DOCSLIB.ORG

ZARIA ART SOCIETY ZARIA ART Celebration of Legacies Celebration

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ZARIA ART SOCIETY ZARIA ART Celebration of Legacies Celebration YUSUF GRILLO SOCIETY ZARIA ART DEMAS NWOKO EMMANUEL ODITA SIMON OKEKE UCHE OKEKE BRUCE ONOBRAKPEYA OSELOKA OSADEBE Celebration of Legacies ZARIA ART SOCIETY Celebration of Legacies THE SPACE THE SP THE SPACESPACE AC THE SPACE Lagos, Nigeria. E THE SPACE www.arthouse-ng.com 1 ZARIA ART SOCIETY Celebration of Legacies 26 October – 15 November 2019 Kia Motors Showroom 308 Adeola Odeku Victoria Island Lagos, NIGERIA THE SPACESPACE www.arthouse-ng.com ZARIA ART SOCIETY ︱ CELEBRATION OF LEGACIES 2 3 CONTENTS 5 Foreword 6 Curatorial Word: Jerry Buhari 10 Zaria in the Fifties and Campus Life at NCAST by D. O. Babalola’s essay 12 Zaria What? Say that again!: dele jegede 13 YUSUF GRILLO 16 Yusuf Grillo in conversation 20 Portfolio 29 Zaria Art School: A Creative Sanctum in Modern Nigerian Art: Ola Oloidi 31 DEMAS NWOKO ©Arthouse Contemporary Limited Lagos 35 Demas Nwoko in conversation 36, Cameron Road, Ikoyi Lagos, Nigeria 38 Portfolio Website: www.arthouse-ng.com 55 EMMANUEL ODITA Email: [email protected] 58 The Zaria Art Society its artworks and Tel: +2341 279-3182 Mobile: +234 805 250 0195 art technique prompters: Emmanuel Odita No part of this publication may be reproduced, stored in any retrieval system, 59 God’s Grace Still Report or transmitted in any form or by any means - electronic, mechanical, photocopying 60 Portfolio recording or other devices without the permission of the Arthouse Contemporary Limited. 66 The Mystical Zaria Art Society: Jacob Jari 66 The Enduring Legacy of Zaria Art Society : Ozioma Onuzulike Credits 67 SIMON OKEKE Editorial: Odey Ekpme, Jerry Buhari 70 The Legacy of Uche Okeke and the Zaria Art Society Scanning & type setting: Jerry Buhari, Foluso Oguntoye, in the Study of Nigerian Indigenous Arts: Rebecca Wolff Graphics: Rishita Chandra 71 Portfolio Photography: George Oshodi 77 UCHE OKEKE 80 Uche Okeke: Interview by Chika Okeke-Agulu Zaria Art Society: Celebration of Legacies 83 Portfolio Exhibition Team 93 BRUCE ONOBRAKPEYA Director: Kavita Chellaram 9 In conversation with Bruce Onobrakpeya Curator: Jerry Buhari 100 Identity and Direction in Nigeria Art Practice: The Zarianists’ Legacy: Osa Egonwa Operations & Logistics 102 Portfolio of all Bruce’s works Nana Sonoiki 113 OSELOKA OSADEBE Margaret Haggai 116 The Zaria Art Society and the Development of Sammy Ogbanje Indigenous Art Epistemologies and Praxis: Kunle Filani Akeem Atunde Foluso Oguntoye 118 Portfolio 128 The Place of Zaria Art Society in History: Kolade Oshinowo Finance 128 The Zaria Factor: Krydz Ikwuemesi Kavita Challeram 129 ZARIA ART SCHOOL: Relevance and a Major Reference Sumbo Biobaku-Baderin Point in the 21st Century: Mike Omoighe Nana Sonoiki 133 The Zaria Art Society in the Evolution of Modern Nigerian Art: Frank Ugiomoh Publicity 133 On Zaria Art Society: Duniya Gambo Giles Joseph Gergel 134 In conversation with Olu Amoda Nana Sonoiki 138 Archive Photo Folusho Oguntoye 139 List of exhibits arranged by artists entries 142 Authors Contributing Short Essays and Statements Cover: Works of, 143 Our Sponsors From top: Y Grillo, D Nwoko, O Odita 144 Acknowledgements Middle: S Okeke, U Okeke, B Onobrakpeya Bottom: O Osadebe ZARIA ART SOCIETY ︱ CELEBRATION OF LEGACIES 4 5 Foreword This is perhaps the most ambitious art project that Arthouse has ever embarked upon. Seven artists, two who are late, five living, some of Nigeria’s most treasured cultural icons, all in their eighties living in different geographical locations with different idiosyncrasies. They are artists of the most adventurous creative experimentation, in ideas, media subject matter and technique – members of the Zaria Art Society. Some call them “Zaria Rebels”, some “Zarianists” and others would prefer they are called “Revolutionaries”. I am yet to know of a group of artists whose naming have attracted such a fierce competition and controversy. These