Reminiscing on the booming days of Nigerian art

'Anyanwu' by
Benedict Enwuonwu

Nigerian art has come a long way. A look at the heydays of Nigerian art will bring to mind names like Akinola Lasekan, Uche Okeke, Yusuf Grillo, Benedict Enwuonwu, and  of course, Bruce Onobrakpeya. 

From 1900, these aforementioned artists and more, charted the course as pioneers of modern Nigerian art. Beginning with Aina Onabolu, who was the ‘father of modern Nigerian Art’. Onabolu, a self-trained portrait painter, was the first Nigerian artist to be trained abroad. Returning in 1923, Onabolu made a lot of efforts to see to the inclusion of art in the educational curriculum of our schools. Even though, challenges were encountered, his doggedness led to the production and discovery of more artists, thereby ensuring the reawakening of many artistic potentials.

Making a recall of the beautiful years of the past in Nigerian art will no doubt garnish one’s brain with fond memories. It was during those period that Prof. Benedict Enwuonwu was discovered by Kenneth C. Murray, an expartriate teacher employed by the government, at Umuahia Government College. Enwuonwu was flown abroad on scholarship courtesy of Shell company, studying first at Goldsmith College., followed by Ashmolen, Oxford, and then later the famed Slade School of Art in London., all in Britain. After his academic sojourn abroad, Enwuonwu returned back to the country in 1948. Upon his return, he was appointed an Art Supervisor by the Federal Government, and later rose to the position of Art adviser. Benedict Enwuonwu is no doubt one of the best artists to ever come out from Africa nay Nigeria. He was the first internationally acclaimed artist, whose talent and skills put Nigeria on the art world map.

In 1951, an Art Club arising from the involvement of the students of Keffi Government College in painting and drawing of the ‘Flame of the Forest’ trees, was born. This was inspired by an expartriate teacher named Dennis Duerden who was posted to teach in the school. On several occasions, the man would sit under the luxurious mango shades to paint or draw the ‘burning’ trees which was punctuated in the background by the students’ grey round mud huts. He was later joined by the curious students, who were impressed by his ability. Even the wife of the Lieutenant-Governor of the Northern region of Nigeria, Mrs Sherwood Smith, joined them occasionally. This activity gave birth to the first regional art festival at Kaduna community centre, during which most of the students won prizes for their various paintings. An ‘Art school’ was born and the most favourite subject was the ‘Flame trees’. Equipment increased and students’ participation grew. Whenever the students felt the urge to paint or draw, they will retire into the art room. Some even painted in the night! They were doing real art. Their works which were exhibited in various places in Nigeria, United Kingdom and United States, drew a lot of good comments from art critics.

One of the most memorable events that shaped the Modern Nigerian art history was the ‘Zaria revolution’. They were a group of artists popularly called the ‘Zaria rebels’, who pushed against the dominance of white staff in the department of Fine Art in the then Nigerian College of Art, Science and Technology (Now Ahmadu Bello University, Zaria). These artists which include names like the late Simon Okeke, Solomon Wangboje, Grillo, Jimoh Buraimoh, Nwagbara and some others were also against the curriculum which was Western in outlook and practice. Their efforts led to, among other things, the infusion of Nigerian traditional motifs and designs in their works, thereby developing Nigerian and African identity. Nigerian art during these past years were worthy of mention and also enjoyed good amount of awareness and patronages., thanks to efforts of the pioneer artists, whom today, are acclaimed masters. Most of them exhibited abroad, and their works are in both private and public collections within and outside Nigeria.

Regrettably, the reverse is the case today, as there are not many art practitioners and scholars. Artists are among the least represented professionals in our society today. This is also reflected in the educational sector where the ratio of art students in comparison to other students is roughly 5:20. This shows that there is a sharp decline in the number of art scholars. Ironically, some people with art potentials don’t want to study the discipline formally.

