Issues in Contemporary Nigerian art – a Book Launch

The much awaited book - ‘Issues in Contemporary Nigerian art’ which was conceptualised and compiled by the Nigerian Artist, Juliet Ezenwa Maja-Pearce, was finally brought to birth as artists and art buffs, including the media, were invited to be part of the unveiling in a colourful public event.

Thus practitioners of the arts in various genres made up of mainly the visual artists, writers, theatre practitioners, photographers, critics, art buffs including renowned patrons and people from the academia were all there to grace the occasion of the launch of the book 'Issues in Contemporary Nigerian Art (2000-2010)' conceived and compiled by Juliet Ezenwa Maja Pearce. The event came up at the Yemaja Art Gallery under a relaxed airy atmosphere, in Lagos on Saturday, 08 August, 2015. The book launch also included a round table discussions and debate in an event that was chaired by Dr. (Mrs.) Peju Layiwola, Head of Department of Creative Arts in University of Lagos.

Bruce Onobrakpeya – Erudite Nigerian Artist, Scholar and Print-Maker of Many Colours

He is undoubtedly Nigeria's best-documented artist; Bruce Onobrakpeya needs very little introduction in art circles both within and outside of the country. He is indeed a living legend; Bruce Onobrakpeya has devoted his life to his work, and is today regarded in some quarters as the main custodian of Urhobo folklore and culture. He never forgets his roots; he is unapologetically attached to the history, art and culture of the Urhobo people of South-South Nigeria. He tells their rich history and portrays unendingly the colourful cultures of his people in his writings, paintings and of course his major medium of expression – print-making. 

Bruce Onobrakpeya

Bruce Onobrakpeya is a founding member of the Zaria rebels; they were actually a group of young artists who formed the nucleus of the art department or the Zaria (art) School when the current Ahmadu Bello University was known as the Nigerian College of Arts, Science and Technology (NCAST). He is of course also a shining light among the first generation of academically trained artists who were responsible for the renaissance in Nigeria’s contemporary art.

 He was in the vanguard of the early league with contemporaries such as Ben Enwonwu, Yusuf Grillo, Uche Okeke, Demas Nwoko, etc. In the course of his academic and studio exploits, Onobrakpeya had pitched his tent with, and triumphed through his vision from St. Gregory's College, Lagos, where he headed the fine art department - teaching, raising and mentoring so many disciples including one of his popular protégés – David Dale, also an accomplished print-maker. 

After a memorable stint in the school which spanned a period of about thirteen years, he retired fully into his studio – Ovuomaroro Studios located in Mushin, a suburb of Lagos. Since then he has continued working assiduously extending his practice and mentoring a host of adherents through apprenticeship, extensive research, guest lecturing and writing. Through his various workshops and symposia, Bruce Onobrakpeya has influenced generations of young artists, and he is today respected and acknowledged as one of the leading print-makers in the world. 

‘Living Legends’ Portrait and Art Exhibition Honours Yakubu Gowon at 80

I am awed and greatly thrilled by the sheer idea of the ‘Living Legends’ project, especially the just concluded outing in November this year. For four hours General Yakubu Gowon (rtd) sat as a model before a mix of Nigerian artists – young, old and renowned, in one of the meeting rooms of the famous Transcorp Hilton Hotel, Abuja. This portrait session was the fourth in the episodes of ‘Living Legends’ – a series of live portrait sessions in honour of some of Nigeria’s outstanding living personalities especially having to do with the art(s). It first took off in 2008 and is fast aiming to become a global project someday soon.

This recent outing was in keeping with the high standards the organisers have always maintained since its inception; it was also apart from honouring the former military head of state for his outstanding statesmanship, and patronage and support for the arts, at the same time to celebrate the General at eighty. This awesome event was perfectly put together by the Nigerian National Petroleum Corporation (NNPC) in collaboration with Olu Ajayi Studios who are the initiators of this laudable project, and managed by Eki Eboigbe.

The past ‘legends’ to whom this kind of honour has been done include – the erudite Prof Bruce Onobrakpeya, Prof Yusuf Grillo, Omo N’Oba Nedo Uku Akpolokpolo, Erediauwa - the Oba of Benin, Prof Wole Soyinka, and Prof John Pepper Clark Bekederemo. And from the ten artists who turned up, a sizeable number of portraits in drawings and paintings were churned out while the retired General posed.  In the midst of it classical and cool jazz music filtered through from a live bandstand led by Ayo Bankole at the background to soothe the atmosphere, calming the nerves of both model and artists alike.

Issues in Modern and Contemporary Nigerian Art

In resolving the bugging issues relating to modern and contemporary Nigerian art, it is important however to note the differences as well as similarities between the terms - Modern art and Contemporary Art, and then look at them in the Nigerian context. Modern art includes artistic works produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era.

Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency toward abstraction is characteristic of much of modern art. This movement actually begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse Lautrec, all of whom were essential for the development of modern art. But Contemporary art can be defined variously as art produced at this present point in time, or art produced since World War II. The definition of the word contemporary would support the first view, but museums of contemporary art commonly define their collections as consisting of art produced since World War II.

Ceramic sculpture by Ato Arinze

According to Dr. Dele Jegede, the erosion of the traditional base of Nigerian culture through contact with Europeans had set off a metamorphosis in patronage and artistic promotion. Western education interrupted the traditional apprenticeship system. Between the 1930s and 1960s, Christianity and a new social order contributed to the genesis of a new era in Nigerian arts. The Oshogbo and Oye Ekiti workshops were important watersheds, which led to a new patronage system, along with the emergence of galleries, new opportunities for exhibitions, and government-sponsored cultural festivals. 

Print-making in Nigeria

Plastocast relief by Bruce Onobrakpeya

Modern Nigerian print-making as an art form can be dated back to the school in Zaria in the late 1950s, though here the emphasis was on print-making as a commercial medium. However, among the graduates of this programme are two of the most prominent of Nigeria's print-makers: Bruce Onobrakpeya and Solomon Irein Wangboje. While Wangboje is renowned for his wood cuts and lino prints, Onobrakpeya is world famous for his elaborate works in metal foil reliefs, plasto-cast reliefs as well as other mixed media techniques.