artists have been subject of scholarly interest, professional curiosity and collectors delight. They stand as pillars in the cultural landscape of Nigeria’s visual art and tower above the horizon. Their cultural significance, influence and inspiration cast fascinating shadows across the globe today. Putting an exhibition of these artists has been, to say the least, extremely challenging in many ways. The huddles have risen higher with time causing us to shift dates, adjust on the scale and scope of the show. Sometimes we have paused to wonder if ever we could pull this exhibition through. But, at last, we are here. And, the joy of seeing the fruition of this show humbles us as we consider ourselves a small part of this big history. Some of our most challenging constraints were space, finding the works, the fragility of the works, securing sponsors, among others. Space was one of our most nagging problems. In the end, we had to fall back on our most reliable and familiar space and sponsors. We note that space is certainly not the best for the profile of a show like this; but its availability and the gracious offering of its owners, helped us to make the best use of what we have. A proper art exhibition space continues to challenge our cultural institutions. I hope that soon we should be able to address this problem head-on. I am always humbled by the personal relationship that I have developed with each of the artists and the estates of those who have passed on. I am deeply grateful for their friendship, Top L-R: Y Grillo, D Nwoko, E Odita encouragement and willingness to respond positively to my requests. This show is evidence of Middle: S Okeke, U Okeke, B Onobrakpeya this cultural partnership and many years of friendship. I dare make bold to say that it has given Bottom: O Osadebe us the opportunity once again show these greats since 1998 when the National Gallery of Art presented them in Zaria, Abuja and Lagos. We feel honoured and privileged to revive the show once again at the historic point of their history and our story. I am particularly happy that I had a team that was equally committed to seeing to the success of this show. Together we represent these great cultural icons to young artists, collectors and the Nigerian and international cultural community that may never have seen the artists works before, or physically met them. Kavita Chellaram Founder and CEO Arthouse Contemporary Limited and Arthouse Foundation ZARIA ART SOCIETY ︱ CELEBRATION OF LEGACIES 6 7 also realised that in presenting a legacy exhibition, it was important to include inputs from the Curatorial Word legends themselves. We, therefore, requested the living artists to also participate in selecting their works that speak to their legacies. They enthusiastically received this. We were also by Jerry Buhari conscious of significant chronological representation of their artistic carriers and wanted to feature works from their student days in Zaria. Arthouse Contemporary Limited conceived the idea of having an exhibition of the members of the Zaria Art Society about four years ago. The idea was partly in response to the increasing As can be observed, the group shares fascinating creative characteristics in their multi- interest of art collectors both within and outside the country. As the idea grew, it became clear dimensional creative expressions. They are also boldly experimental. None of them is a mono- that the art community in which Arthouse relates with intimately wanted to see these artists medium artist. Their works are indeed representative of Nigeria’s artistic modernism. and their works once again as they cross their mid-eighties. Added to this also is the growing We can attempt to give a brief glimpse of their legacies: From Yusuf Grillo we are showing some international interest in contemporary African art by scholars, museums, auction houses, of his paintings, stained glass, sculptures, sculptured furniture and some Marquette of some big private collectors and the global art community in general. Members