Saturday 31 March 2012

Mona Lisa re-dated

The date of Leonardo da Vinci's Mona Lisa has been changed from 1503-6 to 1503-19.
Leonardo da Vinci's Mona Lisa

The re-dating, according to sources, comes as a result of Louvre's recent scientific work on some of Leonardo's paintings. It has been detected that the artist's Virgin and Child with St Anne and the Prado's copy of Mona Lisa were probably worked on shortly before his death in France in 1519.
  This suggests that the artist completed what would later be the world's most valued art piece, in 16 years. 

Friday 30 March 2012

Calm after the storm… Museum authority, local archaeologists, German partners reach truce


By Tajudeen Sowole
The controversy, which has been on for three years, over the excavation of Nok Terracotta sculptures in some parts of Kaduna State appears to have been resolved, and a review of MoU with foreign partners underway.

LAST month, the controversy resurfaced when a Senior Lecturer at the Department of Archaeology, Ahmadu Bello University (ABU), Zaria and President of Archaeological Association of Nigeria (AAN), Dr. Zacharys Anger Gundu alleged that there were large-scale illegal excavations being carried out by German experts.
  Gundu also alleged that officials of the National Commission for Museums and Monuments (NCMM) connived with the foreigners in the “looting.”
  Responding, the Director-General of NCMM, Mallam Yusuf Abdallah Usman denied the commission’s involvement in any “unauthorised excavation”, while clarifying that the NCMM, since 2005, has been in partnership with Institute for African Archaeology and Archaeo-botany of the Goethe University, Frankfurt am Main, Germany.
  The German researchers, Usman explained, are in Nigeria with the aims of enriching findings on Nok Culture.
  The antiquity, according to art historians and archaeological findings, supports the argument that civilisation in Sub-Saharan Africa dates back to over 2500 years.
  Usman noted that “illegal diggings have been recurring across Nigeria, even in such areas as mining of solid minerals, oil and others.” The NCMM, he stressed, would only act when such alleged looting sites are brought to its notice or found out by the commission. 
D-G, NCMM, Mallam Usman speaking at the Stakeholders’ Meeting

  However, at the end of a stakeholders’ meeting organised by the NCMM at National Museum Nok, Ham, Kaduna South last week, certain grey issues that seemed to be causing the controversy were cleared.
  In attendance were Usman, Gundu, Yashim Isa Bitiyong of NIPOST, German researchers, Peter Breunig and Nicole Rupp of Goethe University, representatives of Ham community, Kaduna, Prof Ibrahim Jamews and Prof Joseph Jemkur of University of Jos.
  Also in attendance were President of Ham Community Development Authority, Monday Tela Bako, Elisha Buba Hakimi, Kpop of Ham, His Highness Illiya Bako Bying H. Dura, Wakin Sarkin Jare and Archaeologist Yohanna Nock.
   After the meeting, which was held behind closed doors, the presentation of Usman and from the communiqué released indicated that, indeed, there were contentious issues that deserve urgent attention.
  The DG established that the relationship between Nigeria and the leader of the German team, Breunig, began over 20 years ago when the latter led the excavation of the 8000 years old Dufuna Canoe in Yobe State (then under Borno State).
  On the team’s Nok Culture research, Usman recalled that “major successful excavations were carried out at Agwan Kura in 2007, Garaje Kagoro in 2008,” and that the objects for analysis “were duly inspected before temporary export permit were issued,” for further analysis in Germany.
  Observers, he noted, raised issues over “the modus operandi of the partnership,” between the Germans and Nigeria. He cited a conference of West African Archaeology Association where such observations have been made.
  Usman explained that when he took over the leadership of NCMM, in 2009, “we immediately started carrying out some general improvement in operation.” Such improvements, he said, were centered on “legal and administrative framework, community involvement and capacity building.”
Mallam Yaro Wakilin (Kpop Ham), representing His Royal Highness, the Kpop Ham, Mallam Danladi Gyet Maude
 In fulfillment of the capacity building, and perhaps to ensure transparency, Usman disclosed that “two senior management of staff of NCMM went to Germany to inspect the restoration process of the objects, and reports were submitted.” The restored sculptures, he assured, will return to Nigeria “in 2013 to form the nucleus of the permanent exhibition.”
  Responding to the issues on specific contentious areas of the partnership between NCMM and the Germans, Gundu, during a chat after the meeting, substantiated his claims of illegal excavations with what he described as “unethical practice” by the Germans.
  He argued that, for example, the Nok community should benefit from the pieces taken to Germany for exhibition. “Our position being proposed is that part of the money made during the exhibition should be ploughed back to the community.”
   He also urged NCMM to ensure that the
Germans collaborate with any Nigerian University, particularly Ahmadu Bello University, (ABU), Zaria, in Kaduna State, where Nok terracotta is being excavated. 

