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VIRAL ART Exhibition Guide
VIRAL ART Exhibition Guide VIRAL ART is an exhibition focusing on this last year and the universal pandemic (COVID-19) which has affected many different aspects of life, one of which is evident in the artistic world. COVID-19 has forced many artists to open up to new avenues of expression in many different disciplines; visual art, music, performing arts, photography, fashion, and literature. Some of the main goals for our exhibition are to bring light to how the pandemic has affected all corners of life, especially in regard to artistic capability/expression, and further, illustrate how certain artists captured the essence and experience of COVID-19. Introduction by Taylor Weaver I wanted to start by saying how grateful I am to have been able to lead this exhibition project with the help of Mirea Suarez. I am so proud of each and every one of the girls and hope you can see how hard they have all worked to make this possible. So welcome to our exhibition which we have titled Viral Art! I would like to note that some of the pieces, such as music are slightly more interactive, for example one of the music pieces is a live DJ set and is an hour and a half in total in the event you are interested in watching more – we will only briefly show certain pieces We would like to preface this exhibition by giving a small dedication to those whose lives have been affected by COVID-19. We thought it would be most appropriate to say a few words to front line workers such as those in the healthcare industry who have dedicated their lives to fighting this virus, essential workers such as those in the food (and or) agriculture industry who prepared meals for those in need during these stressful times, Research Methods Fall 2020 Taylor Weaver, Mirea Suarez, Cristina Ponce de Leon, Sophie Schaesberg, Sydney Levno, Annamaria Borvice, Marta Belogolova VIRAL ART Exhibition Guide volunteers, and of course, to all who lost their lives to COVID-19 or people who have lost family members. -
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. -
Xerox University Microfilms
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. I.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus caijse a blurred image. You will find a good image of die page in the adjacent frame. 3. When a map, drawing or chart, etif., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet ang to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below tf e first row and continuing on until complete. 4. The majority of users indicate that thetextual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Izibongo Issue 60
IZIBONGO Celebrating Art in Africa and the Diaspora Issue 60 - 2018 Saluting Ben Enwonwu including review of Ben Enwonwu: The Making Of An African Modernist by Sylvester Okwunodu Ogbechie Natty Mark Samuels Editorial Every public figure, especially a pioneering one, will have their detractors; so it was with Ben Enwonwu. But what is undeniable, is his massive contribution to Modern Art - and the mastery of the materials he used. I pay homage to this truly trailblazing figure, in Saluting Ben Enwonwu, which is a revised version of a previous work, entitled Song for Ben Enwonwu. Revised, in that a few verses have been added and words and sentences here and there, have been changed. This issue also includes The Necessary Song, my review of Ben Enwonwu: The Making Of An African Modernist, by Professor Ogbechie. Here's what the featured artist says about Anyanwu, one of his great offerings in bronze... “My aim was to symbolise our rising nation. I have tried to combine material, crafts and traditions, to express a conception that is based on womanhood – woman, the mother and nourisher of man. “In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation – a people! “This sculpture is spiritual in conception, rhythmical in movement and three dimensional in its architectural setting – these qualities are characteristic of the sculptures of my ancestors.” From Nigeria, I am happy to present to you, BEN ENWONWU. Editor – Natty Mark Samuels – africanschool.weebly.com – An African School Production Saluting Ben Enwonwu©Natty Mark Samuels, 2018. -
Rethinking, Re-Theorising the Concept of Modernism in Painting and Its After-Effect on African Contemporary Art Discourse