Culled from: https://www.sunnewsonline.com/reminiscing-on-the-booming-days-of-nigerian-art/

Ngaire Blankenberg to lead National Museum of African Art

Ngaire Blankenberg

The Smithsonian has named Ngaire Blankenberg as the next director of the Museum of African Art. Blankenberg, a member of the African diaspora and a longtime arts consultant with a history of helping museums and cultural organizations become more inclusive and engaged with their surrounding communities and the world at large, assumed leadership of the Washington, DC, institution July 6. She succeeds interim director Deborah Mack, who stepped in after Augustus Casely-Hayford left the post in March 2020. “The National Museum of African Art embodies the Smithsonian’s mission to foster understanding, inspire dialogue and bring people together irrespective of language, culture or border,” said Lonnie Bunch, the Secretary of the Smithsonian, in a statement. “Ngaire’s leadership and experience will be invaluable in using the museum’s unparalleled collections and scholarship of African Art to further our reach, diversify our audiences and have a more profound impact on the nation and world.” Blankenberg holds a BA in journalism from Carleton University in Ottawa, Ontario, Canada, and an MA in media and cultural studies from the University of Natal, in Durban, South Africa. In recent years, she has helped a number of organizations come up with decolonization plans and assisted them with concept development and public engagement strategies. Among these are Ottawa’s National Gallery of Canada, Miami’s Superblue, Johannesburg’s Museum and Archive of the Constitution at the Hill, Winnipeg’s Canadian Museum for Human Rights, and Geneva’s Musée d’ethnographie. Previously, Blankenberg was head of strategy at Amsterdam design agency Kossmanndejong, and before that she served as director of Lord Cultural resources, after assisting that outfit as a consultant for nearly a decade. “Museums are institutions that carry a lot of systemic baggage from their colonial origins, but they are vital public spaces to reconsider how we connect and contend with one another and the planet, and where we can redefine, heal and reconcile,” she noted in a statement. “The National Museum of African Art sits physically in a city with one of the biggest populations of African peoples in the U.S. Digitally it reaches far into the diaspora. I am so grateful for the trust being placed in me to continue to care for, build, interpret and share NMAfA’s fantastic collection, particularly in this new era of US-African relations.”

Society of Nigerian Artists set to elect New leader

Muhammad Sulaiman

 As the next congress of Society of Nigerian Artists (SNA) holds, virtually, on July 10, 2021, a sole candidate, Muhammad Sulaiman for the professional body's office of the president seems like a concluded "arrangement."

The election was earlier scheduled to hold June 27, but shifted for about two weeks. There have been quite a number of reasons — including suspicion of plans to rock the boat of the "arranged election"— that led to the postponement.

Founded in 1963, SNA was formally inaugurated in January 1964 with Yusuf Grillo as President and Tayo Aiyegbusi, Vice-President. The group is currently being led by Oliver Enwonwu whose tenure expired two years ago. 

Quite a number of issues had led to the postpon- ement of the professional body of artists' delayed elections. Among such was the Covid-19 pandemic crisis of last year. Also, could it be that the arrange- ment for a sole candidate was built on feeble basement, which perhaps led to the shift in date? "Not at all," Enwonwu replied during a chat on the delayed elections.

Running with Sulaiman as Vice is Dotun Alabi, a former SNA Chairman, Lagos State Chapter. The current president, Enwonwu, coincidentally, was also elected as a candidate from the Lagos Chapter in 2012.

And why a sole presidential candidate for such a professional body of artists whose membership cuts across practitioners of full-time studio practice and within and outside the academia? The consideration for "balance," a source who did not want his name mentioned disclosed. The northern part of Nigeria, the source explained, has not produced SNA president since the body was founded nearly 60 years ago "despite having so many members as artists from that part of the country."

  

Dotun Alabi, Vice Presidential candidate in SNA general elections 2021.

Some kind of "arrangement" in electoral process to produce the president of SNA has an antecedence. In 1989, Dele Jegede was elected as President of SNA ending his tenure in 1992 in what was described then as "a coup" necessary for "rescue mission" aimed at saving the group from a protra- cted crisis. Again, when there was return of unreso- lved crisis with SNA for many years, Kolade Oshinowo got elected in another alleged "arranged election."

