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| Emmanuel Jegede | The Sacrifice |
Art, Artists and Art Criticism
Situational Report in Nigeria from 1950 – 2004
Introduction
This
article is focused on some issues concerning contemporary art and its
practitioners and art critics as it relates to Nigeria from 1950 to
date. In any way the article may not be able to discuss in minute detail
due to space constraint. At the same time the theoretical framework of
the paper will be historical and also analytical in order to be able to
state the author’s views on some issues raised here.
The history
of contemporary art in Nigeria cannot be complete without referring to
the instrumental figures who through their solo efforts brought Nigerian
modern art into the world art history. The history started with Aina
Onabolu 1881-1963 as a leading figure who did not only start the art of
drawing and painting but also fought single handedly to put art in the
school curriculum in 1927. Onabolu consciously went into art of figure
drawing and painting to prove and disabuse the minds of the then
Europeans who thought no African can dabble into the art of figure
drawing and painting. With the help of some European art teachers such
as Kenneth Murray who came in 1927, H.E Duckwork and Dennis Duerden who
later joined, they later discovered of other talented indigenous artists
who did not only continue from Onabolu, they equally made their
distinct landmark in the propagation of visual art. Such notable artists
include Akinola Lasekan 1921-1972, Justus Akeredolu1915-, Ben Enwonwu
1921 – 1994, Etsu Ngbodaga and others.
These notable Nigerian
academically trained, or partially trained or self trained artists
started what was later christened Natural Synthesis by the “Zarianist”.
For example, Enwonwu’s paintings and sculptures reflect naturalistic and
stylized forms which he called “African Style”. As it is argued,
Enwonwu’s spirit of synthesis later became the compass upon which the
Zarianists members of Zaria Art Society based their popular theory of
“Natural Synthesis”. Ademuleya,2003.
The events starting from
1950 have been very topical and have also dictated the trends in
contemporary Art in Nigeria. Also events since then have been properly
classified by some scholars who wrote on contemporary Nigerian art.
These scholars include Dele Jegede 1983, Adepegba 1995, Akatakpo, 1995
Kunle Filani 1998.
Late 1950s and early 1960s witnessed in
Nigeria art history the beginning of radical revolution in visual art.
The periods consciously witnessed the change of art style from ancient
traditions and also jettisoning of western – style realistic approach to
execution of artwork. The new consciousness ushered in what was
referred to by Filani as “New African” concept which simply means an
admixture of traditions and modernism, the philosophy which was later
developed as “Natural Synthesis”. This philosophy in the first formal
Art School in Nigeria. That is, the college of Art, Science and
Technology, Zaria which was later renamed Ahmadu Bello University ABU
Zaria. The key actors of this great African philosophy in visual art,
who started as students and later spread into various art schools after
their graduation are Yusuf Grillo, Uche Okeke, Bruce Onobrakpeya, Demas
Nwoko, Emmanuel Odita, Jimoh Akolo, Solomon Wangboje and a host of
others. They formed what was known as Zaria Art Society. .
The
artists mentioned above influencee other followers and students who
have some common and unique characteristics which reflect in their
individual works. For decades they dictated the trends in Nigerian
contemporary art. Their ideologies according to Filani were carried to
other formal schools or workshops to create vibrant artistic revolution
Filani 1998:35. Some of these pioneer artists are still in contention in
the country.
Another generation of Artists who were later
discovered after the 1950s and 1960s progenitors are 1970s graduates of
mostly the Zaria Art School. Among them are Shina Yusuf – painter now
dead, Joshua Akande – painter, Nelson Cole – painter now dead, Dele
Jegede – painter, cartoonist and critic, David Dale – painter and
mosacist, Kolade Oshinowo – painter and Gani Odutokun- painter now dead.
Their works have been described as characterized by elongation of
forms, with elegant northern architecture, and human figures while some
depict northern grassland in their landscapes. Most of these artists’
works are in the collection of National Gallery of Modern Art. It is
worth mentioning that artist like Late Professor Adepegba 1941 – 2002
who graduated in 1971 with 1st class degree in sculpture consciously
went into art history and criticism. He made his mark as one of the
distinguished, outstanding and foremost Africanist Art Historians/Critic
the Continent has ever produced.
Most contemporary Nigerian artists
are classified along the school in which they graduated from. There are
also cases of few artists having other distinct styles or deviating
from the usual school styles.
