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#africanart — Public Fediverse posts

Live and recent posts from across the Fediverse tagged #africanart, aggregated by home.social.

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  1. Your art history post for today: by the Ìgùn Ẹ́rọ̀nwwọ̀n (brass-casting guild) artists, Nigeria, Court of Benin, Horn Player, ca. 1550–1680, brass & iron, H. 24 3/4 × 11 1/2 × 6 3/4 in. (62.9 × 29.2 × 17.2 cm), Metropolitan Museum of Art. #arthistory #art #africanart #africaart #Sculpture

    From the museum: “This figure of a court musician playing a side-blown trumpet attests to the technical virtuosity of the Benin bronze-casters. The figure's elaborately textured garment depicts the hide of a leopard, an animal associated with the power of the Oba. Similarly, the strands of coral around his neck and chest reaffirm this musician's status in the Benin court, since coral, like bronze and ivory, is a royal prerogative in Benin.”

    And a personal note: as this work was looted by the British army, it should be returned to Nigeria.

    Also from the museum: “The British invasion of the capital of the Kingdom of Benin in 1897 was part of a campaign waged from 1892 through 1902 to forcibly bring most of the inland territory of modern-day Nigeria under British rule. With the British conquest of Benin City, Oba Ovonramwen was exiled to Calabar and soldiers plundered the palace. The brutality of the removal of its contents has forever decoupled altars dedicated to each individual oba dating from 1300 to Benin’s conquest with the specific works conceived to commemorate them. Directly following the military action some 200 Benin artifacts were given to the British Museum by the Secretary of State for Foreign Affairs while others were sold on the international art market. In addition to dealers and private collectors the major clientele at this time were newly established ethnographic museums in the West. Following Ovonramwen’s death in 1913, his son Eweka II was restored to the office within a British protectorate and prioritized a renewal of artistic patronage in Benin City. Subsequent to the nineteenth century dispersal of Benin works, awareness of their extraordinary aesthetic power, beauty, and complexity profoundly influenced Black public intellectuals. Notable among these in the U.S. were W.E.B. Dubois, Alain Locke and artists from the Harlem Renaissance on. At the same time, their relegation to ethnographic museums during the colonial era continues to reflect the legacy of their forceful removal and segregation from comparable cultural achievements by Western creators.”

  2. Your art history post for today: by the Ìgùn Ẹ́rọ̀nwwọ̀n (brass-casting guild) artists, Nigeria, Court of Benin, Horn Player, ca. 1550–1680, brass & iron, H. 24 3/4 × 11 1/2 × 6 3/4 in. (62.9 × 29.2 × 17.2 cm), Metropolitan Museum of Art. #arthistory #art #africanart #africaart #Sculpture

    From the museum: “This figure of a court musician playing a side-blown trumpet attests to the technical virtuosity of the Benin bronze-casters. The figure's elaborately textured garment depicts the hide of a leopard, an animal associated with the power of the Oba. Similarly, the strands of coral around his neck and chest reaffirm this musician's status in the Benin court, since coral, like bronze and ivory, is a royal prerogative in Benin.”

    And a personal note: as this work was looted by the British army, it should be returned to Nigeria.

    Also from the museum: “The British invasion of the capital of the Kingdom of Benin in 1897 was part of a campaign waged from 1892 through 1902 to forcibly bring most of the inland territory of modern-day Nigeria under British rule. With the British conquest of Benin City, Oba Ovonramwen was exiled to Calabar and soldiers plundered the palace. The brutality of the removal of its contents has forever decoupled altars dedicated to each individual oba dating from 1300 to Benin’s conquest with the specific works conceived to commemorate them. Directly following the military action some 200 Benin artifacts were given to the British Museum by the Secretary of State for Foreign Affairs while others were sold on the international art market. In addition to dealers and private collectors the major clientele at this time were newly established ethnographic museums in the West. Following Ovonramwen’s death in 1913, his son Eweka II was restored to the office within a British protectorate and prioritized a renewal of artistic patronage in Benin City. Subsequent to the nineteenth century dispersal of Benin works, awareness of their extraordinary aesthetic power, beauty, and complexity profoundly influenced Black public intellectuals. Notable among these in the U.S. were W.E.B. Dubois, Alain Locke and artists from the Harlem Renaissance on. At the same time, their relegation to ethnographic museums during the colonial era continues to reflect the legacy of their forceful removal and segregation from comparable cultural achievements by Western creators.”

