Rhode Island School of Design

Fall 2016 Rhode Island School of Design Department of History of Art and Visual Culture ARTH H476: Contemporary African Art Fall 2016 Instructor: Dr. Bolaji Campbell Design Center 211: T/Thu 9:40-11:10 pm Office: 515 College Building Office Hours: M/T/Th. 1:00-2:00 pm Phone: 401-277-4870 Or by appointment email: [email protected] Class website: http://faculty.risd.edu/bcampbel/CONTEMPORARYAFRICANART.htm CONTEMPORARY AFRICAN ART: The Nigerian Expression

This course focuses on contemporary art in and out of Africa, with specific reference to Nigeria, Africa’s most populous country and home of the ancient cultures of Nok, Igbo Ukwu, Ife and Benin. Our objective is to situate Contemporary Nigerian Art within the dialectics of modernism and postmodernism beginning first with the colonial implantation of the "modernist" trend in Africa. We propose to examine the impact of the implantation on the artistic visions and direction of the major artists in Africa, while also examining the careers of their counterparts operating outside the continent within the postmodernist currents of Paris, New York, London, Berlin, etc.

COURSE PLAN

Required Texts:

Moyo Okediji, (2002) African Renaissance: New Forms, Old Images in Yoruba Art, University Press of Colorado Chika Okeke-Agulu, (2015) Postcolonial Modernism: Art and Decolonization in 20th century Nigeria, Durham, NC: Duke University Press Suggested Texts: Enwezor, Okwui and Chika Okeke-Agulu (1999) Contemporary African Art since 1980, Italy: Damiani Simon Ottenberg, (1997) New Traditions from Nigeria: Seven Artists from the Nsukka Group, Washington, D.C.: Smithsonian Institution Press Clementine Deliss, (ed.) (1995) Seven Stories about Modern Art in Africa, London: Whitechapel Olu Oguibe and Okwui Enwezor (1999) Reading the Contemporary: African Art from Theory to the Marketplace, London: Institute of International Visual Arts, Cambridge, Mass: MIT Press Jean Kennedy, (1992) New Currents Ancient Rivers: Contemporary African Artists in a Generation of Change, Washington, D.C: Smithsonian Institution Press Okwui Enwezor, (ed.), The Short Century: Independence and Liberation Movements in Africa 1945- 1994, Munich, Germany: Castel REQUIREMENT Two papers are required. The 1st is a critical analysis of the work of a Nigerian Artist, based on formal or style elements. The style analysis paper is due on October 4 & 5, 2016. You may attach a color photograph or line illustration (drawing) to your essay. The second assignment is a contextual exploration of your style analysis paper. In the 2nd assignment, it is expected that students engage issues of identity, ethnicity, authenticity, and representation, as well as colonial and postcolonial discourses. The expectation is a 7/8 page paper, which should be developed in consultation with the instructor. The contextual analysis (2nd paper) is due on Monday April 22, 2013, and this will form the basis of your

1 final class presentation. In addition, there are two exams, a Midterm on Thursday October 27, 2016 and a Final on the Liberal Arts Exam Day on Friday December 9, 2016 in DC 211 from 9:00-11:00. EVALUATION Each student is expected to attend all lectures and complete class projects/papers, take exams on scheduled dates and attend relevant art exhibitions and or lectures with a critical eye. No makeup exams will be given. Students evaluation are based on the following: Preparation, Attendance and Participation in class 25% Midterm exam 25% Paper/Project 25% Final Examination 25%

The exams will basically test students' understanding and knowledge of the course materials presented and discussed in class, in addition to assigned readings. Students are therefore expected to attend all classes, take class notes, review all assigned readings, complete the final paper of an approved topic in consultation with the instructor. You are allowed 2 unexcused absences after which your grade will be lowered one category (example: A becomes A-). Extra credit projects that are related to the course materials (which may attract a maximum of 3 points) are particularly encouraged. COURSE OUTLINE Week 1: Thursday, September 8, 2016: Introduction—Film: Nigerian Art: Kindred Spirits

Week 2: Tuesday, September 13, 2016: The Pioneers: Aina Onabolu, Ben Enwonwu Nzegwu, N, Representational Axis—a cultural Realignment of Enwonwu in Contemporary Textures: Multidimensionality in Nigerian Art, pp. 139-183 Oloidi, O. “Art and Nationalism in Colonial Nigeria” in Seven Stories…pp. 192- 194 Thursday, September 15, 20136: Anti-Colonial Art & Imagery: Akinola Lasekan

Okediji, M, African Renaissance: Old Forms, New Images, pp. 35-45, Ola Yomi. Satirizing Colonialism—Akinola Lasekan in Satires of Power in Yoruba Visual Culture, pp. 65-96

Week 3: Tuesday, September 20, 2016: In the Service of Religion: Mbari Art & Oye Ekiti Catholic Workshop— George Bamidele, Lamidi Fakeye Bridger, Nicholas, Africanizing Christian Art: Kevin Carroll and Yoruba Christian Art in Nigeria

Thursday, September 22, 2016: In the service of the Kings: Dada Arowogun & Olowe of Ise Walker, Roslyn: Olowe of Ise, a Yoruba Sculptor to Kings