German researchers, Peter Breunig and Nicole Rupp of Institute for African Archaeology and Archaeo-botany of the Goethe University, Frankfurt am Main
   “If the Germans train five PhDs during this project, Nigeria too should have as much benefits from the partnership.”
   More importantly, Gundu stated that AAN had always advised NCMM to be cautious in the process of taking these pieces to Germany for analysis. He argued that since Nigeria does not have the technology and the expertise, “good practice requires that you take small sample for analysis abroad, ” to ensure transparency and avoid “returning of fake.”    
  These and other areas of concerned highlighted by AAN, according to the communiqué, appear to have been harmonised, and will form part of the review of the MoU between the Germans and NCMM.
  Other points raise in the communiqué include the need to fast-track the “inscription of Nok area as a World Heritage Site in line with the proposal of National Tourism Master Plan; the need to review the law establishing the NCMM; return of the Nok pieces taken to Germany as planned; security agencies, community leaders to help in curtailing the activities of illegal mining and illicit trafficking of Nok pieces.”
  On the review of NCMM laws, Usman reminded the gathering that the commission, in August 2011, organised a conference in Abuja to review the 1990 law that established the NCMM.
  However, the academics as well as the community benefits of the Germans’ research appeared to have started, gradually. In Janjala, Kaduna State the partnership has established a complex called Nok Culture Research Station, which Breunig described as serving the immediate purpose of the project as well as training centre for the local communities.
 Nok Culture Research Station, Janjala, Kaduna State, a German-Nigeria partnership.
 ‘Nok culture is over 1,500 B.C.’

   THE German researchers — Breunig and Rupp — have discovered new date for the existence of the Nok culture. The duo have insisted that result of radio carbon dating, which argued that the Nok culture existed about 500 B.C. and till 200 A.D. is incorrect.

  Breunig disclosed that through 800 objects his team excavated at the Nok sites in Benue and Kaduna states, over the years, using advanced dating process, “our research shows about 1, 500 B.C.”

  His partner, Rupp also said “the time span of Nok culture is from 1600 B.C. until 400 C.E.” Rupp stated that their claims have been made public in scientific journals.

  British colonial archaeologist, Bernard Fagg and others, who made early discoveries of the Nok terracotta, in mid twentieth century had put the period of Nok – using radio carbon dating – at about 500 B.C. lasting 200 A.D.

  And based on similarities between the Nok and Ife sculptures, art historians and archaeologists have also linked the Nok culture to the Yoruba civilisation.     

  For Breunig, the current state of the Germans’ research has also raised issue on the early discovery of iron. He commented on other findings of his team: “we know that the Nok people were farmers, they were the first to invent iron. Our findings showed that iron was invented, independently, in Sub-Saharan Africa.”

   According to him, terracotta goes beyond an object of a piece of art, but “could be used as an argument for other things.” Nok culture, he insisted, is a strong platform to trace man’s beginning in technology.

  The team discovered that “there was a cultural break in the first millennium B.C; over two thousand people were living on one side, never before were such habitation on one spot in Sub-Saharan Africa. We were looking for similarities. Is that the only case we have in Nigeria or West Africa? Then we came across the Nok culture, through our college, and then visited looted sites in Benue and Kaduna.”

  At present, the team, he disclosed, has discovered 200 sites.