  3. Your art history post for today: by the Ìgùn Ẹ́rọ̀nwwọ̀n (brass-casting guild) artists, Nigeria, Court of Benin, Horn Player, ca. 1550–1680, brass & iron, H. 24 3/4 × 11 1/2 × 6 3/4 in. (62.9 × 29.2 × 17.2 cm), Metropolitan Museum of Art. #arthistory #art #africanart #africaart #Sculpture

    From the museum: “This figure of a court musician playing a side-blown trumpet attests to the technical virtuosity of the Benin bronze-casters. The figure's elaborately textured garment depicts the hide of a leopard, an animal associated with the power of the Oba. Similarly, the strands of coral around his neck and chest reaffirm this musician's status in the Benin court, since coral, like bronze and ivory, is a royal prerogative in Benin.”

    And a personal note: as this work was looted by the British army, it should be returned to Nigeria.

    Also from the museum: “The British invasion of the capital of the Kingdom of Benin in 1897 was part of a campaign waged from 1892 through 1902 to forcibly bring most of the inland territory of modern-day Nigeria under British rule. With the British conquest of Benin City, Oba Ovonramwen was exiled to Calabar and soldiers plundered the palace. The brutality of the removal of its contents has forever decoupled altars dedicated to each individual oba dating from 1300 to Benin’s conquest with the specific works conceived to commemorate them. Directly following the military action some 200 Benin artifacts were given to the British Museum by the Secretary of State for Foreign Affairs while others were sold on the international art market. In addition to dealers and private collectors the major clientele at this time were newly established ethnographic museums in the West. Following Ovonramwen’s death in 1913, his son Eweka II was restored to the office within a British protectorate and prioritized a renewal of artistic patronage in Benin City. Subsequent to the nineteenth century dispersal of Benin works, awareness of their extraordinary aesthetic power, beauty, and complexity profoundly influenced Black public intellectuals. Notable among these in the U.S. were W.E.B. Dubois, Alain Locke and artists from the Harlem Renaissance on. At the same time, their relegation to ethnographic museums during the colonial era continues to reflect the legacy of their forceful removal and segregation from comparable cultural achievements by Western creators.”

  4. Your art history post for today: by the Ìgùn Ẹ́rọ̀nwwọ̀n (brass-casting guild) artists, Nigeria, Court of Benin, Horn Player, ca. 1550–1680, brass & iron, H. 24 3/4 × 11 1/2 × 6 3/4 in. (62.9 × 29.2 × 17.2 cm), Metropolitan Museum of Art. #arthistory #art #africanart #africaart #Sculpture

    From the museum: “This figure of a court musician playing a side-blown trumpet attests to the technical virtuosity of the Benin bronze-casters. The figure's elaborately textured garment depicts the hide of a leopard, an animal associated with the power of the Oba. Similarly, the strands of coral around his neck and chest reaffirm this musician's status in the Benin court, since coral, like bronze and ivory, is a royal prerogative in Benin.”

    And a personal note: as this work was looted by the British army, it should be returned to Nigeria.

    Also from the museum: “The British invasion of the capital of the Kingdom of Benin in 1897 was part of a campaign waged from 1892 through 1902 to forcibly bring most of the inland territory of modern-day Nigeria under British rule. With the British conquest of Benin City, Oba Ovonramwen was exiled to Calabar and soldiers plundered the palace. The brutality of the removal of its contents has forever decoupled altars dedicated to each individual oba dating from 1300 to Benin’s conquest with the specific works conceived to commemorate them. Directly following the military action some 200 Benin artifacts were given to the British Museum by the Secretary of State for Foreign Affairs while others were sold on the international art market. In addition to dealers and private collectors the major clientele at this time were newly established ethnographic museums in the West. Following Ovonramwen’s death in 1913, his son Eweka II was restored to the office within a British protectorate and prioritized a renewal of artistic patronage in Benin City. Subsequent to the nineteenth century dispersal of Benin works, awareness of their extraordinary aesthetic power, beauty, and complexity profoundly influenced Black public intellectuals. Notable among these in the U.S. were W.E.B. Dubois, Alain Locke and artists from the Harlem Renaissance on. At the same time, their relegation to ethnographic museums during the colonial era continues to reflect the legacy of their forceful removal and segregation from comparable cultural achievements by Western creators.”

