Art News Africa – Critical evaluation of an artist’s work within a reasonable period of time reinforces such artist’s market value, which is why norms have depressed the psyche of art disciples for centuries.
Untitled, a 1982 oil, acrylic and spray paint work by Jean-Michel Basquiat, The Bridge cost $110.5m (£85m).
Art News Africa
From the record sale of a painting by the late Expressionist painter Jean-Michel Basquiat; Njideka Akunyili Crosby to Crosby’s Magical Increase in the Market Value of Art; In a display of more than 78 lots sold in Sotheby’s first art auction of modern and contemporary African art, the dynamics of the art market revealed the feared fragility of most African-based artists.
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For artists of African descent, these three separate sales offer a possible classification of who is selling what, not necessarily based on critical judgment. Except for Ghana and El Anatsui, it seemed that the artistic value of most African artists living at home was not isolated from the geographical barriers that ensured the exercise of great talent outside the powerful economies of Europe and the United States.
Anyone who believes that art is the only way in which African-based creative professionals can achieve skills at a fair or similar level to their counterparts anywhere in the world should reconsider this argument. That may be illusory, as three sales in the past few months suggest. Indeed, the African artist does not need the sophisticated equipment that African athletes, scientists and other professionals who flock to the West to hone their skills. Art, like all other creative products, is intellectually driven.
Critical appraisal of an artist’s work within a reasonable period of time reinforces the artist’s market value, which is why norms have frustrated the psyche of art students for centuries. excellent; Agreed Since 1988, when Basquiat died aged 27, his works have generated much-needed critical appraisal power, recently fetching $110.5m (£85m) in New York. Yes, industry is quite consistent with market theory. But as much as Akunyili’s phenomenal and magical rise is a joy for Africans, it is a cause for concern for some of us. Less than five years after the competition that exposed his work, Akunyili can be a case study in the unprecedented market value of art.
London, Uk. 08th Oct, 2020. Works By Ajab Ategwa In The Jack Bell Gallery
No news of him doing it again. He violated tradition. Akunyili, b. In 1983, a new auction was recorded by his 2012 work The Beautiful Ones, which sold for £2.1 million (hammer price) or £2.5 million ($3.1 million).
The unprecedented increase in sales volume of Akunyili’s work in the context of the real art market of any artist in the African diaspora will have art enthusiasts, enthusiasts and others scratching their heads for quite some time. When the artist’s presence came up in discussions with a close associate of the Victoria Miro gallery at the UAE’s latest Art Dubai, it was revealed that the gallery had been “embarrassed” by the magical rise of her work at auction.
In 2014, the Smithsonian American Art Museum announced Akunyili as the 2014 winner of its James Dickey Contemporary Artist Award. The jury rated his paintings as “bold but intimate” but described the works as “visually, conceptually and technically among the most exciting works today”. He was the 11th winner of the $25,000 prize, which is dedicated to an artist under the age of 50.
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More than two months after Akunyili achieved a record £2.1 million at the aforementioned auction in London, 80 combined modern and contemporary artists realized £2,794,750 (about $3,600,000) for 79 lots out of 116 total sales. Appears for sale, same city.
I think the emerging African art market is showing signs of an inexplicable dimension to the art world in general. This is a fragile prospect for practicing African artists from the continent.
Basquiat, who died in 1988, was an artist for only seven years of his life. Reaching the $100 million mark, Basquiat now holds the record for the most expensive auction for any US artist.
Peter Pharoah South African Fine Artist
“Untitled”, 1982 oil on canvas, acrylic and spray paint work. The painting depicts a face shaped like a skull.
In what appears to be a new dawn for the African art market, the indicators clearly do not favor outlets and artists with no connection to European or American promotion or representation. Another Akunyili is unlikely to emerge from artists sold at auction in London or among others whose work already has a known value in Africa. For example, it is an uphill battle for every strong art gallery in Europe to represent an artist whose market value is already below expectations. For example, it is doubtful that Miro would have pushed Akunyili when he already had a market value in some parts of Africa.
African-based art galleries and auction houses should expand their reach to European and American markets because of their influence and challenges. Art should not end like football; Artists all over the world have the same potential, sports professionals don’t. It is understandable why footballers playing in Africa cannot produce the skills of Cristiano Ronaldo or Nwanko Kanu. But I don’t think that Basquiat’s paintings and his work in general are beyond the reach of an African artist making them and giving them the necessary critical scrutiny. The difference lies in being considered the real force that drives the world of industrial markets. African art stores will drop out of the perception game if the business doesn’t change.
Somerset House, London, Uk. 14th Oct, 2021. Gallery Staff Pose With Anjel’s Things Fall Apart, 2001, Auto Africa Gallery. 1 54 Is The Leading International Art Fair Dedicated To Contemporary Art From Africa
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The House of Representatives has accused the chairman of the ruling All Progressives Congress (APC), Sen. Abdullahi Adamu, of his hostile attitude towards the election of principal officers of the National Assembly. The Nigerian art scene is home to some of the most prominent African artists of our time with the rich legacy of Ben Nwonwu, Uche Okeke and Bruce Onobrakpeya, Peju Altis and many more. But today it has names like Ura-Natasha Ogunji, Victor Ehikhamenore, Nengi Omuko, Alimi Adewale and Madupeola Fadugba inspired and collected by art lovers around the world.
Modern and contemporary Nigerian art is full of passion, humor, opinion, energy and diversity. Learn about this and more in this podcast series.
In this first episode, host Jonas Schwarz meets Losten Ura-Natasha Ogunji. Tucked away in a peaceful compound in Ikoyi, Lagos, Jonas visits Ura at her studio and private residence. Her space is clean and concise with bright colors and large windows. They sit in his living room and talk about his practice and work. He talks about traveling, attending courses and wanting to do beautiful things.
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In large-scale paintings, intricately stitched drawings on architectural tracing paper and videos, Ura explores history, memory and space.
Ura is a heavyweight in the Nigerian art scene. Ogunji often uses her own body to explore, for example, homeland in Lagos, Nigeria, identity and women’s presence in public space.
Music courtesy of Pixabay and theme song “Start Again” by Nigerian singer-songwriter Falana. Sculpture by Alimi Adewale on the cover of the podcast.
Uc Davis College Of Letters And Science
Aziza Sunny is the Managing Director of Art News Africa. He is a graduate of Middlesex University, Mauritius and Monash, South Africa. For information/query you can contact him at mail@ In 1999, Ntombephi “Induna” Ntobela and Bev Gibson, with a traditional education and later a Western education, formed the Ubuhle (oo-buk-lay) collective on a former sugar plantation they called the “Little Farm” of the South. Africa. There, Zulu and Xhosa women from the Eastern Cape and KwaZulu-Natal provinces shape and market generations-old beadwork traditions into a modern expression called ndwango or “cloth”. Ubuhle means “beauty” and indeed, both the souls of these women and their artistic output are beautiful.
The migration of men from the countryside to the cities in search of cash wages led to the breakdown of the traditional agrarian social system, along with the breakdown of family life. Thanks to Ndwango’s commercialization, the Ubuhle community gave local women artists a personal income and financial independence.
Far from commercial in appearance, this intricately beaded ndwango – Czech glass beads sewn into black cloth that sparkle like water – is instead spiritual in nature. Many serve
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