Of large number of contemporary
artists in the practice today are the 1980s graduates of various formal
art schools in Nigeria. The term “school” is also used to describe the
philosophy, styles, themes and forms that are peculiarly distinguishing
of these schools. The schools that have distinguished themselves with
some unique characteristics include Zaria School, Yaba School, Nsukka
School, Ife School and Auchi School
The distinguishing
characteristics of each school will be briefly mentioned as well as some
of their outstanding products or artists. The name of the school
represents the location of each art school or may some time bear the
name of the founder.
Some Agents of Contemporary art in Nigeria
Zaria Art School
The
works of the school are characterized by elongation of forms, with
elegant northern architecture and human figures. Their landscapes, most
times reflect the grassland and savannah vegetation of the North. Other
later graduates of the Zaria School who have made their marks from 1950s
till date as artists, teachers and historians include Prof. Yomi
Adetoro, Dr. Tunde Akinwumi, Jerry Buhari, Jacob Jari, Tonie Okpe,
Rukeme Noserime, Nse-Abasi Inyang, Tunde Balogun, Tunde Oniyide, Tony
Emordi, Victoria Ukpera, Chinwe Abara, Abraham Uyobusere, Akeem Balogun,
Wunmi Busuyi, Betty Bassey, Duke Asidere, Emmanuel Irokanumo, Ade Odun,
Taiwo Oyejide0 and Abiola Idowu among others. Their contributions have
been in the sustenance of the art tempo which the pioneers started
through their constant practice. While some of the listed artists are
household names among the art historians, critic, collectors and the art
audience, some talents are just emerging.
Yaba School
The
Yaba School employs realistic art form that are done in narrative, and
descriptive style mostly done in accurate photo-graphic-realism. The
initial notable artists who graduated in the 50s and 60s and went for
higher studies in Europe include Agbo Folarin, Isiaka Osunde, and
Abayomi Barber. The later artists of the School, who were taught by the
former graduates of the Zaria School, belong to the 1980s generation.
These include Mike Omoighe, Biodun Olaku, Phemi Adeniran, Lara Ige,
Felix Osieme, Edosa Oguigo , Joe Amenechi, Ato Arinze, Sam Ebohan among
others.
Nsukka School
The calligraphic nature of ‘Uli’ art
body painting/decoration influenced the products’, works. The philosophy
of application of Uli art form as espoused by Uche Okeke and later
supported by Chuka Amefuna, Chike Aniakor and El-Anasui was to intensify
the search for Igbo–identity, thereby using the Uli linear forms to
depict radical socio-political and cultural subject matters. Their
linearity of drawing and modeling according to Filani, became the hall
mark of Nsukka’s contribution to modern Nigerian art. The graduates are
conceptually rich and fecund in imagination thereby making their themes
to penetrate into the social situations of the people. Filani, 1998:36.
Notable of late 1970s and 1980s artists of the school include Tayo
Adenaike, Olu Oguibe, Ndidi Dike, Chijioke Onuora, Ernest Okoli etc. Of
1990s graduates are Chika Okeke, Krydz Ikwuemesi, Ozioma Onuzulike among
others.
Ife School
The school is noted with
intellectualization of its works with vigorous emphasis on theoretical
content in art form. Noted with cultural inspiration drawn from the Ife
location, the school explores a rather diversity of creative exploration
in the use of local materials, symbols and images which later developed
into the exploration of Yoruba traditional symbols, motifs, structure
and concepts termed Ona by some of the 1980s graduates. The lecturers of
the Ife School who are not graduates of the school include Babatunde
Lawal, J.R.O Ojo, Abiodun Rowland, Ige Ibigbami, Agbo Folarin and PSO
Aremu among others.
The late1970s and 1980s graduate artists of
the school who have made their marks in art practice, writing and
teaching include Moyo Ogundipe, Nkiru Uwechi-Nzegwu, Moyo Okediji, Don
Akatakpo, Sherinat Fafunwa-Ndibe, Kunle Filani, Idowu Otun, CSA Akran,
Osi-Audu, Tola Wewe, Eben Sheba among others. The emerging 1990s
graduates of the school include Segun Ajiboye, Stephen Folaranmi, Mufu
Onifade, Ademola Ogunajo, among others. These artists exhibit often and
some also participate in the yearly exhibition of the school graduates
tagged “The Best of Ife” which started in 1993.
Auchi School and Its Artists
Auchi
Art School is noted with expressionistic naturalism. The use of vibrant
and sweet colours are attributed to the graduates of the school. Some
of the outstanding artists of the school who have made their impact on
the audience and collectors include Ben Osaghae, Sam Ovraiti, Olu Ajayi,
Pita Ohiweri, Edwin Debebs, Alex Nwokolo, Toni Oshiame and Olu Amoda
metal sculptor among others.
