Boosting the Image: Art Galleries and Art Journal Publishing in Nigeria
p. 55-66
Texte intégral
1The artist of pre-colonial times in Nigeria was in the fortunate situation of creating works for a society that spoke his language. There were no problems with understanding or acceptance in that era. When a sculptor executed a major work, such as a door, a verandah post, a mask or a shrine figure, it would be on commission; so he had no worries about finding a client, provided he had established a reputation through his skill.1 He could also produce more mundane, work-a-day objects, such as mortars, pestles, spoons, bowls and trays, for which there was a ready market.2 Nor was he totally dependent on his art for a living: he would also be a farmer, providing enough to feed his family, and possibly more.3
2The present-day artist works in a very different situation. Unless he is a neo-traditional artist, there is no prescribed style for him to follow. He has to formulate his own style and select a subject among the myriad manifestations of the material and spiritual world, hoping that someone, somewhere, will understand, appreciate and, hopefully, buy his work. But after qualifying as an artist through the master-apprentice, academic or informal method and applying his skill and imagination to the creation of a work of art, he is faced with the major problem of transmitting the knowledge of the existence of his work to potential patrons. Two main avenues are open to him to achieve this: the exhibition (which will usually take place in only one town and be visited by a relatively small number of people) and publication in a newspaper or art journal (which will reach a far larger number of people both within and outside Nigeria).3
3It is not only the exhibiting artist who benefits from the exposure offered by a gallery. Other artists who attend the opening of the exhibition will establish contact with journalists and patrons of the arts. Thus the gallery serves not just as a marketing outlet for artists’ works but also as a meeting point for artists, patrons and the media.
Journal publishing and art galleries in pre-1960 Nigeria
4To put art journal publishing in context, a brief consideration of the history of journal publishing in Nigeria is necessary.4 Publishing in southern Nigeria started in Abeokuta in the mid-19th century as a Christian missionary enterprise.5 The very first secular journal, Iwe Irohin appeared there in 1859. Published every fortnight in Yoruba, it contained ‘’news of church and state from near and far and.... didactic essays on history and politics”.6 In the following year, an English supplement was begun. The missionary Henry Townsend trained local men in Abeokuta as printers. Some of these printers went to Lagos and worked with the African-American, Robert Campbell, who founded another journal. The Anglo-African, in 1862.7 With the annexation of Lagos by the British in 1862, the city soon became the centre of publishing in Nigeria, specializing in newspapers and periodicals of a nationalistic and political nature, sponsored by the emerging Lagos elite. This class was composed of highly articulate professionals and business-men, many of whom had been educated in England.8 It was the presence of these men, combined with the technical expertise of printers who were originally trained in Abeokuta by Christian missionaries, which made Lagos the hub of publishing in Nigeria.
5Art did not feature on the publishing agenda until the mid 20th century. Missionaries condemned works of sculpture, regarding them as a manifestation of idolatry, an opinion echoed by members of the colonial administration.
6“So long as the plastic arts are entangled with superstition... it would be against the public interest to reinforce their obsolescent authority by an artistic propaganda which, through our schools, might imprint on the minds of children a wrong conception of the validity of the claims of those superstitions....”.9 The preoccupation of the western-educated Nigerian elite, who were the readers and, in some cases, also the writers of the early newspapers and journals, was politics, not art and culture. It was not until the late 1950’s, the years leading up to Independence, that journals of arts and culture began to appear. By this time, an art-conscious Nigerian intelligentsia was beginning to appear, nurtured in Nigeria’s universities.10