  5. Your art history post for today: by the Ìgùn Ẹ́rọ̀nwwọ̀n (brass-casting guild) artists, Nigeria, Court of Benin, Horn Player, ca. 1550–1680, brass & iron, H. 24 3/4 × 11 1/2 × 6 3/4 in. (62.9 × 29.2 × 17.2 cm), Metropolitan Museum of Art. #arthistory #art #africanart #africaart #Sculpture

    From the museum: “This figure of a court musician playing a side-blown trumpet attests to the technical virtuosity of the Benin bronze-casters. The figure's elaborately textured garment depicts the hide of a leopard, an animal associated with the power of the Oba. Similarly, the strands of coral around his neck and chest reaffirm this musician's status in the Benin court, since coral, like bronze and ivory, is a royal prerogative in Benin.”

    And a personal note: as this work was looted by the British army, it should be returned to Nigeria.

    Also from the museum: “The British invasion of the capital of the Kingdom of Benin in 1897 was part of a campaign waged from 1892 through 1902 to forcibly bring most of the inland territory of modern-day Nigeria under British rule. With the British conquest of Benin City, Oba Ovonramwen was exiled to Calabar and soldiers plundered the palace. The brutality of the removal of its contents has forever decoupled altars dedicated to each individual oba dating from 1300 to Benin’s conquest with the specific works conceived to commemorate them. Directly following the military action some 200 Benin artifacts were given to the British Museum by the Secretary of State for Foreign Affairs while others were sold on the international art market. In addition to dealers and private collectors the major clientele at this time were newly established ethnographic museums in the West. Following Ovonramwen’s death in 1913, his son Eweka II was restored to the office within a British protectorate and prioritized a renewal of artistic patronage in Benin City. Subsequent to the nineteenth century dispersal of Benin works, awareness of their extraordinary aesthetic power, beauty, and complexity profoundly influenced Black public intellectuals. Notable among these in the U.S. were W.E.B. Dubois, Alain Locke and artists from the Harlem Renaissance on. At the same time, their relegation to ethnographic museums during the colonial era continues to reflect the legacy of their forceful removal and segregation from comparable cultural achievements by Western creators.”

  6. By Nigerian artist Tosin Oyeniyi (born 1987), “Hold on 2,” mixed media and acrylic on canvas. #printmaking #linocut #linocutprint #linoleumblockprint #africanart

    From the artist’s About Me on Etsy (link in comments): “I’m a self-taught Nigerian printmaker creating hand-carved, large-scale reduction linocuts on canvas from Ibadan, Nigeria. My work blends naturalism with post-expressionism to share African beauty, culture, and real Black stories with the world — one painstaking layer at a time… My art preserves, protects, and projects African culture globally. It heals wounds, calls out injustice, celebrates our legends, and speaks for the poor, the African woman, the out-of-school child, and the homeless. It’s rooted in love, dignity, patience, bravery, and industry. From portraits and landscapes to abstracts and seascapes, every print carries history, hope, and humanity.”

    His Instagram: instagram.com/tosinoyeniyi_/?h

  7. By Nigerian artist Tosin Oyeniyi (born 1987), “Hold on 2,” mixed media and acrylic on canvas. #printmaking #linocut #linocutprint #linoleumblockprint #africanart

    From the artist’s About Me on Etsy (link in comments): “I’m a self-taught Nigerian printmaker creating hand-carved, large-scale reduction linocuts on canvas from Ibadan, Nigeria. My work blends naturalism with post-expressionism to share African beauty, culture, and real Black stories with the world — one painstaking layer at a time… My art preserves, protects, and projects African culture globally. It heals wounds, calls out injustice, celebrates our legends, and speaks for the poor, the African woman, the out-of-school child, and the homeless. It’s rooted in love, dignity, patience, bravery, and industry. From portraits and landscapes to abstracts and seascapes, every print carries history, hope, and humanity.”

    His Instagram: instagram.com/tosinoyeniyi_/?h

  8. By Nigerian artist Tosin Oyeniyi (born 1987), “Hold on 2,” mixed media and acrylic on canvas. #printmaking #linocut #linocutprint #linoleumblockprint #africanart

    From the artist’s About Me on Etsy (link in comments): “I’m a self-taught Nigerian printmaker creating hand-carved, large-scale reduction linocuts on canvas from Ibadan, Nigeria. My work blends naturalism with post-expressionism to share African beauty, culture, and real Black stories with the world — one painstaking layer at a time… My art preserves, protects, and projects African culture globally. It heals wounds, calls out injustice, celebrates our legends, and speaks for the poor, the African woman, the out-of-school child, and the homeless. It’s rooted in love, dignity, patience, bravery, and industry. From portraits and landscapes to abstracts and seascapes, every print carries history, hope, and humanity.”