Sweet Art … A gender statement on canvass


BY TAJUDEEN SOWOLE

THE painter Biodun Omolayo is interested in art appreciation. Through this avenue, he hopes to equip women with art skills.
  Known as Sweet Art, the programme, though not new, is gaining grounds among a lot of women.
  Aimed at honing the skills of ladies, especially those involved in creative works, the programme, no doubts would boost art appreciation jåudging from the way his ‘students’ have embraced it.
  Omolayo argues, “getting people involved in art, particularly the lighter aspect of it, and in a relaxed, non-formal setting boosts art appreciation.”
   Some of the works at the Biodunomolayo Gallery, National Museum, Onikan, Lagos, stress the enthusiasm expressed on canvas by the participants.
   Stating that the gains of this initiative have begun to manifest, he explains: “One of the students, currently in the US called me to express her gratitude. She narrated how art has made her an idol in a little community of her host country.”
  He notes that though the basic concept was aimed at empowering women in creative skill, the art appreciation value, which the ladies would bring onto the art landscape, is worth investing time and energy. “It’s not just Biodunomolayo that benefits from this, but the entire art community of today and future generations,” he enthuses.
 Despite its informal setting, Omolayo is instilling the regular disciplines of artists in his students.
Biodun Omolayo (left) showing one of his students the rudiment of painting
   For some of the participants, catching up with the technicalities in moving paintbrush and applying colours appear very rapid. One of them, the wife of an expatriate, in such a short period of time is already rendering a self-portrait.
   As a full time studio artist and art gallery owner, Omolayo, over the years has designed quite a number of programmes that boost art appreciation. These include Celebrity Art Shows / Lead Art programme to honour art collectors.
    He describes the Celebrity Art show as, “a special way to say ‘Thank you’ to the esteemed are collectors apart from expanding the market as a whole.”
  The show is organised to celebrate birthday, marriage anniversaries and other special days of notable collectors. In some cases, the celebrants are given opportunities to paint on canvas.
  Personalities featured in past shows include Mrs. Hilda Dei Sotinwa, on her 60th birthday; Insurance broker and Vice Chairman / CEO of Insurance Brokers of Nigeria (IBN), Mr. Prosper Okpue; one of Nigeria’s leading collectors, Engr. Yemisi Shyllon.   On those occasions that Okupe and Shyllon were involved in what went on the one-day painter’s event organised separately were fun and instructive. For Okupe at 60, it was painting the Story of My Life, and also explains the image to the delight of her guests.
  Omolayo argues that the work of Okupe, though has kindergarten look, can be taken as a unique style and loaded with meaning. It was indeed an expression of self and creativity."
    And when any of the events was that of age-group like the Art workshop for children, Omolayo would infuse the celebrity or adult art factor. For example, during the last Young @ Art Free Children Day Workshop, there was an interactive session with art patron, Chief Rasheed Gbadamosi and Nollywood actress, Funke Akindele (a.k.a Jenifa). Both celebrities painted on canvas to the delight of the children.

Friday 23 March 2012

Material Witness extended for another one week

MATERIAL WITNESS
art exhibition of

Painting  Mixed Media  Sculpture Installation
By Peju Alatise
opened on Saturday, March 24, ending April 7, 2012
at Nike Art Gallery, 2, Oba Elegushi Road, Lekki, Lagos State.
Mixed media, Ten People in Euphoria, one of 20 works from Peju Altise's Material Witness

‘Restitution of stolen artefacts: Turkey option may be hard to adopt’


By Tajudeen Sowole 
 The recent step taken by Turkey stopping collaborative exhibitions with museums in U.S. and the U.K. as part of efforts to retrieve her cultural objects illegally acquired by these countries may have drawn Nigeria’s attention to the limitation of relying solely on diplomacy to accomplish similar objective. 

TURKEY’s Ministry of Culture had intercepted the agreement by the country’s museums to loan some artefacts to British Museum for the ongoing exhibition, Hajj: Journey to the Heart of Islam. This action, it was gathered, forced the British Museum to make a last minute alternative for the exhibition.
   Turkey further insisted that it would not loan works to the Victoria and Albert Museum, London, and the Metropolitan Museum of Art, New York, for the same reason.
 Among countries agitating for return of looted cultural objects, Nigeria is one of the few that have been in collaborative exhibitions with custodians of such stolen artefacts.
  This ‘unwholesome’ partnership has, however, resulted in some gains such as manpower and capacity development for Nigeria’s museum officials.   
  These benefits have become factors driving Nigeria’s disposition towards efforts to retrieve the stolen artistic and cultural treasures.
Pendant mask of Iyoba, 16th Century, Benin, Nigeria, Met Museum, N.Y., U.S.