  

Who is Sulaiman, (fsna)?

Excerpts from his bio/CV;

He has exhibited his works in notable cities (Paris – France, Philadelphia, Los Angeles – USA, Port of Spain, Trinidad and Tobago, Colombo – Sri Lanka, Nanjing – China, etc.) across the globe with his most recent in Abuja, Nigeria in 2017.

He is the President of the Abuja International Open Art Expo, one of the fastest growing art events outfits in Nigeria with exhibiting artists from around the globe. This indeed puts him at the forefront of art exchange in Nigeria.

Muhammad’s efforts in practicing and promoting art events between Nigeria and China, earned him the prestigious Chinese Government's Award for Cultural Exchange in 2013. President, China Alumni Association of Nigeria;

  Fellow’s Award SNA, July 2014; Distinguished Painter of the Nanjing Painting and Calligraphy Academy, China, 27th June 2012; and Disting- uished Ambassador of Nigerian Art in 2011; Award of Service, University of Abuja Nigeria in 2014. 

He has been the past President, Rotary Club of Asokoro, Abuja;  Chairman Society of Nigerian Artists FCT; and Director, Open Mic Nigeria, Abuja.

 

Muhammad Sulaiman is Head, Public Relations and Bilaterals at the FCTA Arts and Culture, SDS, Abuja.

A Bomb from Praise Rufus: The Rising of a New Dawn

" The cruelty of the global pandemic 
seems limitless. 
So many broken promises, 
broken connections and broken hearts.

In the midst of chaos, 
These difficult times gives us the opportunity to look inward,
reflect on what truly matters, and connect with ourselves and our loved ones on a deeper level.

What lies behind us and what lies ahead of us are tiny matters compared to what lies within us.
Cause the long awaiting dawn is here ".

Artist: Praise Rufus
Title: The Rising of a New Dawn
Medium: Digital Art
Size: 24 x 36 inches 

Such is the powerful message in this amazing digital art by Praise Rufus. You will no doubt fall in love with, and marvel at this excellent work. The artist has once more demonstrated her creativity and dexterity in the use of any media to pass a message across or express feelings. Here is an artwork the female folks will love to look at everyday! Decked in blue, in what appears to be a cotton sweater, with a blue Gele to match, this beautiful piece invokes admiration and awe at the same time. And who will not love those designs on the clothing and the headgear? The blue colour and the floral patterns are what enhanced the attractiveness of this masterpiece., lest we forget, the facial flower is also there! 

However, the artist seems to have intentionally made the human 'black' complexioned. Dark is used to represent the black race or Africanness, and black as we all know is beautiful. Kudos to Praise Rufus for an amazing creation.  

Beaming the Light on 'Raven's Visit' by Diyen Dan.

 

Raven's Visit by Diyen Dan

   Title : Raven's Visit.

   Medium : charcoal on chipboard .

   Size 120cm by 90cm.

  

Nigerian artist Diyen Dan has once more shown his mastery of charcoal pencils in this skillful piece. Picking his support being Chipboard, his fingers did the magic of bringing to life a lively bird enveloped in a friendly dance with a human that appears to be embattled. While this exciting piece may elicite some feeling of disgust and shun, Diyen Dan in describing this work, posits that "Seeing ravens often signifies that you have a strong, mysterious energy force in your life. They may show up when you feel you need to reflect on your character and your life as a whole . Perhaps your strong energy may influence others in a negative way, so this bird shows up when you need some introspection". Such is the admiration in this work by a gifted artist, whose many pencil renditions leave viewers in awe.

How far with the recurring Lockdown? Find out from Artist Emmanuel Chidubem Okonkwo

'Lockdown' by Emmanuel Chidubem Okonkwo

 In a time when the Corona Virus pandemic is still ravaging the world, it has also brought with it forced starvation and hunger, orchestrated by incessant lockdowns enforced by embattled government seeking to contain the spread and menace of the virus. 

