In Abuja, Jacob Jari shows 'Collection & Collections'

'Through the Mud Walls' (pencil/charcoal, 55 X 37 cm, 1992), by Gani Odutokun. Pic: c/o Thought Pyramid.

A new exhibition titled Collection & Collections by Prof Jacob Jari opens soon at the Thought Pyramid Art Centre, Wuse II, FCT, Abuja.

The exhibition, which features paintings and sculptures, according to Thought Pyramid, shows a body of work consisting of those the artist created through different periods. Included are works of "a rich collection the artist has collected over the decades from notable artists and students that have passed through" his tutelage. 

Cast, welded metal art practice disparity in post-modern Nigeria

A welded metal sculpture titled Sunflower by Olu Amoda. Pic: c/o of the artist.

TRACKING art of sculpture, from ancient Africa to post-modern period, has exposed time disparity between the two basic sub-medium of cast and welded metal. While the cast medium made its formal entry during colonial period, welded metal didn't emerge into mainstream space until the late 1970 to early 1980s.

As a source from which the world's artistic and technological advancement emerged, metal was hardly missing among African craftsmen of ancient ages. Being the parent source that covers silver, bronze, tin, gold, lead and iron, metal had been used across ages in Africa. In modern and contemporary context, metal art is sub-divided into welded and cast medium, based on the above listed derivatives. However, works and practice in cast metal, particularly bronze, has dwarfed that of the welded medium in modern and contemporary Nigerian art environment. While casting and smithing, in Africa, have history rooted in ancient periods, the former appears to be more resilient despite the latter's advantage in welding technology. 

Against suspicion, curators struggle in post-independence Nigeria

Godwin Adesoye's 'New Market' (oil and charcoal on canvas, 5ft x 4ft, 2015). Pic: c/o Translucent S.I.

DURING 60 years of post-independence Nigeria, curatorial practice was hardly active in mainstream exhibition circuits. Strangely too, some artists in Nigeria, still do not agree that artistic presentation requires critical input from a professional not involved in the creation of their art; they view curators through the prism of suspicion. 

At 60, Ayoade shows 'Faces and Figures', celebrates with 'twin sister' Nigeria

Uncertainty (alcohol ink on yupo paper, 2019), by Mukaila Ayoade. Pic: c/o the artist.   

FROM working in Lagos, Nigeria, to his current base in Chicago, U.S., artist Mukaila Ayoade brings into a single space his oeuvre of over 30 years.

Ayoade, whose mastery in collage painting covered quite some art appreciation grounds in Nigeria before his relocation to the US, opens a solo show titled Expressions: Faces and Figures Collection on October 1, 2020 at Bridgeport Art Center, West 35th Street Chicago Illinois. The exhibition of about 45 works marks the artist's 60th birthday and also serves as his contribution to six decades celebration of Nigeria's independence anniversary.

Self-reporting by celebrities killing gossip news media

Actress, Idowu Philips.
Pic: c/o Translucent S.I. Communication.

 

AS the new media space provides more freedom for everyone to publish their story, gossip journalism may be heading towards extinction. Most vulnerable are celebrity reporting desks of established news media organisations in Africa.

In Suowari's monochrome strokes, beauty, fashion blossom

  Ama' (ink and acrylic on paper, 5 x 8ft, 2020) by Jacqueline Suowari. Pic: from the artist.

DESPITE being the oldest form of art, figurative painting has been defined differently by each generation of artists across cultures. In the unfolding world of 21st century contemporary art that is giving figurative painting diverse tones, Jacqueline Suowari is one of such artists, whose brushstroke and ballpoint of fluidity are in romantic flow with monochromatic contents.

Future of Fuji music against past golden four decades

Founder of Fuji music, Chief  (Dr) Sikiru Ayinde Barrister (February 9, 1948-December 16, 2010). Pic: from 1991 album cover.

  
AS a teenage boy, growing up in Mushin, a Lagos suburb of the 1970s, the unfolding interest of the people in modern traditional music was, subconsciously, observed. Irrespective of what religion anyone belonged, it was impossible not to notice how every dawn period in the month of Ramadan included the 'Ajisari' culture, a musical known then as 'Were.'

NGA-NCMM merger 'suspended' as new DGs emerge

Lai Mohammed, Minister of Information and Culture.

With the newly announced appointments of Director-Generals for both National Gallery of Art (NGA) and National Commission for Museums and Monuments (NCMM), the anticipated merger of the two government agencies under Ministry of Information and Culture may have been suspended.

Remembering Dr Adadevoh with '93 Days' of proudly Nigerian courage

Patrick Sawyer (Keppy Ekpeyoung) in '93 Days'

As Nigerians, today, remember Dr Ameyo Stella Adadevoh, a frontline medic who stopped the deadly Ebola disease from spreading in the country, the film that recaptures the tragic story comes as a major memory till date.

Thought Pyramid celebrates contemporary masters

Directors of Thought Pyramid Art Centre, Ovie Omatsoka and Jeff Ajueshi.

Exiting the first two decades of 21st century, art in Nigeria will step into a new dawn, specifically from next year. A select group of artists under Thought Pyramid Art Centre-led new project are getting set to boost their pioneering antecedence in full-time studio  practice.

Sharjah Art Foundation’s 2020 Focal Point's open call

Sharjah Art Foundation (SAF), UAE, today, announces an open call for the second edition of the Focal Point' Publishing Grant.  The open call extends the Foundation’s mission to advance scholarly research and publish content that generates a more expansive understanding of the history of art in the region and its relationship with the wider world.

Evolution of 'gele' as female fashion, from Nigeria to African diaspora stage

Gele head-wear in Black Is King. Pic: www.beyonce.com

A Yoruba adage of old that says ‘a woman’s fashion is incomplete without her gele’, has proven its resilience, even in the 21st century contemporary African culture.

With its creasing popularity, recently, on the international fashion space of ethnic minority, it is important to track the modern evolution of gele (pronounced 'gaylay'). The origin of gele as emanated from Yoruba culture and virtue is not exactly known. However, many archival photographs of over a century old suggested that gele must have been around much longer than the time those pictures were taken.

Ojih Odutola creates women's 'kingdom' in UK debut solo

'Establishing the Plot', a drawing from A Countervailing Theory (2019), © Toyin Ojih Odutola. Courtesy of the artist and Jack Shainman Gallery, New York

In her short period of gradual climb on the commercial art ladder, Nigerian-American artist Toyin Ojih Odutola's interest is not just about counting the digits. She is also pushing her work into the critical appreciation space for broad followership.

Barbican Centre's Gallery, London will be showing Odutola in what has been described as her first-ever UK exhibition, titled
A Countervailing Theory, showing from August, Tuesday 11-Sunday, 23 2020. The announcement was coming barely one month after Portrait Gallery, London disclosed Ojih Odutola's commission of author Zadie Smith's portrait.