  Responding to a question on whether Nigeria could adopt Turkey’s approach, Director-General of NCMM, Mallam Abdallah Yusuf Usman, noted that “each country has its own method and strategy; not all cases are similar.”
  Between 2007 and a few months ago, the NCMM has had collaborative tour exhibitions of loaned artefacts, involving countries such as the U.K., U.S., Germany and Spain. About 109 works of Ife artefacts, sourced from Nigeria were exhibited in Madrid (Spain), and Houston, Richmond, Indianapolis, (U.S.) from 2009 to 2010.
  Under the title, Dynasty and Divinity: Ife Art in Ancient Nigeria, it was jointly organised by Museum of African Art, New York, U.S., NCMM, the British Museum and Fundacion Marcelino Botin of Spain. In 2010, the show moved to the British Museum, London, as Kingdom of Ife: Sculptures From West Africa.
  At the second Conference on International Cooperation for the Protection and Repatriation of Cultural Heritage held in Lima, Peru, July, last year, Turkey joined countries such as Greece, Bolivia, Italy, China, India, Peru, Libya, Syria and Mexico, Colombia, Ecuador Guatemala, India, Israel, Jordan, Korea that have resolved to suspend cooperation with holders of looted or stolen artefacts.
  According to the communiqué, the gathering noted that “the capacity to effect positive change can be strengthened if each country, within the provisions of its own legislation, and with respect to the possibilities available to it, resolves to review its scientific and academic relations with those institutions and individuals who have conducted illegal excavations, and/or who hold pieces stolen or looted from their country of origin.”
  The gathering did not rule out what it advised as “possibility of suspending scientific and academic cooperation,” with the recalcitrant countries. And Turkey just appeared to have been the first country to suspend cooperation with the holders of her cultural objects.
  Although, Nigeria was present at the first conference held in Cairo, it however missed the Lima gathering. The Cairo event was organised by Egypt's Supreme Council of Antiquities (SCA). At the end of the summit, the participating countries declared: “We resolve to work together as a group of states to improve substantially the current international system of heritage protection.”
  Observers are divided on the merits and demerits of joint exhibitions — between holders and country of origins — as part of efforts to solicit restitution of stolen or disputed cultural objects. Collaboration would strengthen relationship with holder countries and perhaps lead to future reparation of these artefacts, some have argued.   
  Others noted that such collaborations might offer leverage for the holders of the works to maintain the current situation otherwise known as ‘universal museum.’   
 
GHANAIAN critic and commentator on restitution, Kwame Opoku is one of those that have commended Turkey and argued that the decision “has the merit of concentrating the mind on the basic issues of restitution.” He noted that governments and institutions from countries with restitution claims are not consistent with their agitations.
  Opoku doubted the sincerity of such agitations, wondering if they are genuine desire or just “simply propaganda,” to pretend that the governments are truly working towards restitution, hence keeping critics at distance.
  Revisiting the Cairo gathering, Usman recalled that the conference urged each country to pursue its demand or wish list, which is about top priority works. Nigeria’s demand list, he explained, is large. “For us in Nigeria, our demand list includes virtually all our objects outside the country. This is why our approach will be different from Turkey’s or other countries, so there can’t be a uniform approach by the countries.” Usman noted that the gathering was meant to exchange ideas. He, however, disclosed that the NCMM has been in fruitful discussions with holders such as British Museum, Germany and Austria on the return of Nigeria’s looted artefacts.
    Although collaboration through loaning of non-disputed artefacts for exhibition appears to be giving the holders a psychological warfare edge, it’s not a total loss to the original owners, particularly developing countries like Nigeria.
  However, the capacity building-benefit of the collaboration, may, in the future, empower the NCMM to carry out proper restoration and management of the collections without depending on foreign expertise.
  For example, after the Ife… exhibition tour, Usman disclosed that the partnership has afforded NCMM an opportunity to share experience and also acquire new skills and expertise in conserving and presenting cultural heritage.”
  In finding solution to restitution issue, the Cairo gathering also agreed that “the focus of the third conference will be on contributing to the process of updating and improvement that UNESCO has initiated with regard to the Convention of 1970.”
 