7Before Independence in 1960, there was little encouragement for the few modern artists who practised in Nigeria. As Crowder remarked, “An audience has to be educated; it just does not appear.” Moreover, the educational system in Nigeria did not encourage art or the appreciation of it.11 However, from 1946, the Exhibition Centre, a modest building on the Marina in Lagos, exhibited both traditional and modern Nigerian art and “struggled and waltzed on a shoe string.”12 The same building housed “the entire editorial, photographic, clerical and accounting staff, who also deal with a cultural publication, called Nigeria Magazine".13 This magazine was Nigeria’s first educational, cultural and literary magazine. Published by the federal government it evolved in 1932 from “The Nigerian Teacher,” a magazine edited by E. H. Duckworth.14Nigeria Magazine was a lavishly illustrated publication which carried articles on modern as well as traditional Nigerian art, reviews of art exhibitions and art books, in addition to articles of general cultural interest. It actively promoted art-awareness by sponsoring exhibitions at the Exhibition Centre, publishing articles and reviews and carrying the slogan: “Have you discovered art in Nigeria?” Contributors to Nigeria Magazine include distinguished names, such as Dr. L. Allagoa, Dr. K. O. Dike, Dr. T. O. Elias, Herbert Macaulay and Dr. Thurstan-Shaw. Since the Exhibition Centre and Nigeria Magazine were owned by the same agency, any artist whose works were shown at the Exhibition Centre could be sure of a review in the pages of the magazine, which had a wide circulation.15
8Foreign cultural agencies also offered exhibition space to Nigerian artists, mainly in Lagos, the former headquarters of diplomatic missions.16 They issued invitations and sometimes provided a catalogue, taking a percentage of the sales as commission. The first solo exhibitions by the sculptors Lamidi Fakeye and Felix Idubor in the late 1940’s and early 1950’s were sponsored by the British Council. These exhibitions attracted substantial commissions in Nigeria and abroad. The majority of the people who attended exhibitions in the early days and bought works of art were members of the expatriate community. At that time few Nigerians, members of the western-educated élite, attended exhibitions and even fewer bought works by Nigerians artists. Consequently, the best works of modern Nigerian art were taken out of the country and, more seriously, foreign patrons called the tune, to which the artist was expected to dance.17
Art galleries post-1960
9By the mid-1960’s there were about half a dozen art galleries in Lagos, all owned and managed by Nigerian artists, including Felix Idubor, Afi Ekong, Festus Idehen, Bruce Onobrakpeya and Tayo Aiyegbusi.18 Thus, as well as being commercial ventures, they had the advantage of the guiding presence of those who were part of the development of modern art in Nigeria. During this period also, Uche Okeke had moved to Enugu his Kafanchan Cultural Centre, which had a gallery for contemporary art as well as a library. This was later to metamorphose into the Asele Institute, now situated in Nimo, Anambra State.19 By far the most influential art gallery in the 1960’s was the one attached to the Mbari Artists’ and Writers’ Club established in Ibadan in 1961. It was funded by the Congress for Cultural Freedom in Paris and the Fairfield Foundation in New York. As stated in its brochure soliciting for members its aims were as follows:
Mbari is a house of culture run by artists and writers for the benefit of the general public. It is the place to see and know works by Nigerian and foreign writers and artists and it is the place to meet them. Mbari promotes understanding and appreciation of permanent old values and new trends in art, literature, music and theatre, and seeks complete integration of these values into our stream of life.
10Operating initially from the modest premises of the converted West End Bar in the commercial centre of Ibadan, Mbari served a varied diet of music, dance, drama and art, with a bias towards the avant-garde. Mbari also published poetry by African poets, monographs on modern Nigerian artists and a periodical, Black Orpheus.20 Frequented by Nigerian and expatriate members of the intelligentsia, Mbari radiated that enthusiasm and optimism which characterized the early post-Independence years. Unfortunately, the post-independence euphoria in all areas of human endeavour was dampened by the Nigerian Civil War (1967-1970).
11However, spirits rose again and in 1977 Lagos was the venue for the Second World Festival of Black and African Arts and Culture (FESTAC) organized round the theme “Black Civilization and education”.21 The National Museum assembled master pieces of Nigerian art in an exhibition entitled Two Thousand Years of Nigerian Art, accompanied by a lavishly illustrated book, which had great impact on both Nigerian and foreign visitors. It highlighted the skill of Nigerian artists of the past and stimulated an interest in the work of Nigerian artists of the present. A vast hall in the National Theatre, the focus of FESTAC events, was devoted to an exhibition of modern art from all over Africa and the diaspora.22
12The art-consciousness generated by FESTAC continued to increase during the 1980’s. The National Gallery of Modern Art was commissioned in Lagos in 1981.23 It houses inside the National Theatre a permanent display of art works by modern Nigerian artists. Through the publication of postcards and greeting cards bearing reproductions of works in the Gallery, the Gallery is moving towards its objective of “making Nigerian art part of every home.” The catalogue of the Gallery’s collection, The Nucleus, provides photographs of the works in colour and in black and white.
