW OF ART AND SOME PROBLEMS FACING THE AFRICAN ARTIST Author Ben Enwonwu The role of Art in Negro-African society is an important one for all who are concerned with the advancement of African Culture, African Thought and The African Personality. It should also concern the present generation of Africans whether they are interested in Art for art`s sake or not. In fact, no emergent African State today, can afford to ignore the urgent role of Art as we march towards renaissance. The Art of Africa is no longer

Image: Soly Cisse | Une Vie Social CRISIS IN GLOBAL CAPITAL AND THE WAR ON CULTURE The Artist as Producer in Times of Crisis Source: http://t4.antville.org/stories/736829/ Okwui Enwezor: The Artist as Producer in Times of Crisis On April 27, 1934 Walter Benjamin delivered a lecture at the Institute for the Study of Fascism in Paris. In the lecture, The Author as Producer, Benjamin addressed an important question that, since, has not ceased to pose itself, namely to what degree does political awareness in a work of art becomes a tool for the deracination of the autonomy of the work and that of the author? Benjamin’s second point was to locate what a radical critical spirit in art could be in a time of such momentous, yet undecided direction in the political consciousness of Europe: between the Bolshevik revolution in Russia and the productivist model of artistic practice it instantiated and the storms of repression unleashed by fascism and Nazism in Western Europe. In a sense, Benjamin’

Touhami Ennadre: Moira by Okwui Enwezor, Lauri Firstenberg As early as 1978, critics have compared the striking works of French photo artist Touhami Ennadre to the intensity of Van Gogh, and others have since identified affinities with Caravaggio and the poetry of Rimbaud. In the words of author Tilman Spengler, Ennadre presents images that appear and disappear at the same time. Often insistent to the point of obsession, these works imitate Creation in their own unique fashion, posing the question of how light and shadow become form and figure in a dialogue of equals. Author François Aubral coined the term black light with reference to this aspect of Ennadre`s work. Moïra features an impressive selection of Ennadre`s beautifully modeled photographs, and presents for the first time his recent Danse series, shot on the New York City club scene. Essays by Okwui Enwezor, Lauri Firstenberg and Nancy Spector. Hardcover, 10.5 x 13.75 in./144 pgs / 110 duotone. Touhami Ennadre: Black Light by

I wonder if the US President Obama had a coffin fitting when visiting Accra, Ghana and more importantly what would he have chosen as the Leader of the Free World? Even Ghana's director of tourism may have to admit that Accra has its work cut out competing with other tourist destinations in Africa. Yet just outside the capital, is the suburb of Teshi and it is here that tourists are coming to look at a relatively new tradition - the fantasy coffin makers. In pictures: Fantasy coffins Drive slowly down the main high street in Teshi, Eastern Accra, and you would probably glance at showrooms and wonder why anyone would want to exhibit a large red fish, or an oversized hammer. It is as if you have arrived at some strange storage area for a local drama group or even film set. But, further into town, you will see another couple of "film set" workshops, and another, and goodness, is that really an aeroplane? On closer inspection each of these objects turns out to be a wooden cas