Mgbakoigba, Journal of African Studies. Vol.5 No.2. June 2016 RETHINKING, RE-THEORISING THE CONCEPT OF MODERNISM IN PAINTING AND ITS AFTER-EFFECT ON AFRICAN CONTEMPORARY ART DISCOURSE Ikemefula Emmanuel Irokanulo Department of Fine Arts Yaba College of Technology, Yaba Lagos State Nigeria [email protected] +2348034267433 and Amaka Nwosu Department of Industrial Design Yaba College of Technology Abstract This paper explores both the European and African concepts of Modernism and its modernity in painting. The idea is to re-examine and re-theorise the understanding of this concept with a view to finding out its true import and impact on the contemporary art scene, especially that of Africa. The works of two African artists are reviewed and discussed excluding the painting of Paul Cezanne which has birthed this argument. Finally one of the authors introduces his own paintings to help buttress their position and the theorisation of personal understanding of Modernism in painting culture. The paper concludes by advancing a re-theorisation and understanding of the concept of modernism in Africa, so that a new understanding could be realised in developing new awareness of what Modernism stands for within contemporary African art discourse. Key words: Modernism, Contemporary art Discourse, Paul Cezanne, Re-theorise, Re- thinking Background to the Study According to Irokanulo (2014), the basic characteristic of the European modern period was its emphasis on science and technological advancement because of the industrial revolution sweeping across Europe in the nineteenth century. It was also a period of theoretical assertions. Gardner (2005) advances that most of the developments in the sciences and social sciences have their roots in this period. -
Weathering the Storm: Ben Enwonwu’S Biafrascapes and the Crisis in the Nigerian Postcolony
Weathering the storm: Ben Enwonwu's Biafrascapes and the crisis in the Nigerian postcolony Article (Published Version) Lecznar, Matthew (2018) Weathering the storm: Ben Enwonwu’s Biafrascapes and the crisis in the Nigerian postcolony. Tate Papers, 30. ISSN 1753-9854 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/79781/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk Research Publications Tate Papers Tate Papers no.30 Weathering the Storm: Ben Enwo… TATE PAPERS Weathering the Storm: Ben Enwonwu’s Biafrascapes and the Crisis in the Nigerian Postcolony MATTHEW LECZNAR This article appraises Nigerian artist Ben Enwonwu’s contribution to postcolonial modernism in Nigeria through an analysis of his artistic responses to the Nigeria-Biafra war (1967–70). -
Female Morbidity and Mortality in Sub-Saharan Africa
INSTITUTE OF MEDICINE IDRC - Lily. IN HER LIFETIME Female Morbidity and Mortality in Sub-Saharan Africa Committee to Study Female Morbidity and Mortality in Sub-Saharan Africa Christopher P. Howson, Polly F. Harrison, Dana Hotra, and Maureen Law, Editors Board on International Health INSTITUTE OF MEDICINE '`moo ,1./'f' `Q T " it',, \: rn NATIONAL ACADEMY PRESS Washington, D.C. 1996 h n NATIONAL ACADEMY PRESS 2101 Constitution Avenue., N.W. Washington, D.C. 20418 NOTICE: The project that is the subject of this report was approved by the Governing Board of the National Research Council, whose members are drawn from the councils of the National Academy of Sciences, the National Academy of Engineering, and the Institute of Medicine. The members of the committee responsible for the report were chosen for their special competences and with regard for appropriate balance. This report has been reviewed by a group other than the authors according to procedures approved by a Report Review Committee consisting of members of the National Academy of Sciences, the National Academy of Engineering, and the Institute of Medicine. The Institute of Medicine was chartered in 1970 by the National Academy of Sciences to enlist distinguished members of the appropriate professions in the examination of policy matters pertaining to the health of the public. In this the Institute acts under the Academy's 1863 congressional charter responsibility to be an adviser to the federal government and, upon its own initiative, to identify issues of medical care, research, and education. Dr. Kenneth I. Shine is President of the Institute of Medicine. -
Ablade Glover Available Work ‘