In the midst of all these, Nigerian Visual artist Emmanuel Chidubem Okonkwo came up with an amazingly beautiful piece that captured the helpless situation of people world over as the virus continued to scourge. Standing at 20 by 24 inches, 'Lockdown' depicts what has being happening thus far as a result of the Covid-19 pandemic.The poor young boy in the painting, with a sullen sorrowful eyes, is seen battling with the pang of hunger as he clinches a metal-like bowl soliciting for food. Not knowing what tomorrow holds for him, and being aware of the millions of people the raging virus has cut short their existence, he is seated alone, in observance of the social distancing measure. A more closer look at the lad reveals him donning the traditional nose mask.

This is unarguably a masterpiece from the artist, and he for sure deserve commendation for this historical creation. This piece will stand the test of time as generations unborn will surely know about the Corona virus menace, that respect no gender, status or race.

In an all-over repeat pattern rendition of strokes which flows into each other in similarity and harmony, Emmanuel Okonkwo has served us another delicious dish which we'll always revere. 

When Stephen Daniel Ose's piece enkindle HOPE

The socio-political and economic landscape of Nigeria has being on a recurrent downward movement since after gaining independence in 1960. It has being from one National challenges to another, leaving one with nothing other than hopes hanging in the balance and surrendered fate enmeshed in wasteful daydreaming. 

Stephen Daniel Ose captured and expressed the gory situation in a country that was dubbed the 'giant of Africa, through his work titled 'HOPE'. A remarkable Mixed media artist, his work describes a "Nation divided; a Nation now living with hunger; scared of walking around because of insecurity. When we see a Policeman, herdsman, militant, petty thief, area boy, the first thing we do is to hands up and say don’t shoot. All I just want to say is that there is hope and a future for Nigeria. We need to be better citizens, we need to join hands with our fellow Nigerians, irrespective of region and religion, to bring Nigeria ever closer to the dreams of our Founding Fathers, Many people are losing HOPE, feeling that we are in dark situation but this is not true, because in every situation there is a solution, even when we feel we are in a bad situation, we have to remember that small light can change a situation".

'Hope' by Stephen Daniel Ose 

Such is the beautiful message in this work rendered in Pen and Newspaper prints on paper. This expressive rendition leaves no one in doubt that tomorrow will indeed be great and bright for a country that is a pride to the black race.

  

How Oloidi exposed link between artists and pre-independence Nationalists

 Prof Ola Oloidi (1944-2020), was an Art historian of great repute at University of Nigeria (UNN), Usukka, Enugu State. His contribution to the enrichment of Africa’s visual culture space will keep enduring. Oloidi died on Monday, November 2, 2020.

Among Oloidi’s many public lectures outside his academia practice was the historic one he delivered at the fourth edition of Yusuf Grillo Pavilion, in April 2012. The event was an edition dedicated to the celebration of Prof Uche Okeke’s art.

Prof Ola Oloidi, during his lecture at Grillo Pavilion 2012. Pic: c/o Yusuf Grillo Pavilion

In the historic lecture titled 'Uche Okeke: An Endearing Embodiment of Art Revolution in Nigeria', Oloidi recalled that though, Okeke (1933-2015) had imbibed the art philosophy of Akinola Lasekan and Aina Onabolu, there came a sudden and “new ideologically instrumental direction.” Oloidi, a colleague of Okeke at the University of Nigeria noted that the hustle and bustle of political movement by Nigerian nationalists such as Nnamidi Azikiwe, Obafemi Awolowo, Aminu Kano, Anthony Enahoro and Eyo Ita energised the artist's work.

Oloidi disclosed how Okeke explained being “naturally constricted into the invisible army of nationalistic revolution that was targeted at a non-physical war against colonization.”

The art historian stressed that it would have been impossible for the then young and dynamic artist like Okeke not to notice the radical changes taking place around him, particularly when Lasekan, his master, was artistically employing creativity to fuel the burning political tension in the country.