In Dike’s Unknown Pleasures, medium, forms redefined


By Tajudeen Sowole
 Irrespective of style or technique used by an artist, the dynamic application of medium or materials is the hallmark of conceptuality, so suggests Ndidi Dike’s new body of work titled Unknown Pleasures and Competing Tendencies

CURRENTLY showing at National Museum, Onikan, Lagos, and ending March 26, 2012, the exhibition of painting, mixed media and installation reflects Dike’s recent leaning towards aggressive content.
 Enhanced by a good presentation in the curatorial input, each of the mediums, despite seemingly competing for attention, engages a viewer in the immense application of materials as well as deep treatment of issues. 
 For example, a painting titled Lagos (2009, 91cm x 122cm, Acrylic on Wood,) derives its strength in the artist’s attempt to blur the line between painting and relief sculpture.
  Turning acrylic paint into a leather-like form, and transforming it into shapes, which are collaged on flat surface of wood, Dike has taken the extravagant use of painting otherwise known as impasto to a new high. 
Exhibiting artist Ndidi Dike (left), His Royal Highness, Obi of Onitsha, Agbogidi Alfred Nnaemeka Achebe, High Chief, Dr Amechi Obiora of Eko Hospital and curator, National Museum, Mrs Vickie Agili during the opening of Unknown Pleasures and Competing Tendencies. PHOTO BY: CHARLES OKOLO
   While chatting with one of her guests, few days before the opening of the show, Tuesday, last week, she argued that medium and materials “should be taken beyond the regular way we are used to.”
  And with a mixed media piece, Entropy of State (2010, 243.84cm x 121.92cm, Acrylic, Fishnet, Nails, Wooden Rings on Wood), her aggressive application in painting still stands out.
  She explained that it was not just about “using materials as a means of depiction or representation, but instead I wanted to first emphasise the physical possibilities of the medium.”
  The intention, she stressed, was to create object that would give way to “relevant forms of narrative and critique.”
  In her past shows such as Tapestry of Life, Waka into Bondage… the last 3/4 Miles, even a photography display in a group show, On Independence and the Ambivalence of Promise, Dike appeared to have been warming up for Unknown Pleasures…
  This assumption manifests deeply in the sculptures and installations such as The Constitution and Convergence. For example, a tribute to Adire in Convergence is awesome.
 The similarity in the themes interrogated in the on-going show and her other recent works, was engineered, she recalled, by the “result of many excursions, since 2004, to Owode-Oniri (metal-market) in Lagos.”  
  However, in the artist’s progression, Uli – a form linked to the Igbo traditional design and art – which Dike and most artists of the eastern Nigeria profess, has been less visible in her last three solo exhibitions. Uli, Dike explained, might not be as visible in her work in the context that observers want, “but some other people can still see Uli in this,”  (pointing at a mixed media work, Permeations).
  Dike could not understand why her Uli critics “want me to express it in just a particular way.” She faulted the argument that she has deleted Uli from her content or art philosophy.
  Really, for an artist who has been strongly linked to Uli, one may not fault her critics. In fact, Dike was among the artists who, under the theme, The Politics of Culture: Re-engaging Uli, took the gospel of this native art of Igbo to Graz, Austria, in 2007.
  The exhibition, which was promoted by the late Peter Areh’s Pendulum Centre for Culture and Development, featured works of other three artists: Krydz Ikwuemesi, Okey Nwafor and Nkem Udeani. 
  With Unknown Pleasures… however, Dike may not need to bother about her critics as one of the custodians of Igbo culture, His Royal Highness, the Obi of Onitsha, Agbogidi Alfred Nnaemeka Achebe, who was present at the opening gave his nod.
  He acknowledged the progression in Dike’s art, and was elated that the artist has stepped up her game.
  And despite the recurring electricity challenge in most of Nigeria’s public monuments, particularly at crucial moment as witnessed on the day of the opening, the royal presence of the Obi added colour to the ceremony. He and other dignitaries such as High Chief, Dr. Amechi Obiora and Mr. Sammy Olagbaju patiently waited and had a feel of what His Royal Highness described as “the art of Dike he has been following for several years.”
    On the theme of the show, the curator, Antawan I. Byrd, in a curatorial foreword of the catalogue explained that “Unknown Pleasures attempts to evoke the romantic tenor of mystery and experimentation, the confrontations and satisfactions of the creative process.”
  And the idea of Competing Tendencies, he added, “speaks not only to the formal and conceptual tensions within many of the individual works,” but represents “conflicts that emerge between their juxtaposition.”
  For a hard-line abstract artist like Dike, the glaring absence of non-representational art in the ongoing re-evaluation of Nigerian art, particularly through auctions, here and abroad appeared not to bother her. She argued, “for me, experimentation and pushing beyond the boundaries cannot be compromised, no matter the situation.”
   Some of Dike’s solo exhibitions include Totems & Signposts, Goethe- Institut Lagos, 2002; Cultural Caravan, Maison de France, Ikoyi-Lagos, 2002; Textural Dialogue on Wood, Galleria Romana, Ikoyi, Lagos, 2000; Nigerian Contemporary Art: A Woman’s Perspective, Ragdale Foundation for the Arts, Lake Forest Illinois, Chicago, U.S., 1992 among others.