of this Society as of his major art commissions. Grillo’s legacy advanced creative excellence and professionalism individuals have over the years, in their multidimensional art practice and art education; have in what, today, we proudly call the Yaba School. His commissions for private and religious been largely responsible for this growing international interest and the vibrant art practice in the institutions, especially Christian institutions, as a Muslim artist, display how an artist can earn country. As it is with all ambitious projects, we met with some challenges bordering on defining respect and trust with big private corporations and become a bridge of understanding and the scope of the exhibition, locating the works, engaging and finding consent with the living tolerance across religious divide to build an integrated society. His love for Yoruba traditions artists, estates of those who have passed on and collectors, among others. It is therefore with translated in modern language in his works help us to see the possibilities of refreshing old great delight that we have finally realised one of Arthouse’s most adventurous projects. traditions and applying their wisdom to confront contemporary challenges. From Demas Nwoko, we have paintings, terra cottas, furniture, photographs of some of his life architectures, plays, We decided to title this exhibition, Zaria Art Society: A Celebration of Legacies. The idea of posters, and perhaps for the first time in an exhibition like this, drawings and sketches. His is using the concept of legacy to frame this exhibition is borne out of the inspiration, influence, a demonstration of exceptional creative elasticity rooted in the search for indigenous aesthetic and awe these artists, as a group and as individuals, have brought on to contemporary art philosophy. His paintings, terra cottas, sculptures, furniture and architecture inspire us to see in Nigeria. We seek to celebrate the impact of their lives, their work and the ideas they have and appreciate the richness of our cultural heritage in an engulfing global environment.
Load more

Recommended publications
  • Onobrakpeya & Workshop
    ONOBRAKPEYA & THE HARMATTAN WORKSHOP 78 Ezekiel Udubrae (detail) AGBARHA OTOR LANDSCAPE 2007 oil on canvas 122 x 141cm 78 Ezekiel Udubrae (detail) AGBARHA OTOR LANDSCAPE 2007 oil on canvas 122 x 141cm ONOBRAKPEYA & THE HARMATTAN WORKSHOP 1 Bruce Onobrakpeya OBARO ISHOSHI ROVUE ESIRI (THE FRONT OF THE CHURCH OF GOOD NEWS) plastocast 125 x 93 cm 3 ONOBRAKPEYA & THE HARMATTAN WORKSHOP 1 Bruce Onobrakpeya OBARO ISHOSHI ROVUE ESIRI (THE FRONT OF THE CHURCH OF GOOD NEWS) plastocast 125 x 93 cm 3 ONOBRAKPEYA & THE HARMATTAN WORKSHOP CURATED BY SANDRA MBANEFO OBIAGO at the LAGOS COURT OF ARBITRATION SEPT. 16 - DEC 16, 2016 240 Aderinsoye Aladegbongbe (detail) SHOWERS OF BLESSING 2009 acrylic on canvas 60.5 x 100cm 5 ONOBRAKPEYA & THE HARMATTAN WORKSHOP CURATED BY SANDRA MBANEFO OBIAGO at the LAGOS COURT OF ARBITRATION SEPT. 16 - DEC 16, 2016 240 Aderinsoye Aladegbongbe (detail) SHOWERS OF BLESSING 2009 acrylic on canvas 60.5 x 100cm 5 We wish to acknowledge the generous support of: Lead Sponsor Sponsors and Partners Contents Welcome by Yemi Candide Johnson 9 Foreword by Andrew Skipper 11 Preface by Prof. Bruce Onobrakpeya 13 Curatorial Foreword by Sandra Mbanefo Obiago 19 Bruce Onobrakpeya: Human Treasure 25 The Long Road to Agbarah-Otor 33 Credits Celebration by Sam Ovraiti 97 Editorial & Artistic Direction: Sandra Mbanefo Obiago Photography, Layout & Design: Adeyinka Akingbade Our Culture, Our Wealth 99 Exhibition Assistant Manager: Nneoma Ilogu Art at the Heart of Giving by Prof. Peju Layiwola 121 Harmattan Workshop Editorial: Bruce Onobrakpeya, Sam Ovraiti, Moses Unokwah Friendships & Connectivity 133 BOF Exhibition Team: Udeme Nyong, Bode Olaniran, Pius Emorhopkor, Ojo Olaniyi, Oluwole Orowole, Dele Oluseye, Azeez Alawode, Patrick Akpojotor, Monsuru Alashe, A Master & His Workshops by Tam Fiofori 149 Rasaki Adeniyi, Ikechukwu Ajibo and Daniel Ajibade.