The Informal Schools and Their Artists
These
are art locations where artists are informally trained without
following rigid rules of formal art syllabus. The training is acquired
through apprenticeship system or workshop experience. Within the
informal school, some of them do not obey the rules of accurate
proportion, and perspective.
Mbari Mbayo–Osogbo and Ori-Olokun-Ife
schools explored the workshop system. Notable artists that emerged from
the Osogbo School include Twin Seven Seven, Jimoh Buraimoh, Muraina
Oyelami, Tijani Mayakiri, Rufus Ogundele, Ademola Onibonokuta, Asiru
Olatunde, Nike Davies. Their contributions to art history in Nigeria is
their deviation from the known western–style realistic form. These
artists’ forms are original, spontaneous and naively created with utter
disregard for the depth, space or any expected relationship of motif.
Their themes are most times derived from folktales, myths and religious
stories. The characteristics of which was classified as “Naive Vision
encouraged and fossilized” Adepegba, 1995. They hardly follow the cannon
of verisimilitude which is common with Western Art. Ori Olokun workshop
is seen as an extension of the Osogbo but the style of execution tilts
greatly towards naturalism. Prominent artists of Ori-Olokun experiment
include Wale Olajide, Rufus Orisayomi, Fela Odaranile, Adeniji Adeyemi,
and Ademola Williams. Other important informal school is “Abayomi Barber
School” which started in 1973 by Abayomi Barber . Although the founder
was formally trained, the trainees of the school are informally trained.
There is no curriculum to operate as in formal art school and no
specific entry requirements. Emphasis was always placed on importance of
drawing as the basis of it all, also the need to see correctly, measure
accurately and observe very keenly, the rules that are borrowed from
formal school system. Its prominent artists include Muri Adejimi, Olu
Spencer, Busari Agbolade, Toyin Alade, Kent Ideh, Bunmi Lasaki, and Bayo
Akinwole among others. Their works are widely collected in Nigeria and
abroad and have also been documented by researchers in art history Azeez
2002. Many of them have been in active practice from 1980s till date.
Aka Group
Aka
Group based in Enugu and Nsukka in the Eastern part of Nigeria, formed
in 1989 as a circle of exhibiting artists. It has close affinity to
Nsukka School. As reported by Filani, the Aka group and Uli artists are
philosophically inclined in thematic choice with clairvoyance in social
vision Filani,1998:41. The founding members of Aka include Obiora
Udechukwu, Tayo Adenaike, El-Anatsui, Nsikak Essien, Samson Uchendu and
Chris Echeta among others.
Eye Society
The Eye society is
based in Zaria Ahmadu Bello University. It was formed in 1992. The
membership comprises mainly some artist staff of the Department of Fine
Arts of the University who also graduated from the Department. Some of
the founding members include Gani Odutokun died in 1994, Jerry Buhari,
Jacob Jari, Matt Ehizele and Tonie Okpe. The group’s contributions have
been in the areas of propagation of visual arts as an instrument of
development of the society, publishing of journal called “The Eye”,
mounting of exhibitions, organizing workshops conferences and symposia
etc.
Uli Movement
It is Nsukka-based. The membership is for
an artist who believes in the philosophy of Uli Art as a stylistic
expression using its linear and spiral motifs in terms of forms and
using themes that have socio-cultural content and advantage. The members
of the movement who are both Igbo and non-Igbo include Obiora
Udechukwu, Tayo Adenaike, Chris Afuba, Chris Echeta, El-Anasui the
famous and prolific Ghana born artist, working in Nsukka University.
Chijoke Onuwa, Chika Okeke, Olu Oguibe, Victor Ecoma, Ndidi Dike, Krydz
Ikwuemesi, Ozioma Onuzulike and others.
Ona Movement
This
was formed in 1990 by the five graduates of “Ife Art School”. The five
pioneering founding members include Kunle Filani, Moyo Okediji, Tola
Wewe, Bolaji Campbell and Tunde Nasiru. The movement explores the
decorative motifs, ornaments, patterns and design peculiar to the rich
artistic culture of the Yoruba Filani 1998. One advantage of Ona
approach to artistic expression according to Filani is the rich visual
grammar it affords the artist to employ, resulting to melody of tones,
forms and structure and also enriching the aesthetic sensibilities of
the viewers Filani 1997. Some of the other exponents of Ona philosophy
as an art include Don Akatakpo, C.S.A Akran, Ojo Bankole, Akin Onipede,
Ademola Azeez, Sehinde Ademuleya, Rasheed Amodu, Mufu Onifade ,Kunle
Adeyemi and others. One of the major contributions of Ona movement to
contemporary art is its enriching the visual aesthetic and appreciation
of Art.