13In the early 1980’s, the National Museum began to offer gallery space to modern Nigerian artists for exhibitions lasting one to two weeks. Reviews on the exhibitions appeared in the national press and art critics formed their own association-Art Writers of Nigeria. Individual Nigerians organized exhibitions in their own homes, charging a commission on sales. Corporate bodies sponsored exhibitions accompanied by illustrated catalogues.
14Most importantly, the New National Policy on Education published in 1981 encourages the teaching of art at both primary and secondary levels. Previously, art was a very unpopular subject regarded by most parents as frivolous and a waste of time. It now features as one of the core subjects at the Junior Secondary School level.24 There are now more than 40 tertiary institutions offering fine art courses from which potential art teachers may be recruited. In 1980 the Institute of African Studies of the University of Ibadan started a Master’s degree programme with the option of specialization in African art history. In 1988 the Cultural Policy for Nigeria was published, with sections dealing with the promotion and encouragement of fine art and crafts and the practitioners thereof.25 Thus art is now clearly a matter of national concern.
15A recent survey shows that there are twenty to thirty art galleries in Lagos. Regarded as the artist’s Mecca, Lagos has a substantial population of Nigerians and expatriates who appreciate art and have money to buy art works.26 These galleries are concentrated in the ‘super-élite’ areas of Victoria Island and Ikoyi, which Jegede regards as “poised to re-invent itself as Nigeria’s the (sic) new SoHo”.27 Many of the Lagos galleries are owned, managed and staffed by non-artists in premises intended as residential or commercial buildings.28 Such spaces are seldom suitable for the display and viewing of artworks. Purpose-built galleries are rare. Outstanding among these are the Didi Museum and the New Nimbus Art Centre. The Didi Museum, opened in 1983, is a luxurious, marble-floored building which houses temporary exhibitions by established modem artists. The New Nimbus Art Centre has a spacious gallery, a craft shop, a bookshop and a bar with a pleasant outdoor sitting area enhanced by potted plants. Exhibitions last between one week and one month and are advertised through newspapers, handbills and the radio. Gallery owners charge for the use of their space and take commissions of between 20 and 50 % on works sold. This means that many young artists cannot afford to exhibit their works.
16The main objective of most Lagos galleries is profit; they do not organize activities for the promotion or dissemination of art. However, Nimbus does advertise art tutorials and an artists’ residency programme. The Ovuomaroro Gallery and Studio of Dr. Bruce Onobrakpeya is in a class of its own. The location of the studio in the same building as the gallery underscores the importance of technique and process in the creation of the work of art. Young artists go there to learn through observation, instruction and practice. With corporate assistance, Ovuomaroro has organized annual Harmattan Workshops in Agbarha-Otor since 1998. In these workshops, established artists give instruction in various techniques: painting, print-making, stone-carving, and metal assemblage. The arts works arising from these workshops are exhibited in Lagos and published in a lavishly illustrated catalogue, with biographies of the artists and supporting articles.29 Ovuomaroro has established an important tradition of art publishing since 1971, documenting the oeuvre of Dr. Bruce Onobrakpeya in pictures and text with the comments of the artist on his own work.30
Art journal publishing in Nigeria
17Journals devoted to the arts have appeared sporadically in Nigeria during the past five decades, although it was not until 1989 that Kurig Africana, the first journal concentrating exclusively on the visual arts, appeared. A chronological overview of these journals shows not only their short life span but also the contribution they made to building up a history of art in Nigeria.
18Black Orpheus (plate 1), the “grandfather” of them all, started publication in 1957. Although originally defined as a “Journal of African and Afro-American literature”, it soon published articles on the visual arts. With bold, dramatic covers designed initially by Suzanne Wenger and, later, by Georgina Beier, Demas Nwoko and Bruce Onobrakpeya, and black and white photographs illustrating the articles on art, Black Orpheus had an editorial board whose members are now icons of Black literature -Léopold Senghor, Aimé Césaire, Chinua Achebe, John Pepper Clark, Gabriel Okara, Christopher Okigbo and Wole Soyinka.31 By the time Volume 2 appeared in 1968, Black Orpheus was re-defined as a “Journal of the Arts from Africa”. Artists whose works were discussed in the pages of the Journal include Asiru, Omogbai, Twins 7-7, Demas Nwoko, Dick Idehen and Bruce Onobrakpeya (from Nigeria) El Salahi, Shibrain, Kofi and Malangatana (from other parts of Africa) Wenger and Schmidt-Rotluff (from Europe) Lawrence and Johnson (from the USA) Dos Santos (from Brazil) and Souza (from India). Black Orpheus ceased publication in 1978.