    [Show full text]
  • British-Village-Inn-Exhibition-March
    MISSION To identify talented Nigerian Female Artists to bring positive social change in society. VISION To foster a sense of pride and achievements among female creative professionals. To promote the dignity of women. To encourage membership to continue creating art. FEAAN EXCECUTIVE MEMBERS President Chinze Ojobo Vice President Clara Aden Secretary Abigail Nnaji Treasurer Millicent Okocha Financial Secretary Funmi Akindejoye P.R.O. Chinyere Odinikwe Welfare Officer Amarachi K. Odimba TOP MANAGEMENT Chairman BoT Prof Bridget O. Nwanze Secretary BoT Lady Ngozi Akande President Chinze Ojobo FEAAN Representative Susa Rodriguez-Garrido 02 FEMALE ARTISTS A S S O C I AT I O N O F N I G E R I A Copyright © 2019 ISBN NO: 978-978-972-362-1 A Catalogue of Exhibition Female Artists Association of Nigeria All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the copyright owner and publishers. CURATORS Susa Rodriguez-Garrido Chinze Ojobo GRAPHICS Susa Rodriguez-Garrido Rotimi Rex Abigail Nnaji PUBLISHER ImageXetera 03 CONTENT Foreword by the President of the Female Artists Association of Nigeria. Chinze Ojobo................................................................................................................................................................ 5 Preface by Susa Rodriguez-Garrido, Representative of FEAAN, Founder of Agama Publishing Susa Rodriguez-Garrido...........................................................................................................................................
    [Show full text]
  • Visual Art Appreciation in Nigeria: the Zaria Art Society Experience
    Mgbakoigba, Journal of African Studies. Vol.6 No.2. February 2017 VISUAL ART APPRECIATION IN NIGERIA: THE ZARIA ART SOCIETY EXPERIENCE Chinyere Ndubuisi Department of Fine Art, Yaba College of Technology, Yaba, Lagos, Nigeria [email protected] 0802 3434372 Abstract There is no doubt that one of the greatest creative impetuses injected into Nigerian art was made possible by, among other things, the activities of the first art institution in Nigeria to award a Diploma certificate in art, Nigerian College of Arts, Science and Technology (NCAST). NCAST started in 1953/54 at their Ibadan branch but they could not rationalize their art programme ab initio but organized art exhibition to raise the public awareness of the programme. In September 1955 the art programme became a full department and relocated to their permanent site at Zaria, in northern Nigeria, with 16 students. This paper focuses on NCAST impact on modern Nigerian art and the gradual, but steady, growth of other art activities in Nigeria since NCAST. The paper also discusses the emergence of an art society from NCAST, known as Zaria Art Society and the extension of the philosophy of the Art Society into the church by one of its member, Bruce Onobrakpeya, who represented most of his Christian images in traditional Urhobo style as against the popular western style. The paper argues that Nigeria has a rich art and diverse culture which existed long before the colonial reign and thus encouraged the efforts of the Zaria Art Society in re-appropriating local forms and motifs in their modern art by way of an ideology known as 'Natural synthesis.' Introduction The argument may be how one can define 'culture' in the context of the diverse ethnic groups that populate present-day Nigeria.