Pan-African Circle of Artists PACA
It is an artists’
organisation formed in 1995. Its focus is to provide fora or avenues
for African artists within and outside the Continent. It also works “at
engineering an indigenous voice for the propagation of African Art”.
Ikwuemesi, 2000. Its founding members include Krydz Ikwuemesi, Ayo
Adewumi, Nnaemeka Egwuibe, Jerry Buhari etc. One other contribution to
art history in Nigeria and African continent is its regular publications
that border on African and global issues. Its headquarters is located
in Enugu, Nigeria.
Culture and Creative Art Forum CCAF
This
organisation was formed in July, 2001. Its objectives among others
include intervening and promoting the creative and artistic education of
Africans through cultural means in order to encourage their economic
and creative independence. It is also to maintain and sustain the rich
cultural heritage of Africa and her people. Its headquarters is located
in Lagos, Nigeria. Its founding members include Dr. Kunle Filani,
Ademola Azeez, Dr Ademuleya Sehinde, Akin Onipede, Mike Omoighe, and
Austin Emifoniye. It has organised two National Conferences with the
themes “Culture and Creativity” in 2002 and Contemporary Challenges in
Nigerian Arts” in 2003 . CCAF has published two major books.
Artistic Trends in Nigeria
The
artistic trends in the country are still being dictated most times by
the mode of training and styles adopted by each school discussed
earlier. The artistic trends are as varied as number of art schools
formal and informal movements we have. For instance, some artists of
formal school orientation still engage in naturalistic art form with the
synthesis of tradition and modernity to express their concepts. One
other current artistic trend that is prevalent among the workshop
trained artists especially of Osogbo and Ife Ori-Olokun is the depiction
of their forms in the traditional culture, folklore and myths in a
figurative and narrative way. Another artistic trend is the
expressionistic expression that is prevalent among the Auchi School
graduates.
Exponents of Ulism those who adopt Uli art forms of
expression mostly graduates of Nsukka School and Onaists those who adopt
Ona art form and concept as found in Yoruba decorative pattern, design
and ornament to express their messages also constitute a strong trend in
contemporary Nigerian art. The “surrealist-naturalists” of the Abayomi
Barber School is equally an artistic trend. The common thing to most of
these artists is their thematic expression depicting socio-religious
beliefs, socio-economic conditions and social lives of the people.
The Front liners of the Artistic Scene
The
frontliners of the artistic scenes today in Nigeria include established
artists pf 1950s those referred to as “Zarianists”, such as Bruce
Onobrakpeya, Yussuf Grillo, established artists of the 1970s, 1980s of
formal school and some of the 1990s. The graduates of Informal School
system discussed earlier are still in active practice and these are
Osogbo and Ori-Olokun artists, and products of Abayomi Barber School the
surrealists. Most of these artists’ works are still being collected and
exhibited. They are classified as front liners because they exhibit
from time to time and not only that, some of them exhibit yearly in solo
exhibitions.
Representing 1950s graduates is Bruce Onobrakpeya
who exhibits regularly with new works produced in the exhibiting year on
display. Of the 1970s graduates is Kolade Oshinowo who apart from
exhibiting regularly, also showcases new works. He is arguably the most
prolific artist of his generation. Notable among the 1980s graduates who
are front liners are Kunle Filani, Tola Wewe Ife School, Mike Omoighe,
Olu Amoda, Abiodun Olaku Yaba School, Ndidi Dike female painter Nsukka
School, Ben Osaghae, Olu Ajayi, Sam Ovraiti, Alex Nwokolo Auchi School,
Duke Asidere Zaria School, Muri Adejimi and Olu Spencer, Informal
school. Most of them have been listed in “Who is who” in Nigerian Art.
The remarkable thing about these artists’ works is that each artist
style of painting or sculpting or modeling is very unique and
experimental and their artistic developmental stages can easily be
traced by critics.
Art Writing and Criticism
Very few
writers are engaged in critical writing on art. Among the few are visual
artists and artist academic intellectuals. Their writings can be
categorized into articles in art journals, newspaper art reviews , and
reviews in exhibition brochures Critics of the 1970s include Ayo Ajayi,
Ben Enwonwu, Cyprian Ewensi, Okpu Eze, Uche Okeke and Demas Nwoko and
Obiora Udechukwu late70s. Art journalists/writers/critics of the 1980s
include Ben Tomoloju, Tam Fiofori, Elsy Obasi, Taiwo Ogundipe and Toyin
Akinosho, Jahman Anikulapo, Shola Balogun, Lanre Idowu, Wale Aina and
Gbile Oshadipe and Dili Ezughan among others. Oloidi, 1996. The academic
intellectuals who went into art writing and criticism from the early
1980s-1990s include Adepegba, C.O., Dele Jegede, Ola Oloidi, Olu Oguibe,
Sylvester Ogbechie, Kunle Filani, Mike Omoighe, Chika Okeke and Krydz
Ikwuemesi.