An Evening of The Arts… celebrating 30 years collection


By Tajudeen Sowole
 It was a celebration of 30 years in art appreciation when one of Sub-Saharan Africa’s leading law firms, Oalniwun Ajayi LP marked its 50 years Anniversary.
  Held at Harbour Points, Victoria Island, Lagos, the richness of contemporary and traditional Nigerian art of the past decades was felt in the art exhibition section of the entertainment aspect tagged An Evening of The Arts.
  On display were works as old as 1952 and as new as 2011, cutting across generations of artists such as Ben Enwonwu, Bruce Onobrakpeya, Lamidi Fakeye, Muraina Oyelami, Rabiu Adeleke Twins Seven Seven, Muri Adejinmi, Oyerinde Olootu, Nelson Okoh,  Reuben Ugbine, George Nwadiogbu, Ini Brown and Soji Yoloye.
 The Arts aspect of the anniversary also featured music, drum and dance cultural ensemble. However, the art exhibition section, which the organisers projected to be “the highlight of the evening,” lived up to expectation.
   During a chat shortly before the guests started arriving, Mrs Olatoyosi Alabi of Corporate Affairs, Planning and Strategy, Olaniwun Ajayi LP explained that the exhibition was being organised to make a statement that though it’s a legal establishment, art share in the passion.
 “While we are legal minds, we are also art lovers; there is something central about our minds and the way we think.” She also disclosed that “we have been collecting since 30 yrs, focusing on Nigerian artists.”
 One of he Works, Bruce Onobrakpeya’s Road to Cattle Ranch (1988)

 With such a vast collection, and still counting, perhaps, the legal practitioners would join in the new valuation of Nigerian art by selling some of its collections and acquiring more through auction outlets. “We are not thinking of selling or auctioning, but we do give out works to our clients.”
  Documentation, she stated, is crucial to the collection, hence a book titled Art of Olaniwun Ajayi, though not available today, but to be given out later.”
 She argued that in an environment such as Nigeria where corporate collections are rare, and do not get adequate exposure in public spaces as well as in publication, “the catalogue comes as a significant investment in the propagation of artistic and cultural values.” 
  According to a statement sent earlier before the event, “the book traces the historical depth of the Olaniwun Ajayi LP’s art collection, covering a period from circa 1954 to 2011 and reflecting the vigorous and dynamic changes in modern Nigerian art.”
 The curator of the exhibition, Oliver Enwonwu noted that works selected for the show “convey such an engaging socio-political, historical and economic narrative, which marks the stylistic development and progress of art in Nigeria.” 
 Sir Olaniwun Ajayi (left), Gov of Ogun State Ibikunle Amosun and Mrs Yimika Phillips of Olaniwun Ajayi LP during An Evening of The Arts… recently
 The catalogue, more importantly would also highlight the various schools of art that has emerged as the artist featured represents each schools.
  These include The Zaria Art School, a movement represented in the collection by Onobrakpeya; the Abayomi Barber School through Barber and one of his students, Adejimi; the Osogbo School, custodian of traditional Yoruba art, and featuring works by Seven Seven, Buraimoh, Adeleke and Oyelami.
  The selection, according to the managing partner, Dr. Konyinsola Ajayi (SAN), “has not been driven by belief in myths and magic, but the stories they tell, the appeal they have, the value they hold and the link to our philosophy that they have.”