    [Show full text]
  • Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria'
    H-AfrArts Smith on Okeke-Agulu, 'Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria' Review published on Tuesday, October 4, 2016 Chika Okeke-Agulu. Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria. Durham: Duke University Press, 2015. 376 pp. $99.95 (cloth), ISBN 978-0-8223-5732-2; $29.95 (paper), ISBN 978-0-8223-5746-9. Reviewed by Fred Smith (Kent State University)Published on H-AfrArts (October, 2016) Commissioned by Jean M. Borgatti The Development of Contemporary Nigerian Painting from the Early Twentieth Century to Uche Okeke and Demas Nwoko Chika Okeke-Agulu’s book on art and decolonization is an extensive and highly detailed investigation of the emergence of artistic modernism in Nigeria from the late 1950s to the civil war in 1967. However, it focuses primarily on artists who began their career as art students at the Nigeria College of Arts, Science, and Technology in Zaria. The book is especially concerned with the varied connections between local artistic developments and twentieth-century modernism. It also relates these connections to the cultural and political conditions of Nigeria as it transitioned from British colony to independence. The investigation begins with evaluating the colonial impact, especially that of indirect rule and its political implications on education, especially art education, during the early to mid-twentieth century. Chapter 1 (“Colonialism and the Educated Africans”) investigates the nature of the colonial experience and how it was affected by educated Africans. The discussion considers Anglophone Africa in general but primarily focuses on Nigeria. Various colonial administrators and their policies, including those impacting educational opportunities, are evaluated.
    [Show full text]
  • Of Gerald Chukwuma: a Critical Analysis
    arts Article Visual Language and ‘Paintaglios’ of Gerald Chukwuma: A Critical Analysis Trevor Vermont Morgan, Chukwuemeka Nwigwe and Chukwunonso Uzoagba * Department of Fine and Applied Arts, University of Nigeria, Nsukka (400241), Nigeria; [email protected] (T.V.M.); [email protected] (C.N.); [email protected] (C.U.) * Correspondence: [email protected]; Tel.: +234-806-444-0984 Academic Editor: Annetta Alexandridis Received: 23 September 2016; Accepted: 28 April 2017; Published: 24 May 2017 Abstract: Gerald Chukwuma is a prolific Nigerian artist whose creative adaptation and use of media tend to deviate from common practice. This essay draws on his several avant-garde works on display at the Nnamdi Azikiwe Library and at the administrative building of the University of Nigeria Nsukka. These artworks are referred to as ‘paintaglio’ in this essay owing to the convergence of painting, and engraving (or intaglio) processes. This study therefore identifies, critically interprets and analyzes Chukwuma’s artistic inclinations—style, spirit, forms, materials, and techniques. This is in order to lay bare the formal and conceptual properties that foreground the artist’s recent paintaglio experiments. The study relies on personal interviews, literature, and images of Chukwuma’s works as data. Such experimental works which clearly express influences of ‘natural synthesis’ ideology are here examined against the backdrop of their epistemic themes. Keywords: paintaglio; experimental art; self-discovery; creative; visual; uli; Nsukka School 1. Introduction Nigerian artist Chike Aniakor’s view of creativity as “the wandering of human spirit from one level of experience to another,” until it has secured a desired venting point lends credence to Dante Rossetti’s understanding that fundamental brainwork makes art unique (Aniakor 1987, p.
