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Contemporary African Art in and out of Africa. Formal Category 2. Informal Category: (Workshops; a new internationalism –souvenir art) 3. African Art on the Global Stage 4. Diaspora Dimension: Ambivalence and Parody. Formal Category : Evolution of Modern Art in Africa 1922
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Contemporary African Art in and out of Africa
Formal Category • 2. Informal Category: • (Workshops; a new internationalism –souvenir art) • 3. African Art on the Global Stage • 4. Diaspora Dimension: Ambivalence and Parody
Formal Category: Evolution of Modern Art in Africa 1922 AinaOnabolu (1882-1963) Kenneth D. Murray (1902-1972) —British Colonial Officer, 1927 Ben Enwonwu Harlem Renaissance (Alain Locke); Negritude, assimilation ( Leopold Sedar Senghor, AimeCesaire) Pan Africanism
Aina Onabolu, Barrister Oil on canvas 1920s
Ben Enwonwu, Agbogho Mmuo, Oil on canvas, 1978 Student of Kenneth Murray Encouraged to reflect visible experiences from their African environment; Negritude and Pan Africanism
Ben Enwonwu Sir AdetokunboAdemola The Alake of Egbaland, Bronze
Ben Enwonwu, Statue of Queen Elizabeth 11 Bronze
The Zaria Art society, 1958 “Zaria Rebels” Natural synthesis—combining the best of Nigerian values with those from outside Bruce Onobrakpeya Have You Heard, Oil on canvas, 1959 Influenced by the Adire indigo dyed fabric design patterns of the Yoruba
Adire, (Indigo dyed cloth) Yoruba, Nigeria, indigo and cotton 20th century
Bruce Onobrakpeya, Untitled Oil on canvas 1961
Demas Nwoko, Figure, Terracotta, 1967-8 Influenced by the stylistic elements of Nok
Demas Nwoko Adam and Eve Terracotta, 1967/68
Informal Category: Catholic Workshops & Experimental Workshops a) OyeEkiti—Catholic Mission—Father Kevin Carroll (1947-1954)
Lamidi Fakeye, Flight into Egypt, wood, 1956 Integration of Christian subject matter with Yoruba sculpture tradition —Africanization of form
George Bandele, One of the Three Wise Men From the Christmas Crib Set Wood, beads, pigments 1954
The Experimental Workshops b) MbariMbayo—Ibadan/Osogbo—UlliBeier 1961-1968) OsogboExperiments—MbariMbayo Workshop Talented young artists who were still unfettered by European artistic convention
Adire, (Indigo dyed cloth) Yoruba, Nigeria, indigo and cotton 20th century
Adebisi Akanji, Untitled-scene from A Petrol Station Cement sculpture, Cement n.d
Twin Seven Seven, a.k.a Chief Taiwo Olaniyi, Pen and Ink 1967 Phantasmagoric/Dream like images steeped in Yoruba folkloric tradition
Jimoh Buraimoh, faces and bird, gouache and beads on board, 1996
Informal Category Roadside Art and a new Internationalism
Unknown artist, Barber’s Sign—(Salon) shop display, enamel paints on wood
Cheri Samba, Why have I signed a contract?, acrylic on canvas, 1990
Kane Kwei, Mercedes-Benz shaped coffin, enamel paint on wood, 1989
Kane Kwei, Cocoa-pod shaped coffin, enamel paints on wood, 1970
Man wearing commemorative cloth With likeness of Queen Elizabeth II Ghana, 1960
Vote for Peace, Vote ANC, detail, 1994
Yinka Shonibare, Scramble for Africa, installation 14 chairs, 14 tables Wax prints, 2000
Yinka Shonibare detail
YinkaShonibare, Nelson’s Ship in a Bottle, Trafalgar Square, London, U.K., 2010
YinkaShonibare, the wanderer —commemorating the last ship to import enslaved Africans into the Americas, 1858 Mixed media, 2007
Chris Ofili, The Holy Virgin Mary, Acrylic, resin, oil paper collage, Elephant dung on linen, 1996 Imagery of Mary the mother of Jesus; asexualized imagery of Aunt Jemima- the Black Mammy stereotype, domestic/wet nurse
Ritual of Imori (Knowing/discerning Destiny), Ijebu-Yoruba, Nigeria Rotimi Fani-Kayode, Sonponna, photograph
Rotimi Fani-Kayode, Soponna, Black and white silver gelatin With hand tinting, 1987
Rotimi Fani-Kayode, Golden Phallus, Color Photograph, 1989
El Anatsui, Chambers of Memory, Terracotta, 1979
Kente, hand-woven fabric, Ghana, 20th. Cent, aesthetics of polyrhythms
El Anatsui Patches of History III Wood 1993 Influences of striped woven fabric and scarification patterns—Akan and Igbo traditions
El Anatsui Kente Rhapsody, Wood and pigment Date unknown
A French print “La Belle Hottentot” after the display and objectification of Sarah Bartman (Saartje Bartman)