    His Instagram: instagram.com/tosinoyeniyi_/?h

  9. By Nigerian artist Tosin Oyeniyi (born 1987), “Hold on 2,” mixed media and acrylic on canvas. #printmaking #linocut #linocutprint #linoleumblockprint #africanart

    From the artist’s About Me on Etsy (link in comments): “I’m a self-taught Nigerian printmaker creating hand-carved, large-scale reduction linocuts on canvas from Ibadan, Nigeria. My work blends naturalism with post-expressionism to share African beauty, culture, and real Black stories with the world — one painstaking layer at a time… My art preserves, protects, and projects African culture globally. It heals wounds, calls out injustice, celebrates our legends, and speaks for the poor, the African woman, the out-of-school child, and the homeless. It’s rooted in love, dignity, patience, bravery, and industry. From portraits and landscapes to abstracts and seascapes, every print carries history, hope, and humanity.”

    His Instagram: instagram.com/tosinoyeniyi_/?h

  10. By Nigerian artist Tosin Oyeniyi (born 1987), “Hold on 2,” mixed media and acrylic on canvas. #printmaking #linocut #linocutprint #linoleumblockprint #africanart

    From the artist’s About Me on Etsy (link in comments): “I’m a self-taught Nigerian printmaker creating hand-carved, large-scale reduction linocuts on canvas from Ibadan, Nigeria. My work blends naturalism with post-expressionism to share African beauty, culture, and real Black stories with the world — one painstaking layer at a time… My art preserves, protects, and projects African culture globally. It heals wounds, calls out injustice, celebrates our legends, and speaks for the poor, the African woman, the out-of-school child, and the homeless. It’s rooted in love, dignity, patience, bravery, and industry. From portraits and landscapes to abstracts and seascapes, every print carries history, hope, and humanity.”

    His Instagram: instagram.com/tosinoyeniyi_/?h

  11. AUTUMN COLLECTION : ZAMBIAN INSPIRED

    Textures and light interaction in this portrait on a dusty street.
    The geometric patterns are the focal point and are based on traditional fabric from Zambia.

    #streetphotography #digitalart #patternonpattern #AfricanArt #AIart #lovefromlondon #aiイラスト

  12. AUTUMN COLLECTION : ZAMBIAN INSPIRED

    Textures and light interaction in this portrait on a dusty street.
    The geometric patterns are the focal point and are based on traditional fabric from Zambia.

    #streetphotography #digitalart #patternonpattern #AfricanArt #AIart #lovefromlondon #aiイラスト

  13. 📰 Today's top stories, personally curated for you by Zorz Studios: zorz.it/newspaper

    - Do you own the #images from your #SecondShooter?
    - 11 beginner #DroneMistakes that can cost you more than a #crash;
    - How to stop second-guessing every #WeddingDecision;
    - Alpine nostalgia: the #ProofTahr fleece #jacket;
    - #MoMA to present major survey of post-colonial #AfricanArt in 2027, and more

    #ZoracleDaily #newspaper

  14. 📰 Today's top stories, personally curated for you by Zorz Studios: zorz.it/newspaper

    - Do you own the #images from your #SecondShooter?
    - 11 beginner #DroneMistakes that can cost you more than a #crash;
    - How to stop second-guessing every #WeddingDecision;
    - Alpine nostalgia: the #ProofTahr fleece #jacket;
    - #MoMA to present major survey of post-colonial #AfricanArt in 2027, and more

    #ZoracleDaily #newspaper

  15. 📰 Today's top stories, personally curated for you by Zorz Studios: zorz.it/newspaper

    - Do you own the #images from your #SecondShooter?
    - 11 beginner #DroneMistakes that can cost you more than a #crash;
    - How to stop second-guessing every #WeddingDecision;
    - Alpine nostalgia: the #ProofTahr fleece #jacket;
    - #MoMA to present major survey of post-colonial #AfricanArt in 2027, and more

    #ZoracleDaily #newspaper

  16. 📰 Today's top stories, personally curated for you by Zorz Studios: zorz.it/newspaper

    - Do you own the #images from your #SecondShooter?
    - 11 beginner #DroneMistakes that can cost you more than a #crash;
    - How to stop second-guessing every #WeddingDecision;
    - Alpine nostalgia: the #ProofTahr fleece #jacket;
    - #MoMA to present major survey of post-colonial #AfricanArt in 2027, and more

    #ZoracleDaily #newspaper

  17. 📰 Today's top stories, personally curated for you by Zorz Studios: zorz.it/newspaper

    - Do you own the #images from your #SecondShooter?
    - 11 beginner #DroneMistakes that can cost you more than a #crash;
    - How to stop second-guessing every #WeddingDecision;
    - Alpine nostalgia: the #ProofTahr fleece #jacket;
    - #MoMA to present major survey of post-colonial #AfricanArt in 2027, and more

    #ZoracleDaily #newspaper

  18. Cape Town is hosting a symposium tomorrow around art, resistance, memory and music.

    I like when a museum stops pretending art lives outside history.

    zeitzmocaa.museum/exhibition/s...