    [Show full text]
  • Abstract African-American Studies Department
    ABSTRACT AFRICAN-AMERICAN STUDIES DEPARTMENT OKWUMABUA, NMADILI N. B.A. GEORGIA STATE UNIVERSITY, 1994 ARCHITECTURAL RETENTION AND THE DEVELOPMENT OF MODERN AFRICAN DESIGN IN THE WORKS OF ARCHITECT DEMAS NWOKO, Major Advisor: Dr. Daniel Black Thesis dated May 2007 The purpose of this research was to examine elements of traditional African architecturai design in fhe works of Demas Nwoko. These elements remain aesthetically - and functionally valuable; hence, their inclusion in the development of modern African residential architecture. The research simultaneously explores the methodology Nwoko has created to apply his theory of comfort design in architecture, as well as the impact of traditional Afi-ican culture and European culture on modem African residential design. The methodology used is visual analysis, as several of Nwoko's buildings were visited, photographed and analyzed for the application of his design ideology of New Culture. The three elements of design examined are his approach to space design that supports lifestyle and achieves comfort; artistic application that reflects African aesthetic values in color, motif and design patterns; and his use of building materials, that not only provide comfortable interiors in a tropical climate, but are affordable and durable. The research concludes with recommendations and contributions to the discourse on modern Afiican design and offers the findings for fwther research and development of African and Diaspora communities. The findings expose the intrinsic value of culture and architectural retention in the evolution of modem architecture in Africa and the Diaspora. ARCHITECTURAL RETENTION AND THE DEVELOPMENT OF MODERN AFRICAN DESIGN IN THE WORKS OF ARCHITECT DEMAS NWOKO A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR TIE DEGREE OF MASTER OF ARTS BY NMADILI N.
    [Show full text]
  • Ethnic Traditions, Contemporary Nigerian Art and Group Identity
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by International Institute for Science, Technology and Education (IISTE): E-Journals Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.47, 2016 Ethnic Traditions, Contemporary Nigerian Art and Group Identity Dr. Samuel Onwuakpa Department of Fine Arts and Design, University of Port Harcourt, Rivers State Nigeria Dr. Efe Ononeme Department of Fine and Applied Arts University of Benin , Edo State Nigeria Introduction Contemporary Nigerian artists like their counterparts in different parts of Africa have drawn some of their inspirations from traditional art and life and in so doing they have not only contributed to the creation of an amalgamated national identity, but also continue to give art tradition a lifeline. The creative and visual talents noticed among many Nigerians artists no doubt is an indication that they have responded to the dynamics of change and continuity within the frame-work of indigenous art and culture. Generally, but not exclusive, Igbo and Yoruba cultures are characterized by strong art traditions and a rich art vocabulary from which some contemporary artists drew from. Thus it is no surprise that it has enriched their creativity. As the artists draw from Igbo and Yoruba cultures for identity, there is continuity not a break with the past. Among other things, this study focuses on the contemporary artists who study and adapt forms, decorative motifs and symbols taken from indigenous arts and craft of the Yoruba Ona and Igbo Uli for use in their works.
    [Show full text]
  • Ceramics As a Medium of Social Commentary in Nigeria
    Bassey Andah Journal Vol.6 Ceramics as a Medium of Social Commentary in Nigeria Ozioma Onuzulike, & Chukwuemeka Nwigwe & May Ngozi Okafor Abstract This paper proposes that a number of Nigerian ceramic artists and sculptors who have experimented with the ceramic medium have considerably engaged with socio-political issues, especially in form of satires and critical commentaries over post-independence politics, politicians and the Nigerian state. It examines the history of critical engagements with the ceramic medium in postcolonial Nigeria and attempts a critical appraisal and analysis of the works of important socially- committed ceramic artists in the country in terms of the themes of conflict and how they intersect with post- independence politics, politicians and the Nigerian state. Key Words: Ceramics, Social Commentary, Nigerian art, ceramic artists Introduction Traditional African societies are known to have had forms of social control, which included the use of satires, songs, folklores, and other creative channels to extol the good and castigate the evil. Their songs, riddles and proverbs were largely didactic and socially-oriented. This creative attitude goes back to primordial times. World art history has often drawn attention to the work of cave artists of the Palaeolithic era when art served as a means of survival and self- preservation. It has been argued that the paintings of the cave artists were not merely decorative; else, they would not have been executed at the uninhabited and hidden parts of the caves (Gardner 1976). This is also true of rock-shelter paintings such as the popular Marching Warriors, a picture executed during the Mesolithic period in Spain and which dated about 8000-3000 BC.