The art writers/critics who stand at the front line
of the artistic scene today include Kunle Filani , Toyin Akinosho, and
Jahman Anikulapo,and Krydz Ikwuemesi Their writings are remarkable due
to the issues their critical writings generate. These issues range from
art policy, art administration, status of the artists in Nigeria and
Africa, art practice and theory to collection and appreciation of art
among other topical issues. There are also up coming and promising art
critics not mentioned here. The front liners listed here have
contributed a lot of reviews in exhibition brochures, newspaper articles
and reviews, academic art journals and even comments on socio-cultural
issues in the country. Some have even curated national exhibitions. The
limitation of their writings especially on artists’ works is their
inaccessibility to the stages and processes involved in artists’ works
before the final exhibition.
National Collection of Contemporary Art
There
are collections of contemporary works by both government’s culture
institutions and private collectors. The institution charged with the
national collection of contemporary art is the National Gallery of Art
NGA. It has the largest collection of artists’ works among the other
culture institutions created. Its collection was first documented in
1981 in a publication titled “The Nucleus”. There are also private
galleries and collectors who have in their keeps works of prominent
contemporary artists. Among the private galleries in Lagos are Signature
gallery, Treasure House, Nimbus gallery, Mydrim gallery, Galleria
Romania, Nike Okundaye gallery, Quintessence and others. Private
collectors are few Nigerians and foreigners mostly Europeans and
Americans who have in their collections works of most artists mentioned
in this article. Of special note among the Nigerian collectors, is
Engineer Yemisi Shyllon, an avid art collector who arguably has the
largest private collections of contemporary artists’ works both Nigerian
and non-Nigerian artists.
Conclusion
It is the view of this
writer that art and culture matters such as status of the artist,
consistent implementation of art policy, administration of art and
artists, production and practice of art, criticism and writing on art
have not been given the adequate attention they deserve by the
Government. There are many problems confronting contemporary art and
artists in Nigeria some of which the artists themselves have attempted
to solve but due to financial constraint and lack of political powers,
those problems are still there. As individual artists and writers, they
have tried to draw attention to some of the topical issues either
through their art works or writings. There are a lot of benefits
Nigerian Government can derive from artists and other culture activists
if they are genuinely involved in the administration and implementation
of art and culture matters that directly affect artists and citizens at
large. Nigeria as the most populous Black African nation in the world
can utilize the capabilities and potentials of her artists and culture
activists if the artists are also allowed to put their ideas and skills
into fruition as stated in the Cultural Policy for Nigeria. Nigerian
artists are looking forward to a day when an established and a seasoned
visual artist/administrator would be appointed to head for example, “The
National Gallery of Art”. One believes that if this is done critical
discourses of issues on art and culture could be widened and more
articulated. On a final note, this article does not pretend to discuss
and raise all issues on contemporary art and artists due to space
constraint. The issues and artists cannot be exhausted in just one
article.
References
Adepegba, C.O. 1995: Nigerian Art: Its Traditions and Modern Tendencies, Jodad Publishers, Ibadan. p.96
Azeez,
W.A. 2002: “The Works and Artists of Abayomi Barber School in the
Development of Contemporary Nigerian Art” PhD Proposal submitted to the
Institute of African Studies, University of Ibadan
Filani, E. O.
1998: “Form and Content as a Basis for the Classification of
Contemporary Nigerian Art” in USO: Journal of Art, National Gallery of
Art, Lagos, pp. 33 – 44.
Filani, E.O. 2001: “Trends in Contemporary
Yoruba Art: A Delineation by History and Styles” in A Discursive Bazaar :
Writing on African art, culture and literature Ikwuemesi, K. C. and
Adewumi, A.Eds.. PACA, Enugu Pp.127-140
Filani, E.O. 2003: “Zaria
Art Society and the Imperative of Historical Articulation” in Triumph of
a Vision: an Anthology on Uche Okeke and Modern Art in Nigeria,
Ikwuemesi, K. C. Ed.Pp.133-143
Ikwuemesi, K.C. 2000: “Preface” in
Crossroads: Africa in the Twilight, Aniakor,C.C and Ikwuemesi K.C. Eds.,
National Gallery of Art, Nigeria. p. v
Oloidi, Ola 1996: “Art
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Osa Egonwa 2001: “The Evolution of the Concept of
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