    #AfricanArt

    Symposium: Spring Is Rebelliou...

  19. Dakar makes me think about cities as cultural instruments.

    Music, fashion, photography, street life and visual art constantly feed each other.

    Scenes become interesting when nobody worries too much about keeping disciplines separate.

    #Senegal #AfricanArt #Culture

  20. Statues Also Breathe involves 108 students and turns sculpture into something collective.

    I like that. Art education becomes much more interesting when students actually become part of the work.

    MACAAL Marrakech

    #Morocco #AfricanArt #Sculpture

  21. Statues Also Breathe involves 108 students and turns sculpture into something collective.

    I like that. Art education becomes much more interesting when students actually become part of the work.

    MACAAL Marrakech

    #Morocco #AfricanArt #Sculpture

  22. Statues Also Breathe involves 108 students and turns sculpture into something collective.

    I like that. Art education becomes much more interesting when students actually become part of the work.

    MACAAL Marrakech

    #Morocco #AfricanArt #Sculpture

  23. Statues Also Breathe involves 108 students and turns sculpture into something collective.

    I like that. Art education becomes much more interesting when students actually become part of the work.

    MACAAL Marrakech

    #Morocco #AfricanArt #Sculpture

  24. Statues Also Breathe involves 108 students and turns sculpture into something collective.

    I like that. Art education becomes much more interesting when students actually become part of the work.

    MACAAL Marrakech

    #Morocco #AfricanArt #Sculpture

  25. Gabriel Selassie Tsagli’s Son of Kafui in Accra is about memory, family and return.

    What interests me is how personal history can become something a stranger still recognizes.

    www.gallery1957.com/exhibitions/...

    #Ghana #AfricanArt

    Gabriel Selassie Tsagli - Son ...

  26. MACAAL in Marrakech is showing Seven Contours, One Collection.

    I like exhibitions built around ideas rather than chronology. Art history becomes much less tidy, and usually much more interesting.

    www.macaal.org/en/collection

    #Morocco #AfricanArt

    MACAAL | Permanent Exhibition

  27. I came across Birhane Worede’s Gestures of Presence in Nairobi. What interests me is the title itself: sometimes simply being present, physically and emotionally, is already enough material for art.

    circleartagency.com/exhibitions/

    #Nairobi #AfricanArt

    Exhibitions

  28. Dear followers, do you prefer my updated cover photo over the past one? Tell me to know if there is a need to make a change. Hit me up about your preference. I think this one is cool; it is art history and strength.

    #ArtHistory #IvoryMask #EdoArt #CoverPhoto #Feedback #CulturalStrength #AfricanArt #NewProfilePhoto

  29. Dear followers, do you prefer my updated cover photo over the past one? Tell me to know if there is a need to make a change. Hit me up about your preference. I think this one is cool; it is art history and strength.

    #ArtHistory #IvoryMask #EdoArt #CoverPhoto #Feedback #CulturalStrength #AfricanArt #NewProfilePhoto

  30. Dear followers, do you prefer my updated cover photo over the past one? Tell me to know if there is a need to make a change. Hit me up about your preference. I think this one is cool; it is art history and strength.

    #ArtHistory #IvoryMask #EdoArt #CoverPhoto #Feedback #CulturalStrength #AfricanArt #NewProfilePhoto

  31. Dear followers, do you prefer my updated cover photo over the past one? Tell me to know if there is a need to make a change. Hit me up about your preference. I think this one is cool; it is art history and strength.

    #ArtHistory #IvoryMask #EdoArt #CoverPhoto #Feedback #CulturalStrength #AfricanArt #NewProfilePhoto

  32. I’m curious about Matereality V2 in Cape Town. Soil, timber, wire, sugar and discarded objects become artistic material.

    I like art that makes ordinary matter feel worth looking at again.

    www.iziko.org.za

    #AfricanArt #Sculpture

    Iziko Museums

  33. I’m curious about Matereality V2 in Cape Town. Soil, timber, wire, sugar and discarded objects become artistic material.

    I like art that makes ordinary matter feel worth looking at again.

    www.iziko.org.za

    #AfricanArt #Sculpture

    Iziko Museums

  34. I’m curious about Matereality V2 in Cape Town. Soil, timber, wire, sugar and discarded objects become artistic material.