“It was the period the Nigerian political climate began to change with that desire for an all embracing and un-parasitic freedom," Oloidi told guests at the 4th Grillo Pavilion fiesta. "It was an age that Lasekan, also an artist-nationalist, used his cartoons in the West Africa Pilot of Azikiwe, to fight colonialism." Oloidi recalled how Lasekan said, ‘I had to give Zik the political art so as to make him complete his political act’.”

Oloidi argued that it was therefore a natural transition when Okeke, later, as a student at Nigerian College of Art, Science and Technology (now Ahmadu Bello University), Zaria, in 1958 gathered his colleagues to form a group that radicalised art in the country, “which he named Zaria Art Society.”

Prof Oloidi asserted that the group’s pioneer members such as Prince Demas Nwoko, Simon Okeke, Bruce Onobrakpeya and Yusuf Grillo “all embraced Uche’s ideology of ‘natural synthesis’ and helped bring actuality in the society’s well processed objectives.”  Okeke’s ideology, Oloidi noted, was not really popular among the generality of students. However, few students who were not members of the society, like Jimoh Akolo, he said, embraced the ideology too.

He summarized the society’s art ideology thus: “Among other many nationalistic and culturising activities, the members of the Zaria Art Society, or more particularly, the more aggressive Demas Nwoko, Onobrakpeya, Grillo and Simon joined Uche – though in their private period – to start producing art works that were violently instructed in African traditional art formalism. In fact, their ‘anti-academic’ imageries were visually aggressive and technically rebellious.”

Still on Okeke’s radical art, Oloidi argued that the artist’s “modernisation of the traditional Igbo uli body art, is his most creative achievement.”

The art historian noted that Okeke, after his college education, “devoted attention, very fanatically, to the study of uli.”

The Yusuf Grillo Pavilion was launched in 2009 as a resource centre for the promotion of Nigerian art. So far, all the artists celebrated by the Grillo Pavilion are members of the Zaria Art Society otherwise known as ‘Zaria Rebels,’ in Nigerian art parlance.

In 2010, it was Onobrakpeya’s event, and Prof dele jegede delivered the lecture. Last year, a renowned architect, Prof. John Godwin gave the lecture at another Zaria Rebel, Prince Nwoko’s celebration.

Earlier, at the 2012 edition of the Grillo Pavilion fiesta, the founder, Chief Rasheed Gbadamosi (1943-2016) in his welcome address tagged ...As We March On Ceaselessly… noted thate there was a “ferment in arts consciousness” during the late 1950s, “which was parallel to the political emancipation story of Nigeria.” Gbadamosi said the literary thoughts of Okeke “blossomed then and it continued in the wake of the civil war. His restless soul engendered the birth of another school, Ulism, a portrayal of the depth of artistic creativity.”

He argued that aside Lasekan, Okeke also “hobnobbed with expatriates such as J.G.C Allen, Dennis Duerden, T.M Evans of the Nigerian Broadcasting Corporation, and had even met Bernard Fagg, the renowned ethnographer.”

Gbadamosi assured that Grillo Pavilion would continue searching for the “authentic intellectual underpinning of modern art in Nigeria.”

The exhibition of Okeke’s work at the Pavilion was declared open by His Royal Highness, the Obi of Onitsha, Igwe Nnaemeka Achebe.

During the interactive session, Okeke’s colleagues — Nwoko, Onobrakpeya and Akolo shared the experience of their Zaria days. Nwoko said “Uche was a wonderful colleague; with him no dull moment. I am glad we (Onobrakpeya, Grillo, Akolo) are alive today.”

While Akoko admitted that “I used to be on my own, though later shared the society’s ideology,” Onobrakpeya disclosed that he gained from Okeke’s penchant for documentation, adding further that, “I personally gained from Uche’s documentation of Igbo culture, which inspired me to also document Urhobo.” Onobrakpeya recalled how Okeke “would tell me ‘just write and don’t worry about the grammar, somebody else would put it right.” 

For the exhibition, some of the works, according to Gbadamosi, were on loan to Grillo Pavilion. The donors, he disclosed include Prince Yemisi Shyllon “who has allowed us to raid his priceless collection of the exalted works of Okeke.”

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