    [Show full text]
  • Continuity and Change in Nsukka Art George Odoh’S Illustration of Things Fall Apart
    Continuity and Change in Nsukka Art George Odoh’s Illustration of Things Fall Apart Chinedu Ene-Orji all images by George Odoh, reproduced with permission Downloaded from http://direct.mit.edu/afar/article-pdf/52/3/48/1814033/afar_a_00481.pdf by guest on 28 September 2021 he uli revivalist initiative, pioneered by Uche were employed later. Beyond this crop of artists and teachers, the Okeke in Nsukka in 1970, flourished for about practice of uli developed a transgenerational impetus among their four decades. This idea reached its peak in 1997 students and other artists who were trained in nearby institutions. when it was celebrated internationally in an ex- Drawing took on a life of its own as an autonomous mode and hibition, The Poetics of Line curated by Simon many inventive compositions resulted; artists developed recog- Ottenberg, at the National Museum of African nizably distinct styles. Art from Nsukka was at the cutting edge Art at the Smithsonian Institution, Washington, DC. Ottenberg of the Nigerian and African creative complex. Beyond aesthetics, alsoT wrote an authoritative book about the origin and praxis of the Nsukka’s uli revivalism took on a thrust of social commitment. Uli uli artistic initiative, New Traditions from Nigeria: Seven Artists of revivalist aesthetics is on the ebb today; its motifs no longer domi- the Nsukka Group.1 Beyond this exhibition and publication and nate the Nsukka creative space, but its design concepts persist. The others that precede and postdate them, the spirit of uli has not died creative firmament in Nigeria has broadened and deepened, with completely.
    [Show full text]
  • International Journal of Theology and Reformed Traditional 2017-2018
    International Journal of Theology and Reformed Traditional 2017-2018 DECIPHERING BRUCE ONOBRAKPEYA’S INTEGRATION OF SOME ASPECTS OFURHOBO WORLD VIEW IN VISUAL ART FORMS Philomina Uyovwirume Ofuafo University of Lagos Abstract Religion and Visual Art are inseparable. Bruce Onobrakpeya is an Urhobo Contemporary artist, whose art has been influenced by the religious motifs derived from his cultural background. Urhobo traditional religion and Bruce Onobrakpeya’s artistry have individually attracted scholarly attention, but not the encapsulation of the former in the art medium. Therefore, this study examines Bruce Onobrakpeya works and his infusion of Urhobo traditional world view in two-dimensional form. This is with the view to interpreting and foregrounding the nature and religious significance of his work. The study adopted Umberto Eco’s Semiotic theory which claim that pictures possess signs and statements signifying cultural and religious values. The methodology for this work is purely qualitative and historical and all the data collected were subjected to Semiotic analysis. We find out that Bruce Onobrakpeya, in synthesizing and by extending the Urhobo world view in his artworks, has created an interface between Urhobo people and their religion. Thus, his works document and integrate Urhobo religious worldview in contemporary Urhobo studies. Keywords: Urhobo world view, Bruce Onobrakpeya and integration Introduction In the Urhobo long history of survival, they have developed some thoughts, beliefs, religions, concepts, rich folklores and work culture in their attempt to explain their environment and service in it (Bradbury,R.E&Lioyd P.C. 1957:103). They also create diverse images that reflect and reinforce various aspects of spiritual belief and this they have tried to conceptualize in visual art forms by incorporate wide variety of media, including various hard woods; the most common of which are (isele) camwood and (ohanhe)bombox.