Ablade Glover Available work ‘ ‘Named as one of the fathers of modern African art by Bonhams London.’ Ablade Glover Available work People “One of the few philosophical areas I sometimes venture into- The people, our people! Who are the people? The faceless masses? The people without power? I have noticed from an early age when the struggle for African independence com- menced, to this day, everybody, uses the “people” or rather “Power of the people”, and then dumps them, powerless there- after. I am intrigued by the innocence, the naivety, the plight of the people without the power. The power lies in the people in electing the elected official. But often is the case, once the official gets elected, the people become powerless.’ – Ablade Glover. People - G63/17 Oil on canvas 102 x 102 cm (40 x 40 inches) $13, 000 Market ‘Busyness Studies. The dynamism of the market possibly points to the fact that the place is purely a females domain. The movement , unending changing scenarios and the colour, simply fascinating. It is also the place for both the good and the bad. The ‘Kalabule’, the intrigues, seem to colour the atmosphere, and you cannot enter the market and emerge without a “stain” it seems. Yes I try to paint the movement, capture the dynamism, and indeed the colour of the market business with its grey areas, and unending study of busyness’.’ – Ablade Glover. Market Panorama - B31/16 Oil on canvas 122 x 151 cm (49 x 60 inches) $19, 000 Forest Forest scapes are a study of the transient nature of the environment, that like the changing scenes of a marketplace, dis- play a fluid motion of light to dark amongst the foliage, and in doing so excite one’s imagination and brings an artist like Ablade Glover to paint. -
Stamping History: Stories of Social Change in Ghana's Adinkra Cloth
Stamping History: Stories of Social Change in Ghana’s Adinkra Cloth by Allison Joan Martino A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2018 Doctoral Committee: Professor Raymond A. Silverman, Chair Professor Kelly M. Askew Assistant Professor Nachiket Chanchani Professor Emeritus Elisha P. Renne Allison Joan Martino [email protected] ORCID iD: 0000-0002-1252-1378 © Allison Joan Martino 2018 DEDICATION To my parents. ii ACKNOWLEDGEMENTS In the summer of 2013, I was studying photography and contemporary art in Accra, Ghana’s capital. A conversation during that trip with Professor Kwesi Yankah changed the course of my research. He suggested a potential research project on adinkra. With adinkra everywhere in Ghana today, research possibilities seemed endless. Adinkra appealed to me from my interest in studying Akan visual and verbal arts, a research area nurtured during an ethnopoetics course that Professor Yankah taught as a visiting scholar at Michigan in 2011. That conversation led to this project. Soon after that meeting with Professor Yankah, I took an exploratory research trip to Kumasi. Professor Gilbert Amegatcher, who has a wealth of knowledge about Akan arts and culture, traveled with me. He paved the way for this dissertation, making key introductions to adinkra cloth makers who I continued to work with during subsequent visits, especially the Boadum and Boakye families. My sincerest thanks are due to Professors Yankah and Amegatcher for generating that initial spark and continuing to support my work. Words cannot express my gratitude to the extended members of the Boakye and Boadum families – especially Kusi Boadum, Gabriel Boakye, David Boamah, and Paul Nyaamah – in addition to all of the other cloth makers I met. -
Positioning Nigerian Modernism
POSITIONING NIGERIAN MODERNISM On the occasion of Ben Enwonwu’s Centenary (1917–1994) 28–29 September 2017 1 FOREWORD We are delighted to be able to present this major international conference at Tate Modern, which will reconsider the origins and socio-political underpinnings of modernism in Nigeria and West Africa more broadly and the legacy of some of its key proponents. One hundred years after the birth of pioneering Nigerian artist Ben Enwonwu, a resolute defender of the value of African culture internationally, it is timely to emphasise the contributions of artists active in the years before and after decolonisation and reconsider the context in which they were working. This conference seeks to address issues around the formation of post-colonial identity, the preservation of history and the impact of transnationalism and decolonisation in art criticism and museum collections today. We were overwhelmed by the response we received to our open call for papers. The breadth and