19New Culture appeared in 1978 under the aegis of artist, Demas Nwoko. It embraced the plastic and performing arts in Nigeria and had a children’s section containing stories and a page to colour. Each issue concentrated on a different theme, for example, art and politics, art and religion, Nigerian art institutions, the Society of Nigerian Artists, etc. New Culture ceased publication in 1980.
20In 1989, Moyo Okediji,32 formerly of Obafemi Awolowo University, Ile-Ife and leader of the Ona group of artists, started Kurio Africana, a journal dealing exclusively with the visual arts, particularly those of Nigeria. Modest in format (early issues were cyclostyled newsprint), Kurio nevertheless attracted contributions from well-known Nigerian artists and art historians, such as C. O. Adepegba (University of Ibadan), O. Oloidi (University of Nigeria, Nsukka), A. Folarin (Obafemi Awolowo University) and Ibigbami (Obafemi Awolowo University). Talented younger men who have now made their mark on Nigerian art and art criticism also contributed to Kurio (Oguibe, Ekpuk, Wewe). Kurio has ceased publication.
21The 1990’s were a fertile decade for art journal publishing in Nigeria. In 1992 The Eye Society, established in 1989 by members of the Department of Fine Art of Ahmadu Bello University, alma mater of the Zaria Rebels, started publishing a journal devoted to the visual arts in present day Nigeria. The Eye was distinguished by its high quality black and white illustrations. The members of the Editorial Board were deeply affected by the tragic death in 1994 of Gani Odutokun, a colleague and painter noted for his dramatic use of colour. The present publishing status of The Eye is unknown.
22Uso, Nigerian Journal of Art, produced by the National Gallery of Art in Lagos, a government parastatal, commenced publication in 1995. Its contributors come from a wide spectrum of Nigerian artists and critics. It is the only art journal being produced in Nigeria that contains coloured reproductions, although some of these lack clarity. The special millennium issue appeared in May 2001.
23By far the most distinguished journal of the arts to have appeared in Nigeria in recent years is Glendora Review, which made its debut (plate 2) in 1995. Articles are wide in scope, covering art, architecture, film, photography, literature, music and theatre. Glendora is free of the sycophancy which often invalidates critical writing in Nigeria. Contributors are specialists in their respective fields (Osundare, Gibbs, Enwezor, Ofeimun, Aradeon, Fatoba, Oguibe, Lindfors, Jegede, Achebe et al.) Interviews with artists and writers are a frequent feature. In the nine issues which have appeared so far, Glendora has maintained a consistently high quality not only in content, but also in design and production. The arresting, full-colour covers are designed by artists (Ablade Glover, Doughba Caranda Martin, Ghariokwu Lemi, Victor Ekpuk, Sewhenu Akran and Wole Lagunju) and serve not only to catch the eye of potential readers but also to publicize the artists themselves.
24Agufon, Journal of the Arts and Architecture, started publication in 1997. It is the brain-child of Bunmi Davies, an architect based in Lagos. The first issue contained articles on people – Yusuf Grillo, Demas Nwoko, Betti O. – whose works have made an impact on the Nigerian scene through their exploration of indigenous forms, designs and materials. There are also exhibition reviews and notices of cultural events, as well as Habiba Balogun’s description of the struggles of the residents of Onikan to upgrade their environment. Produced on a shoe-string budget, the first four issues of Agufon contained an average of 30 pages each, the black and white illustrations varying a great deal in quality. The articles dealt with both traditional and modern arts and crafts. The next three issues were sponsored and took on a glossier image, although the reproduction of some illustrations lacked clarity. The November 2000 issue is devoted to Bruce Onobrakpeya, who continues to give substantial moral and financial support to the development of modern art in Nigeria.
