For decades, contemporary African art primarily found its audience and patrons among expatriates. This trend began in the post-independence era when African nations newly liberated from colonial rule were seeking to establish their identities. In many Anglophone countries, local interest in contemporary art was minimal, prompting artists to rely heavily on foreign visitors and embassy staffers for support. However, a significant shift is now underway: more African art is staying back at home, finding appreciation and value within its own confines.
In the immediate years following independence, artists faced numerous challenges. They had to navigate a landscape where the local elite showed little interest in contemporary art. This was particularly true in Anglophone countries, where colonial attitudes towards visual art persisted. Unlike the French, who had a relatively higher regard for visual arts and culture, the British colonial regime often neglected these cultural expressions. This neglect carried over to the newly independent states, creating an environment where local patronage for the arts was scarce. Artists in capital cities, where embassies and expatriates were concentrated, had an edge. They could access a niche market of foreign art enthusiasts who were more inclined to purchase and appreciate their work.
The independence by itself would open many doors for the cultural sector. But again, this was coming from without rather than from within. There was a heightening of interest in the traditional culture of the nations, and many artists and other culture workers focused on the promotion of their traditional mores and values, using their art, music and literature as megaphones for amplifying them. In Nigeria, not a few artists who had been trained formally at the colleges rebelled and established new forms which greatly raised interest in their new aesthetics because they contrasted and sometimes deliberately contradicted well known European standards and dictates. Through the artists of the new states, the world was brought into an awareness of cultural expressions and aesthetics that predated the Colonial era.
Those who profited most from this newfound interest were the artists who operated in the formal institutions as teachers and researchers. Only a very few dared to work without augmenting their earning through paid employment, and that is being very optimistic: this writer knows of absolutely none among the artists of that era, who relied only on his or her art without a stake at the very least in the civil service!
In recent years, the dynamics of the African art market have been transforming. Several factors can be said to have contributed to this change, fostering a burgeoning appreciation for contemporary African art within the continent itself by daughters and “sons of the soil”. First, there is a rising, emergent middle class. The growth of a middle class across many African countries has been instrumental in this shift. As economic conditions improve, more Africans gained disposable income to invest in art and culture. Most of the new collectors are also well travelled and have been able to cultivate tastes which rise above the deficiencies of British education.
This upgrowing middle class is increasingly viewing art as a symbol of status, identity, and investment, leading to a growing domestic market for contemporary African art. Secondly, we can point to a cultural renaissance. A renewed sense of cultural pride which is now sweeping across Africa.
As nations continue to forge their post-colonial identities, there is a heightened awareness and appreciation for indigenous art forms. Something describable as a wave of self-apprehension that is unprecedented. This cultural renaissance is being championed by younger generations who are eager to connect with their heritage and that translates directly into meaningful support for the local arts across the art forms running the gamut of art, fashion, music and literature.
Institutions such as museums, galleries and cultural centres are also playing a pivotal role in nurturing and promoting art. Governments and private entities are gradually expanding their contributions by investing in the arts, recognizing their potential to enhance national identity which attracts tourism. Initiatives such as the Zeitz Museum of Contemporary Art Africa (MOCAA) in South Africa and the Dakar and Lagos Biennials in Senegal and Nigeria are just examples, showcasing African artists grand style, creating opportunities and providing much needed recognition.
There is a fairly recent, global surge of interest in African art, driven by international exhibitions and auctions. This global spotlight has spurred a reevaluation of African art’s value, imbuing local collectors with greater confidence and encouraging institutions to retain artworks within the continent. Also, the ongoing movement for the repatriation of African artifacts from Western museums is further fueling a sense of ownership and pride in African cultural heritage.
While these changes are promising, challenges remain. The infrastructure for supporting artists, particularly in rural areas, needs further development. Education and awareness campaigns are essential to cultivate a broader appreciation for contemporary art among the local populace. Additionally, creating sustainable markets and ensuring fair compensation for artists are critical steps toward a thriving art ecosystem.
The narrative is evolving. African artists no longer have to depend solely on expatriates for validation and support. With a growing local market and increased institutional backing, more African art is staying back at home, enriching the continent’s cultural tapestry and contributing to its socio-economic development. As this continues, it promises to usher in a new era where African art is celebrated and cherished within its place of origin.
HOME INSTALLATIONS
An affluent class has built stately buildings in upscale sections of the major cities which presently have to be filled with modern and contemporary art. It has evolved as the culture of the rich and powerful to have homes lined with high-pitched sculptures and walls decked with paintings. Architects also infuse ornate designs into housing concepts or yet, voluptuous provisions are made at the interiors or exteriors in which works by some of the leading artists are domiciled.
In sum, more and more art is finding habitation at home. And even though major auction houses in Europe such as Bonham’s and Sotheby’s conduct annual sales of modern and contemporary art, and in Lagos a home-grown auctioneer, Arthouse, stages a number of sales annually with expatriates employed in major industrial organizations as primary targets, internal acquisitions by a home-based elite, many of whom are collecting art for the first time, far outweigh exportation.
EMERGING INLAND ENERGIES
There is, additionally, an upsurge in privately sponsored initiatives for the promotion of the visual arts in particular by individuals who are not content with collecting the art but are also bent on promoting and motivating the artists working in the various genres. Recently, a Nigerian collector held a festival which sought to place the art and the artists in the spotlight. Miabo Enyadike knows how troubled working in the creative sector can be and so has resolved to make a mark by initiating something meaningful. The 2024 ArtMiabo International Art Festival held at the highbrow district of Victoria Island, Lagos, situated at one of its most exclusive venues, focused on sculpture and on honouring sculptors of note. This kind of event presents one of many developments which establish the fact that the ground space for art and culture is expanding. ArtMiabo held in the month of April through May. It featured an exhibition, talkshows and an award ceremony which celebrated Ben Enwonwu posthumously, also Adeola Balogun, Pius Waritimi, Dotun Popoola and Adebisi Adebayo.
The festival which also gave a substantial cash award to its awardees is determined to be a big step towards honouring artists and amplifying their voices at home, according to Chief Executive Miabo Enyadike, a recognition which previously came only from Europe and the African diaspora.