    I like art that makes ordinary matter feel worth looking at again.

    www.iziko.org.za

    #AfricanArt #Sculpture

    Iziko Museums

  35. I’m curious about Matereality V2 in Cape Town. Soil, timber, wire, sugar and discarded objects become artistic material.

    I like art that makes ordinary matter feel worth looking at again.

    www.iziko.org.za

    #AfricanArt #Sculpture

    Iziko Museums

  36. I’m curious about Matereality V2 in Cape Town. Soil, timber, wire, sugar and discarded objects become artistic material.

    I like art that makes ordinary matter feel worth looking at again.

    www.iziko.org.za

    #AfricanArt #Sculpture

    Iziko Museums

  37. I like that RAW Material Company in Dakar treats art, film, architecture, literature and ideas as part of the same conversation.

    Culture becomes much more interesting when the borders disappear.

    www.rawmaterialcompany.org

    #Senegal #AfricanArt

    rawmaterialcompany.org

  38. Portia Zvavahera’s paintings feel intensely personal without becoming easy to explain.

    That’s probably why I keep looking at them. Some art works better before you’ve found the words for it.

    www.norvalfoundation.org/exhibitions/

    #AfricanArt #Painting

    Exhibitions - Norval Foundatio...

  39. Portia Zvavahera’s paintings feel intensely personal without becoming easy to explain.

    That’s probably why I keep looking at them. Some art works better before you’ve found the words for it.

    www.norvalfoundation.org/exhibitions/

    #AfricanArt #Painting

    Exhibitions - Norval Foundatio...

  40. Portia Zvavahera’s paintings feel intensely personal without becoming easy to explain.

    That’s probably why I keep looking at them. Some art works better before you’ve found the words for it.

    www.norvalfoundation.org/exhibitions/

    #AfricanArt #Painting

    Exhibitions - Norval Foundatio...

  41. Portia Zvavahera’s paintings feel intensely personal without becoming easy to explain.

    That’s probably why I keep looking at them. Some art works better before you’ve found the words for it.

    www.norvalfoundation.org/exhibitions/

    #AfricanArt #Painting

    Exhibitions - Norval Foundatio...

  42. Portia Zvavahera’s paintings feel intensely personal without becoming easy to explain.

    That’s probably why I keep looking at them. Some art works better before you’ve found the words for it.

    www.norvalfoundation.org/exhibitions/

    #AfricanArt #Painting

    Exhibitions - Norval Foundatio...

  43. Homeward Bound at Zeitz MOCAA gives young South African artists a museum platform before their careers have even properly begun.

    Museums shouldn’t only preserve established names. They can help create the next ones.

    zeitzmocaa.museum/exhibition/h...

    #AfricanArt #YoungArtists

    Homeward Bound: 2026 Matric Ex...

  44. Spring Is Rebellious at Zeitz MOCAA connects art with the political histories of South Africa and Mozambique.

    Art doesn’t always sit beside history. Sometimes it becomes one of the ways history survives.

    zeitzmocaa.museum/exhibition/s...

    #AfricanArt #ArtHistory

    zeitzmocaa.museum/exhibition/spr...

  45. Spring Is Rebellious at Zeitz MOCAA connects art with the political histories of South Africa and Mozambique.

    Art doesn’t always sit beside history. Sometimes it becomes one of the ways history survives.

    zeitzmocaa.museum/exhibition/s...

    #AfricanArt #ArtHistory

    zeitzmocaa.museum/exhibition/spr...

  46. Spring Is Rebellious at Zeitz MOCAA connects art with the political histories of South Africa and Mozambique.

    Art doesn’t always sit beside history. Sometimes it becomes one of the ways history survives.

    zeitzmocaa.museum/exhibition/s...

    #AfricanArt #ArtHistory

    zeitzmocaa.museum/exhibition/spr...

  47. Spring Is Rebellious at Zeitz MOCAA connects art with the political histories of South Africa and Mozambique.

    Art doesn’t always sit beside history. Sometimes it becomes one of the ways history survives.

    zeitzmocaa.museum/exhibition/s...

    #AfricanArt #ArtHistory

    zeitzmocaa.museum/exhibition/spr...

  48. Spring Is Rebellious at Zeitz MOCAA connects art with the political histories of South Africa and Mozambique.

    Art doesn’t always sit beside history. Sometimes it becomes one of the ways history survives.

    zeitzmocaa.museum/exhibition/s...