25Position: International arts review, the most recent journal of the arts in Nigeria, appeared in 2000. It is published by Dapo Adeniyi, formerly Editor-in-Chief of Glendora Review: . The first issue contains articles on music, literature and art, with an emphasis on photography, an area hitherto neglected in Nigerian art journals but one that has attracted a lot of attention in francophone Africa.33
26One other publication, Artifacts (1992-1993), should also be mentioned. Though concentrating on the fine arts, it was different in character from all the others. Although it claimed to be “a serious print publication in the general interest of humanity”, it was a racy mixture of articles, interviews, gossip and pictures of art and people connected with art. Its aim seemed to be entertainment rather than intellectual discussion.
27An art journal is a potentially effective means of transmitting knowledge of art to the public through articles, interviews and reviews of exhibitions, particularly of the works of younger artists. This keeps the public informed of new trends and attracts potential patrons. However, a journal cannot flourish without quality manuscripts, qualified assessors and a competent editor. Even with all these in place, poor distribution and promotion channels and limited circulation result in low returns, and unless the journal has a strong financial backer for the first three years, it is likely to die in its infancy.34 The journals which have survived, irrespective of their subject matter, are those which have had consistent funding from government, international organizations, or societies.35 Individuals who publish journals often source for funds for each issue, thus making publication irregular and discouraging subscribers.
28Although some art journals in Nigeria had only a brief life-span, they left behind a permanent record of people and events in the Nigerian art world. What is more, they, like the banana tree, have been succeeded by their children:
| B’ína ku, a fi éru b’oju. | When the fire dies, it covers its face with ashes. |
| B’ógede ku, | When the banana tree dies, |
| A f’omo e ropò36 | it is replaced by its children |

Plate 1: Black Orpheus, A Journal of African and Afro-American Literature
Cover Page, n°, 7, June 1960

Plate 2: Glendora, African Quarterly on the Arts
Cover page, vol. 1, n°. 3, 1996
Notes de bas de page
1 Bryce Holcombe, ed. Yoruba Sculpture of West Africa: New York: Alfred A. Knopf, 1982, p. 132 also Lamidi Olonade Fakeye, A retrospective exhibition and autobiography. Michlgm: De Pree Art Center and Gallery, 1996, p. 64, 71.
2 Fakeye, op cit., p. 51.
According to Fakeye, carvers in pre-colonial times were rewarded for their labour with food id drink, not money. They also enjoyed certain privileges in the community. Op cit., p. 47.
3 In the 21st century, the Internet is becoming an important tool for the artist to transmit knowledge of his work to the world.
4 For an overview of Journal Publishing in Nigeria, see F. Adetoun Ogunsheye, “Nigerian journals: a growth and profile study”, Nigerian Field, Vol. 67, Part 1, April 2002, p. 3-30.
5 J. F. A. Ajayi, Christian Missions in Nigeria 1841-1891: Longman: 1965, p. 158-9.
6 Ibid. p. 159.
7 Ibid.
8 For example. Dr. Richard Akinwande Savage (1874-1935), born in Lagos of Sierra Leone Creole and Egba origins, graduated with M. B. Ch. B. from the University of Edinburgh in 1900. While at the University, he was sub-editor of the Edinburgh Students’ Union magazine. He was also a member of the Afro-West Indian Literary Society of Edinburgh. He practised medicine in the Gold Coast (now Ghana) and Lagos, first as a medical officer in British Government Service and later as a private practitioner. He became actively involved in politics while in the Gold Coast and was instrumental in the formation of the National Congress of British West Africa (1920) which made many demands for reforms to benefit Africans. In 1923 he started his own newspaper in Lagos: The Nigerian Spectator This ceased publication in 1930. Dr. Savage was regarded as one of the founders of modern Nigerian journalism. Source: private papers of Kunbi, daughter of Dr. Savage, born in 1919.
See also: Nigeria biographies in Allister Macmillan (ed.), The Red Book of West Africa: London: Frank Cass, 1920, p. 128-137.
9 Michael E. Sadler, ed.. Arts of West Africa: London: Oxford University Press, 1935, p. 10.
10 University College Ibadan (now the University of Ibadan) was established in 1948. The motto of the University of Ife (now Obafemi Awolowo University, ) established in 1962, is “For learning and culture”.