Week 4: September 27 & 29, 2016: Search for Identity; Independence and Cultural Reclamation: The Zaria Rebel; Natural Synthesis; Uche Okeke, Bruce Onobrakpeya; Demas Nwoko, Yusuf Grillo; Erhabor Emokpae, Etso Ugbodaga-Ngu, Solomon Wangboje

Okeke, Chika, The Quest: From Zaria to Nsukka: a story from Nigeria, in Seven Stories about Modern Art in Africa, 40-75 Onobrakpeya, Bruce, The Zaria Art Society, in Seven Stories…, pp. 195-197

2 Okeke, Uche, Natural Synthesis, in Seven Stories…, pp. 208-209 Okeke, Uche, The Growth of an Idea, in Seven Stories… pp. 210-211 Jegede, Dele, The Essential Emokpae, in Seven Stories…, pp. 198-201

Week 5: October 4 & 6, 2016: The Experimental Workshops: Osogbo Experiments: Susan Wenger, Georgina Beier, Jacob Lawrence, Ru Van Rossen, Denis Williams; Jacob Afolabi, Rufus Ogundele, Jimoh Buraimoh, Muraina Oyelami, Twin Seven Seven, Isiaka Gbadamosi,

First Paper Due: October 6, 2016

Kennedy, J. “Artists of the Shrines: Oshogbo” in New Currents, Ancient Rivers: Contemporary African Art in a Generation of Change, pp. 58-66; The Spontaneous Spirit: Oshogbo and Ife, New Currents, Ancient Rivers…pp. 67-82 Adenaike, Tayo, “The Oshogbo Experiment”, in Seven Stories…, pp. 202-207 Beier, Ulli, Stroter-Bender, J (1994). “The Transformation of Ogun Power: The Art of Rufus The Art of Rufus Ogundele”, in The Yoruba Artist: New Theoretical Perspectives on African Art, pp.217- 223

Week 6: October 11 & 13, 2016:

Week 7: October 18 & 20, 2016: Towards A New Direction: Agbo Folarin, Shina Yusuf, Gani Odutokun, Kolade Oshinowo, Dele Jegede, Obiora Udechukwu, Tayo Adenaike, Nsikak Essien, David Dale,

Okediji, M, African Renaissance: Old Forms, New Images in Yoruba Art, pp. 47- Ottenberg, Simon, New Traditions from Nigeria: Seven Artists of the Nsukka Group, pp. 111-202

Week 8: October 25, 2016: REVISION

October 27, 2016: Midterm Exam

Week 9: November 1 & 3, 2016: The Regional Schools: Nsukka and the Ife Schools; Uli and Ona Groups; The Yaba School and the Abayomi Barber School

Jegede, D. “Globalizing Ulism: trick or Treat”, in Simon Ottenberg (ed.) The Nsukka Artists and Nigerian Contemporary Art, pp. 181-192 Okediji, Moyo. “Ona and Uli: Ethnoaesthetics and Postcoloniality in African Art”, in Simon Ottenberg (ed.) The Nsukka Artists and Nigerian Contemporary Art, pp.193-207

Week 10: November 8 & 10, 2016: On the Global Stage: Europe: Uzo Egonu, Sokari Douglas-Camp, Taiwo Jegede, Toyin Loye, Osi Audu, Nike Okudaye Olaniyi-Davis

High, Freida “An Interwoven Framework of Art History and Black Feminism: Framing Nigeria”, in Contemporary Textures: Multidimensionality in Nigerian Art, pp. 187-236 2nd Paper Due

Week 11: November 15, 2016: Ambivalence and Parody: Yinka Shonibare, Rotimi Fani-Kayode, Chris Ofili, Ike Ude

Oguibe, O. “Finding a Place: Nigerian Artists in the Contemporary Art World”, in Simon

3 Ottenberg (ed) The Nsukka Artists and Nigerian Contemporary Art, Fani-Kayode, Rotimi. “Traces of Ecstacy” in Olu Oguibe and Okwui Enwezor (ed.) Reading the Contemporary: African Art from Theory to the Marketplace, pp. 276-281 Mercer, Kobena. “Eros and Diaspora”, in Reading the Contemporary, pp. 282-293 Enwezor, Okwui. “Between Worlds: Postmodernism and African Artists in Western Metropolis”, in Reading the Contemporary…p. 244-275 Oguibe, O.“Art, Identity, Boundaries: Postmodernism & Contemporary African Art”, pp. 16-29* Oguibe, O. “Finding a Place: Nigerian Artists in the Contemporary Art World,” in ART JOURNAL 58(2) 1999:30-41* Enwezor, O (2004). “Of Hedonism, Masquerade, Carnivalesque and Power”, in Looking Both Ways: Art of the African Diaspora (ed.) Laurie Ann Farrell, pp. 162-177

November 17, 2016: Nostalgic Return: Moyo Ogundipe, Moyo Okediji, Tayo Ojomo, Victor Ekpuk, Olabayo Olaniyi

Okediji, M. African Renaissance: Old Forms, New Images in Yoruba Art, pp. 97-116

Week 12: November 21--25, 2016: Thanksgiving Break

Week 13: November 29, 2016: Final Revision December 1, 2016: Study Period Week 14: December 9, 2016: Final Exams LIBERAL ARTS EXAM DAY—DC 211 @ 9:00-11:00