    #AfricanArt #ArtHistory

    zeitzmocaa.museum/exhibition/spr...

  49. Zohra Opoku combines photography, printmaking, embroidery and sculpture around memory and identity.

    That mix makes memory feel less like an archive and more like something constantly rebuilt.

    zeitzmocaa.museum

    #AfricanArt #Photography

    Zeitz MOCAA - Museum of Contem...

  50. By Nigerian artist Ben Enwonwu (1917-1994), “Man and Masks – A Mirage,” 1982, oil on canvas, 90.5 x 64.2cm (35⅝ x 25¼ inches), photo: Sotheby’s London, March 2023. #art #painting #oilpainting #africanart

    Excerpts from the catalogue note: “Man and Masks - A Mirage is a noble depiction of Chief Shafi Lawal Edu (1911–2002), a renowned Lagos businessman and conservationist, of royal ancestry…

    Ben Enwonwu was a pioneer of African modernism. Born in Onitsha in southern Nigeria, he studied fine arts at the Government College in 1934, before receiving a scholarship to study in the UK in 1944, where he attended Goldsmiths College and the Slade School of Fine Arts. During this time, he engaged with the international art world, studying modern European art movements such as Symbolism and Fauvism. In 1946, he exhibited alongside prominent European modernists at the Musée d'Art Moderne in Paris, where he briefly shared a studio with the South African artist Gerard Sekoto.

    On his return to Nigeria in 1948, Enwonwu became Artist Adviser to the Federal Government. Among his many accolades, Enwonwu was awarded an MBE in 1955 by Queen Elizabeth II, and the following year he became the first African artist to receive a royal commission when Her Majesty sat for a large bronze sculpture, now at the entrance to the Parliament Buildings in Lagos. By 1982, when the present lot was painted, Enwonwu was internationally recognised as Nigeria's premier artist. A well-connected and ambitious artist, Enwonwu produced numerous portraits depicting various members of Nigeria's intelligentsia, including members of traditional royal courts. The present lot is an exceptional example of such work.“

  51. By Nigerian artist Ben Enwonwu (1917-1994), “Man and Masks – A Mirage,” 1982, oil on canvas, 90.5 x 64.2cm (35⅝ x 25¼ inches), photo: Sotheby’s London, March 2023. #art #painting #oilpainting #africanart

    Excerpts from the catalogue note: “Man and Masks - A Mirage is a noble depiction of Chief Shafi Lawal Edu (1911–2002), a renowned Lagos businessman and conservationist, of royal ancestry…

    Ben Enwonwu was a pioneer of African modernism. Born in Onitsha in southern Nigeria, he studied fine arts at the Government College in 1934, before receiving a scholarship to study in the UK in 1944, where he attended Goldsmiths College and the Slade School of Fine Arts. During this time, he engaged with the international art world, studying modern European art movements such as Symbolism and Fauvism. In 1946, he exhibited alongside prominent European modernists at the Musée d'Art Moderne in Paris, where he briefly shared a studio with the South African artist Gerard Sekoto.

    On his return to Nigeria in 1948, Enwonwu became Artist Adviser to the Federal Government. Among his many accolades, Enwonwu was awarded an MBE in 1955 by Queen Elizabeth II, and the following year he became the first African artist to receive a royal commission when Her Majesty sat for a large bronze sculpture, now at the entrance to the Parliament Buildings in Lagos. By 1982, when the present lot was painted, Enwonwu was internationally recognised as Nigeria's premier artist. A well-connected and ambitious artist, Enwonwu produced numerous portraits depicting various members of Nigeria's intelligentsia, including members of traditional royal courts. The present lot is an exceptional example of such work.“

  52. By Nigerian artist Ben Enwonwu (1917-1994), “Man and Masks – A Mirage,” 1982, oil on canvas, 90.5 x 64.2cm (35⅝ x 25¼ inches), photo: Sotheby’s London, March 2023. #art #painting #oilpainting #africanart

    Excerpts from the catalogue note: “Man and Masks - A Mirage is a noble depiction of Chief Shafi Lawal Edu (1911–2002), a renowned Lagos businessman and conservationist, of royal ancestry…

    Ben Enwonwu was a pioneer of African modernism. Born in Onitsha in southern Nigeria, he studied fine arts at the Government College in 1934, before receiving a scholarship to study in the UK in 1944, where he attended Goldsmiths College and the Slade School of Fine Arts. During this time, he engaged with the international art world, studying modern European art movements such as Symbolism and Fauvism. In 1946, he exhibited alongside prominent European modernists at the Musée d'Art Moderne in Paris, where he briefly shared a studio with the South African artist Gerard Sekoto.