11 Michael Crowder, “Patronage and audience in Nigeria,” Black Orpheus, Vol. 4. No. 1. P. 70.
12 Lawrence Allagoa, “Exhibition Centre’s new home,” Nigeria Magazine, no. 93, June 1967, p. 117.
13 Ibid.
14 This had also evolved from another publication, “The Bulletin of Educational Matters,” started in 1927 by Mr. E. R. Swanston and published by the Education Department, Lagos. See A. K. Metteden, Forty years back, Nigeria Magazine, no. 93, June 1967, p. 175.
15 Ibid.
16 Such cultural agencies include Alliance Française, French Cultural Centre, British Council, Goethe Institut, the former Russian Cultural Institute and Italian Cultural Institute.
17 This situation also existed in other African countries formerly under colonial rule. The Senegalese painter, Iba N’Diaye, reacted as follows: “Certain Europeans seeking exotic thrills expect me to serve them folklore. I refuse to do it – otherwise I would exist only as a function of their segregationist ideas of the African artist”.
18 Anon, “Lagos art galleries”, Nigeria Magazine, No. 92, March 1967, p. 2-18.
19 Uche Okeke, Treasures of Asele Institute: Lagos and Nimo: Italian Cultural Institute and Asele Institute, 1988.
20 African Poets and artists published by Mbari include Dennis Brutus, J. P. Clark, Rabearivelo, T’chikaya U Tamsi, Léon Damas, Lenrie Peters, Asiru Olatunde and Uche Okeke.
21 The Colloquium was the intellectual core of FESTAC at which papers were presented on various aspects of this theme, including “Black civilization and the arts”.
22 Babatunde Lawal analyzed these works in Pageants of the African world published in Lagos by the Department of Culture, 1980.
23 Sina Yussuff, Establishing a National Gallery of Modern Art, the Nigerian Experience: (Unpub. Masters Dissertation)., University of Manchester, 1983.
24 The National Policy on Education (revised) Lagos: Nigerian Educational Research Council, 1981, p. 17.
25 Cultural Policy for Nigeria: L & gos: 1988, p. 10-12.
26 Peter O. Ogundele, The establishment and development of private art galleries in Lagos: unpub. M. A. diss., University of Ibadan, 1998.
27 Dele Jegede, “Nigeria’s new SoHo,” Glendora Review, Vol. 3 no. 1,2000, p. 24-26.
28 Gallery owners include lawyers, accountants and engineers. See Ogundele, op. cit, p. 40.
29 Works produced at the first three Harmattan Workshops were exhibited at the Aina Onabolu Building of the National Studios of Art in Lagos, named in honour of Nigeria’s pioneering modern artist.
30 Bruce Onobrakpeya’s major catalogues published by Ovuomaroro, Lagos are Symbols of Ancestral Groves, 1985, Sahelian Masquerades, 1988; The Spirit in Ascent, 1992.
31 The composition of the Editorial Board and the literary works published by Black Orpheus show how the editors were trying to bridge the communication gap between anglophone and francophone Africa.
32 Okediji is one of many Nigerian art scholars and artists who are now residing in the USA. These include Ekpo Eyo, Rowland Abiodun, Babatunde Lawal, Dele Jegede, Bolaji Campbell, Olu Oguibe, Okwui Enwezor, Obiora Udechukwu and Chika Okeke.
33 See publications on photography listed inside the back cover of Revue Noire 30, 1998.
34 For information on what it takes to run a successful journal in Nigeria, see l. O. Aina and I. M. Mabawonku, “Management of a scholarly journal in Africa: a success story,” African Journal of Library, Archives and Information Science, Vol. 6, No. 2 (1996) p. 63-83
35 For example, The Nigerian Field has been published continuously since 1931, funded by individual and corporate subscriptions from members of The Nigerian Field Society.
36 Yoruba proverb.
Auteur
-
Pat Oyelola
Institute of African Studies, University of Ibadan
Le texte seul est utilisable sous licence Licence OpenEdition Books. Les autres éléments (illustrations, fichiers annexes importés) sont « Tous droits réservés », sauf mention contraire.
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