    [Show full text]
  • Download Catalogue
    RT A PORARY PORARY MODERN AND M Lagos, Nigeria Monday, 27th Nov 2017 Monday, CONTE MODERN AND CONTEMPORARY ART Lagos, Nigeria Monday, 27th November 2017 COVER BACK COVER LOT #58 LOT #49 BEN ENWONWU GEORGINA BEIER YORUBA MAN UNTITLED INSIDE FRONT COVER INSIDE BACK COVER LOT #54 LOT #22 BRUCE ONOBRAKPEYA PEJU ALATISE THE LORD IS MY SHEPHERD BIMPE & HER FAMILY PORTRAIT OPPOSITE CONTENTS LOT #13 NNENNA OKORE SLOWLY BUT SURELY Acknowledgements Written Contributions from: Prof. Jerry Buhari (JB) Department of Fine Arts Catalogue Production Ahmadu Bello University, Zaria, Nigeria. & Photography Dr Kunle Filani (KF) (MFA, PHD) Sumbo Biobaku-Baderin Joseph Gergel (JG) Aditya Chellaram Various Artists as indicated by the term “Artist’s Statement” Kavita Chellaram Joseph Gergel Design: 70PR Design, Mumbai, India George Osodi Nana Sonoiki All images and content (c)2008-2016, Arthouse Contemporary Ltd. MODERN AND CONTEMPORARY ART 27th November 2017 AUCTION Monday, 27th November 2017, 6pm Kia Showroom 308 Adeola Odeku Street Victoria Island, Lagos, Nigeria VIEWINGS Saturday 25th November 2017, 11 am - 6 pm Sunday 26th November 2017, 12 pm - 6 pm Monday 27th November 2017, 10 am - 1 pm AUCTIONEER John Dabney CONDITIONS OF SALE CONTACT US This auction is subject to All enquiries +2341 279-3182 Generously Supported By: important Notices and Nana Sonoiki +234 805 250 0195 Conditions of Sale. Sumbo Biobaku +234 805 509 9096 View the catalogue and leave bids online at arthouse-ng.com 4 • ARTHOUSE CONTEMPORARY LIMITED Contents Title & Acknowledgements 2 Charity Sale 7 Main Sale 11 Terms and Conditions 71 Absentee Bid Form 76 Index 77 ARTHOUSE CONTEMPORARY LIMITED • 5 CURRENT RESIDENTS Fall Session: THE ARTHOUSE FOUNDATION September 11-December 8, 2017 Jimmy Nwanne (Nigeria, b.
    [Show full text]
  • 086 Patterned Modernity: the Role of Women in the Production of Textiles
    // Erin M. Rice PATTERNED MODERNITY: THE ROLE OF WOMEN IN THE PRODUCTION OF TEXTILES AND CONTEmpORARY ART IN NIGERIA 1. INTRODUCTION 1) Textile production in Nigeria is a highly 1) gendered practice. The textile addressed in this essay, the indigo- Research for this article was sup- ported by the Swiss National Science dyed adire cloth of the Yoruba people, has been made primarily by Fund (SNSF) via the Sinergia project women since the early 20th century. The roles of women dyers and Other Modernities as well as by a Mobility-in-Projects SNSF travel pattern makers during the pre-modern and modern era have been grant. largely overlooked in art historical research, despite evidence that 2) they were intricately involved in the processes of modernization It is not known for sure when indigo that included trade, the global and local economy, and political or resist dyeing was first practiced in the region, but the earliest evidence activism. The contribution of women assumes greater importance dates resist dyeing of threads and in light of the fact that dress became a powerful tool of protest and the use of indigo to the 17th century. However, adire as we know it today resistance in the century prior to Nigeria’s independence (1960), was first produced in the first few and the adire textile played a central role in it. Through these his- decades of colonization when Euro- pean machine-made cotton fabric tories we can reach a more accurate understanding of modernity replaced the local hand-woven fabric in Nigeria and consider the experiences of women not simply as used in adire production (see Byfield 1997: 79).
    [Show full text]