    On his return to Nigeria in 1948, Enwonwu became Artist Adviser to the Federal Government. Among his many accolades, Enwonwu was awarded an MBE in 1955 by Queen Elizabeth II, and the following year he became the first African artist to receive a royal commission when Her Majesty sat for a large bronze sculpture, now at the entrance to the Parliament Buildings in Lagos. By 1982, when the present lot was painted, Enwonwu was internationally recognised as Nigeria's premier artist. A well-connected and ambitious artist, Enwonwu produced numerous portraits depicting various members of Nigeria's intelligentsia, including members of traditional royal courts. The present lot is an exceptional example of such work.“

  53. By Nigerian artist Ben Enwonwu (1917-1994), “Man and Masks – A Mirage,” 1982, oil on canvas, 90.5 x 64.2cm (35⅝ x 25¼ inches), photo: Sotheby’s London, March 2023. #art #painting #oilpainting #africanart

    Excerpts from the catalogue note: “Man and Masks - A Mirage is a noble depiction of Chief Shafi Lawal Edu (1911–2002), a renowned Lagos businessman and conservationist, of royal ancestry…

    Ben Enwonwu was a pioneer of African modernism. Born in Onitsha in southern Nigeria, he studied fine arts at the Government College in 1934, before receiving a scholarship to study in the UK in 1944, where he attended Goldsmiths College and the Slade School of Fine Arts. During this time, he engaged with the international art world, studying modern European art movements such as Symbolism and Fauvism. In 1946, he exhibited alongside prominent European modernists at the Musée d'Art Moderne in Paris, where he briefly shared a studio with the South African artist Gerard Sekoto.

    On his return to Nigeria in 1948, Enwonwu became Artist Adviser to the Federal Government. Among his many accolades, Enwonwu was awarded an MBE in 1955 by Queen Elizabeth II, and the following year he became the first African artist to receive a royal commission when Her Majesty sat for a large bronze sculpture, now at the entrance to the Parliament Buildings in Lagos. By 1982, when the present lot was painted, Enwonwu was internationally recognised as Nigeria's premier artist. A well-connected and ambitious artist, Enwonwu produced numerous portraits depicting various members of Nigeria's intelligentsia, including members of traditional royal courts. The present lot is an exceptional example of such work.“

  54. By Nigerian artist Ben Enwonwu (1917-1994), “Man and Masks – A Mirage,” 1982, oil on canvas, 90.5 x 64.2cm (35⅝ x 25¼ inches), photo: Sotheby’s London, March 2023. #art #painting #oilpainting #africanart

    Excerpts from the catalogue note: “Man and Masks - A Mirage is a noble depiction of Chief Shafi Lawal Edu (1911–2002), a renowned Lagos businessman and conservationist, of royal ancestry…

    Ben Enwonwu was a pioneer of African modernism. Born in Onitsha in southern Nigeria, he studied fine arts at the Government College in 1934, before receiving a scholarship to study in the UK in 1944, where he attended Goldsmiths College and the Slade School of Fine Arts. During this time, he engaged with the international art world, studying modern European art movements such as Symbolism and Fauvism. In 1946, he exhibited alongside prominent European modernists at the Musée d'Art Moderne in Paris, where he briefly shared a studio with the South African artist Gerard Sekoto.

    On his return to Nigeria in 1948, Enwonwu became Artist Adviser to the Federal Government. Among his many accolades, Enwonwu was awarded an MBE in 1955 by Queen Elizabeth II, and the following year he became the first African artist to receive a royal commission when Her Majesty sat for a large bronze sculpture, now at the entrance to the Parliament Buildings in Lagos. By 1982, when the present lot was painted, Enwonwu was internationally recognised as Nigeria's premier artist. A well-connected and ambitious artist, Enwonwu produced numerous portraits depicting various members of Nigeria's intelligentsia, including members of traditional royal courts. The present lot is an exceptional example of such work.“

  55. Theresa Musoke (b.1945)

    Theresa Musoke (b.1945) is a Ugandan-Kenyan painter and visual artist most well known for her experimentational and expressive depictions of Kenyan wildlife and women's experiences in African. via W #PalianSHOW

    palianshow.wordpress.com/2026/

  56. Theresa Musoke (b.1945)

    Theresa Musoke (b.1945) is a Ugandan-Kenyan painter and visual artist most well known for her experimentational and expressive depictions of Kenyan wildlife and women's experiences in African. via W #PalianSHOW

    palianshow.wordpress.com/2026/