depth of research being undertaken by colleagues around the world is exciting and encouraging. Art histories are being written and re-written and we are honoured to be able to bring together scholars from major museums and academic institutions in Nigeria, Germany, Austria, the United States and the United Kingdom who are at the forefront of rethinking modernism. We hope that this conference will provide a platform for ideas to be shared and for the discourse to be developed further. We are extremely grateful for their collaboration. We would also like to acknowledge the contributions of Oliver Enwonwu, Sylvester Ogbechie and Neil Coventry whose tireless work over many years has informed our own. -
Brochure DOTA SCCA 2 09 2020
AKUTIA: BLINDFOLDING THE SUN AND THE POETICS OF PEACE A RETROSPECTIVE OF AGYEMAN OSSEI (DOTA) Message from the Artistic Director of SCCA Tamale Savannah Centre for Contemporary Art (SCCA Tamale) is an artist-run project space that provides a platform for lively explo- ration of modern and contemporary art. The initiative for this came from Ibrahim Mahama, the world-renowned Ghanaian art- ist, who is inspired by the transformative potential of art to affect society. Located in different sites in the city of Tamale in the Northern Region of Ghana, SCCA Tamale, with its offshoot Red Clay, car- ries forward that mission by making the institution an open and active place that promotes access to artistic, scientific, cultural education and experiences through its varied programmings. The institution thinks and acts both locally and internation- ally. Taking a cue from the cross-generational interactions stim- ulated by blaxTARLINES KUMASI, of which it is affiliated, the institution has dedicated a decade to show a retrospective of precursors to the New School; moments that would allow peo- ple of all ages and social backgrounds to meet and exchange experiences, starting with its maiden exhibition: In pursuit of Something ‘Beautiful’, perhaps… (A Retrospective), honouring the Ghanaian Modernist artist Galle Winston Kofi Dawson, curated by Bernard Akoi-Jackson in 2019 at the SCCA Tamale gallery. This initiative is also about contextualising and docu- menting practices which might not be in the spotlight yet are significant. This year, SCCA Tamale, together with Red Clay, will show Akutia: Blindfolding the Sun and The Poetics of Peace (A Retrospective of Agyeman Ossei ‘Dota’). -
Nkiru Nzegwu
May 28, 2021 NKIRU NZEGWU CURRICULUM VITAE UNIVERSITY ADDRESS Department of Africana Studies, Binghamton University. Telephone: (607) 777-2635: Email: [email protected]. CURRENT STATUS SUNY Distinguished Professor, Department of Africana Studies, Binghamton University. Professor Extraordinarius, University of South Africa, UNISA, School of Transdisciplinary Research and Graduate Studies. EDUCATION Ph.D. University of Ottawa, Philosophy (Aesthetics), 1989. ACADEMIC APPOINTMENTS Member, Board of the State University of New York Distinguished Academy, 2020-. Member, University-wide (SUNY) Advisory Council on Distinguished Professorships, 2019-2021. Distinguished Professor, Department of Africana Studies, 2019- Professor, Department of Africana Studies, 2011-2019. Professor, Women, Gender and Sexuality Studies, 2011-2019. Coordinator, Philosophy, Interpretation, and Culture (PIC), 2014-2017. Chair, Department of Africana Studies, 2007-2010. Professor, Department of Africana Studies and PIC, Graduate Program, 2005-2011. Chair, Department of Africana Studies, 2003-2006. Associate Professor, tenured, Department of Africana Studies and Philosophy, Interpretation, and Cul- ture (PIC), Graduate Program, 2001-2005. Associate Professor, tenured, Department of Africana Studies and Art History, 1998-2001. Associate Professor, tenured, Department of Philosophy and Art History, 1996-1998. Assistant Professor, Department of Philosophy and Art History, 1990-1996. INTERNET EDUCATIONAL INITIATIVE Africa Knowledge Project, 2010- A publishing and distribution platform of five academic, peer reviewed, indexed, journals and an ar- chive devoted to the study of global Africa. This digital platform is managed by an administrator. For information and details about the journals go to https://www.africaknowledgeproject.org/. West Africa Review – (commenced 1999). JENdA: A Journal of Culture and African Women Studies – (commenced 2000). Ijele: Art eJournal of the African World – (commenced 2000).