Wiley… In the world of hip-hop portrait


 
BY TAJUDEEN SOWOLE
 WHEN Nigerian painter Kehinde Wiley visited home in 1997, at the age of 20, little did he know that the experience would inspire a technique that would become the toast of art enthusiasts across the globe.
  Based in New York, Wiley is known in the US, Europe and the Middle East as a portraitist whose works are blends of African and western themes.
   It started with his focus on the hip-hop scene of Los Angeles, painting youths with ‘sagging’ pants. In fact, his concept he declared was to cast the hip-hop image in a classicist form.
  And since he moved to New York, Wiley’s work has been linked to what observers describe as positive change towards Black youth.
   Searching for models for his recent solo show titled, The World Stage, held at Studio Museum, Harlem, New York, earlier in the year, Wiley had to travel across the world. He recalls that the subjects painted in oil and enamel on canvas are models from cosmopolitans cities such as Lagos, Mumbai, Dakar, Rio de Janeiro and Delhi. 
Kehinde Wiley’s Kern Alexander Study-I (2011, Oil on paper 53" x 40")


   Works featured in the show include a two-person portrait, Abed Al Ashe and Chaled El Awari, Kalkidan Mashasha, Alios Itzhak, Hamza El Essawi, Mahmud Abu Razak, 2011 Oil on canvas.
   With each work appearing like a remake of the other, perhaps, emphasising Wiley’s identity then comes a shift in lke Kalkidan Mashasha (Study), 2011 portraits. It’s an oil wash on paper that subtly infuses Wiley’s art.    He likens this to contemporary descendent of a long line of great portraitists such as Reynolds, Gainsborough, Titian, Ingres.   
  Cutting out an identity from these great artists, Wiley engages the signs and visual rhetoric of heroic and grandeur urban, black men found across the globe.
   Quite striking is his technique of immersing his subjects into fabric designs, especially those from African.
  He notes that the models’ dressings are based on the notion of far-reaching Western ideals of style. However, to create a mix, he would ask them to pose in a manner found in paintings or sculptures, telling the history of their surroundings, thus, resulting in the juxtaposition of the old and new. One of such works is Kern Alexander Study I, oil on canvas 2011. The costumes, posture and ambience created through the 3D effect bring the aura of the subject to the fore.
   Conceptually, Wiley believes these works depict heroism, evoke modern style, instill unique and contemporary manner, and awaken complex issues that many have remained unvoiced.
 
VISITING home in 1997 was the decision of his mother, who insisted that he should meet his father.
  Earlier, his mother had enrolled him in after-school art class in the US. After his visit to the country, the ankara fabric, which he noticed was popular among the Yoruba, his father’s ethnic group, later became a prominent feature of his work.
    Stressing the importance of urban vogue in fabric, he states, “applying the visual vocabulary and conventions of glorification, history, wealth and prestige to the subject matter drawn from the urban fabric, the subjects and styles collude to force what viewers may see as a provoking and complex of imagery.”
   Little wonder Smithsonian Institution National Portrait Gallery, Washington, D.C. honoured Wiley with Hip Hop and Contemporary Portraiture award.
   Some of his solo shows are: Economy of Grace, Sean Kelly Gallery, New York, NY 2011; The World Stage: Israel, Roberts & Tilton, Culver City, CA; and Selected Works, SCAD Museum of Art, Savannah, GA 2010.

Wednesday 21 March 2012

Sharing birthday with a keeper of our looted cultural objects!



