- Culled from an essay first published in The UNION Newspaper (Sunday March 9, 2014) by the same author
The business of art is a topic that is
hardly discussed or considered in corporate or investment circles in Nigeria.
This is evident of the level of unawareness that pervades our entire society.
However, it is also a fact that a depressed economy is not exactly a fertile
ground for the flowering of a robust art culture; hence it is popular knowledge
that art is mostly an elitist meal. A patron of art must have the power of
purchase as it were. But that is speaking in the formalistic sense. Suffice it
to say however that in everyday human existence there is art, and so in that
sense we all are indirectly and unconsciously involved in the patronage and
usage of art and artistic creations.
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| Dr. Nnamdi Asikiwe by Ben Enwonwu |
But the issue is that our society is
still a fledgling and so we are still grappling with the pedestrian issues of
survival and consumption culture. As a people, we wallow in a self imposed life
style of distractions, anxiety and disorientation. Among the signposts of
development and I dare say, civilisation and modern development, is the level of
artistic nay creative awareness and cultural values. By the time a conscious
awareness and orientation is built into the system by purposeful policies, it
generally rubs off on every sector of societal developmental machinery.
It is sad to say that the spirit and
power behind our great artistic heritage and civilisations of the world renowned
Igbo Ukwu, Nok, Benin and Ife cultures,
etc, were lost somewhere along the line in the course of time. The instrument
necessary for the quest for societal change and leadership thrust lie in the
letters, art, and an informed sense of aesthetics. The leadership will
necessarily employ the instrumentality of these tools in galvanising society.
Thus scientists, engineers as well as designers, and technocrats alike, etc,
are put to work by a consciously defined timeless philosophy that is built on
beauty and taste.
In the advanced climes it is normal,
and it is also a matter of policy that every public building have in its plan
and construction, provision for artistic embellishment. It is a part of the
architectural policy; it is also a part of the landscaping, and tourism policy,
for all that it matters. And these will generally include historical,
aesthetic, monumental, cultural, and economical considerations and all their
implications.
Ideally in this manner, every civic
project development ought to have a certain portion (at least one per cent of
the total budget) allocated to fund art that will be incorporated into it. A
reserve fund also should always be in place at the local council, state, or central
government authority, for the consistent fuelling of this vital ingredient for
a harmonious interior and public ambience. And the ramifications and advantages
are awesome.
Art appreciation and the value of
aesthetics as a matter of conscious policy decisions must be inculcated into
our leadership and the citizenry to birth this revolution. And by the time this
is done, we will begin to see a great attitudinal redirection and changes that
will on their own begin to fashion our existence as a civilised people and
nation.
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| Public Sculpture |
For example, artworks in public places
increase the liveability and the cultural richness of our society, especially
the urban centres. Art around us make us think, and they help to transform our
work and play environment. It is an integral part of a living and creative
society. In terms of economic value, art transforms and becomes a store of
value and therefore an item of investment.
Here, for example is the worth of an
artwork: Mona Lisa (1503-7), measuring 77x53cm – is the portrait of the wife of
a local Italian peasant painted by Leonardo da Vinci. Today it is arguably the
most important singular piece of artwork in the world, both in terms of value
as well as popularity. According to the Guinness Book of Records, Mona Lisa was
assessed for insurance purposes at $100 million in 1962, but insurance was not
concluded because the cost of the strictest security precautions was less that
of the premium. But due to our level of
development however, we are still not able to see art as an investment as is
the case in the developed world.
Again let us look at another typical
scenario: A compilation of original manuscripts, sketches and studies carefully
put together by the same artist during his life time, comprising of
architectural studies - the elements of mechanics and human anatomy are now
hungrily collected by museums and individuals. Bill Gates some years back
plunked down $30 million for the Codex Leicester, one of the documents! Thus
artworks can be valued and recognised, as well as accepted as collaterals by
banks, etc.
However, it is gratifying to recognise
that one of the leading banks in the land has started from way back in the nineteen
nineties to spearhead a visionary diversion from the albeit nonchalance of the
rest of corporate society. This organisation has a sense of perception and
vision that is beyond the rest in this sublime disposition; while in some
quarters, promoters are gradually eliciting and stepping up their game by
getting the works off the studios and galleries, and into the auction houses
both locally and even abroad.
By Morgan Nwanguma
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