As i enjoyed my birthday yesterday with pleasant torrent of messages sent to my phone and on Facebook, i also got news that Madame Irina Antonova, one of the strong members of Bizot Group celebrates 90.
File Photo: Antonova on a bike-ride with actor, Jeremy Irons in front of Pushkin Museum
   Bizot is a discreet association of directors of leading museums across the world, who insists that looted cultural objects of African origins and others currently in western and other European countries are safer there. In fact, Bizot Group is seriously promoting what they describe as “universal museums.” They argue that most of these objects were stolen or looted when the claimants were not existing as nation states or countries they are today.

  This week, Bizot Group are converging in Russia to celebrate Antonova, and perhaps deliberate further on how to consolidate on the obnoxious universal museum concepts.

  Can't we stop the "universal museum" idea?

Monday 19 March 2012

Shonekan, Anyaoku, others decry state of Nigerian arts, museums

By Tajudeen Sowole
(First published, Friday, November 28, 2008) 
 FORMER Head of Interim Government, Chief Ernest Shonekan, former Secretary of
Commonwealth, Chief Emeka Anyaoku and Prof. Fried High of the University of
Wisconsin, United States (U.S.) have expressed concerns on the current state of
Nigerian arts and national museums.
 Shonekan, Anyaoku and High spoke at the 5th Ben Enwonwu Distinguished Lecture
held at the Nigerian Institute of International Affairs, Victoria Island, Lagos,
on Wednesday.
  At the event organised by The Ben Enwonwu Foundation (BEF), Anyaoku, who was
the chairman of the annual lecture, called the attention of the gathering to the
good old days of Nigerian art when he recalled an event, which took place over
two decades ago.
Widow of Ben Enwonwu, Mrs Caroline Enwonwu (left) D-G, NGA, Joe Musa and former Scretary of Commonwealth, Chief Emeka Anyaoku during the lecture.
 He said that about 25 years ago, under the leadership of former director of the
National Museum, Ekpo Eyo, there was an international tour art exhibition titled
2000 Years of Nigerian Arts, held in London and Nigeria. He said the show was
described by the British press "as a side of Africa that was unknown in
Europe."
 But today, Anyaoku appeared to be apprehensive about the preservation of those
works and other museum objects, describing the state of things as "national
disgrace."
  He, however, urged the Ministry of Tourism, Culture and National Orientation to
do everything possible to rescue the situation, adding that "art and
culture are important part of every nation."
  Anyaoku also narrated how his intervention made the Federal Government, during
the administration of former president, Olusegun Obasanjo, to set up a committee
under the leadership of the former Director of National
 Museum, Ekpo Eyo, to rehabilitate the national museum.
   But at the point of funding of which about N700 million was said to have been
approved by the Presidency, it was revealed that the exercise ran into a hitch
so soon due to the complication that arose in accessing the fund.
  On what led to that committee, Anyaoku said that he ran into the decaying state
of the national museum in company of his foreign visitors, three years ago.
  He explained: " Three years ago, I had visitors from Canada and I thought
it would be right to take them to the Nigerian Museum. I took them their and
what I saw was a shock to me. It was in my view, a national disgrace. When I got
home, I called the President and he reacted immediately by setting up a
committee. He called Ekpo Eyo to head the committee saddled with the
responsibility of rehabilitating Nigerian museum. That committee produced a
report, which before the end of the tenure, gave a budget for the rehabilitation
of the museums."
  That was three years ago. But Anyaoku, however, informed the gathering that he
had met with the Minister of Tourism, Culture and National Orientation,
Adetokunbo Kayode. The minister, the former Commonwealth scribe disclosed,
assured him that President Yar'Adua was interested in seeing that the state
of the museums improved.

Earlier, Anyaoku had extolled the creative virtue of Enwonwu, arguing that
before the artist stamped his authority on the global art landscape,
"primitive art was the expression commonly used to describe African
art."
 Also, Shonekan, who was the special guest of honour at the event, advised on
the need to appreciate artists and the cultural value they stand for.

Speaking through his representative, Joop Berkout, Shonekan noted that artists
live much longer after their demise on earth and, therefore, charged the
 BEF on using the image of Enwonwu to wake up more interest in art.

The lecturer of the day, Prof. High, who spoke on the theme, Positioning Arts
and Culture for Sustainable Influence in Nigeria, explained that sustainability
could be achieved through conservation and preservation of works by the museum.