At the Tate Modern in London, a groundbreaking exhibition is challenging traditional notions of modern African art. "Nigerian Modernism" brings together 59 artists from over five decades, offering a nuanced exploration of the region's artistic identity.
Curator Osei Bonsu describes the show as "cultural restoration in real time," rectifying the historical oversight that relegated Nigerian modernism to footnote status. By showcasing a diverse range of artworks, the exhibition highlights the complexities and richness of Nigeria's artistic heritage.
The first room features vibrant portraits, including Aina Onabolu's 1955 "Portrait of an African Man" and Akinola Lasekan's "Portrait of Chief J.D. Akeredolu." These works demonstrate the emergence of indigenous representation in art education, influenced by the Zaria Arts Society and its journal Black Orpheus.
The exhibition also delves into Nigeria's rich cultural tapestry, featuring works from the Oshogbo School, a group of artists known for their colorful embroidery and beadwork. Nike Davies-Okundaye's 1968 "Animal World" is showcased alongside Uche Okeke's 1961 "Ana Mmuo [Land of the Dead]," which employs vivid colors to summon Igbo spirits.
A dedicated room is given over to Uzo Egonu, a Nigerian painter who blended European modernism with Igbo sculpture. His works, including "Stateless People," offer a glimpse into his unique artistic vision.
The show's curator notes that these artists defied Eurocentric influences and traditional views of African art as mere ethnography. Instead, they created works that reflected Pan-African pride and hyperlocal communities, paving the way for Nigeria's modern artistic renaissance.
As Teju Cole writes in his novel "Every Day is for the Thief," the emergence of these creatives was a testament to hope in a nation still grappling with its complex history. "Nigerian Modernism" serves as a powerful reminder of the resilience and innovation that has defined Nigerian art since independence.
In challenging traditional narratives, this exhibition offers a fresh perspective on modern African art, one that is both deeply rooted in Nigeria's history and cosmopolitan in scope.
Curator Osei Bonsu describes the show as "cultural restoration in real time," rectifying the historical oversight that relegated Nigerian modernism to footnote status. By showcasing a diverse range of artworks, the exhibition highlights the complexities and richness of Nigeria's artistic heritage.
The first room features vibrant portraits, including Aina Onabolu's 1955 "Portrait of an African Man" and Akinola Lasekan's "Portrait of Chief J.D. Akeredolu." These works demonstrate the emergence of indigenous representation in art education, influenced by the Zaria Arts Society and its journal Black Orpheus.
The exhibition also delves into Nigeria's rich cultural tapestry, featuring works from the Oshogbo School, a group of artists known for their colorful embroidery and beadwork. Nike Davies-Okundaye's 1968 "Animal World" is showcased alongside Uche Okeke's 1961 "Ana Mmuo [Land of the Dead]," which employs vivid colors to summon Igbo spirits.
A dedicated room is given over to Uzo Egonu, a Nigerian painter who blended European modernism with Igbo sculpture. His works, including "Stateless People," offer a glimpse into his unique artistic vision.
The show's curator notes that these artists defied Eurocentric influences and traditional views of African art as mere ethnography. Instead, they created works that reflected Pan-African pride and hyperlocal communities, paving the way for Nigeria's modern artistic renaissance.
As Teju Cole writes in his novel "Every Day is for the Thief," the emergence of these creatives was a testament to hope in a nation still grappling with its complex history. "Nigerian Modernism" serves as a powerful reminder of the resilience and innovation that has defined Nigerian art since independence.
In challenging traditional narratives, this exhibition offers a fresh perspective on modern African art, one that is both deeply rooted in Nigeria's history and cosmopolitan in scope.
just had to see this one for myself! Finally some recognition for the amazing Nigerian artists who were pushing boundaries back in the day 
. I mean, can you believe they were trying to create art that reflected Pan-African pride and community, like 60+ years ago? 
That's some serious trailblazing right there 
. And it's so cool to see all these different styles and movements on display - from the vibrant portraits to the colorful embroidery and beadwork 
. It just goes to show that art has always been about more than just representation, but about telling a story and expressing yourself in your own unique way 
. Can't wait to share my thoughts with everyone at the Tate Modern! 
Did they really get left behind? I'm not sure...
Still, I think it's a great start... 
especially uzo egonu's work is like a whole new language 
I mean, it's crazy to think that Nigerian modernism was basically erased from history books 
. This exhibition is giving me LIFE, showcasing this incredible range of art and styles 
These artists are proof that innovation and creativity thrive even in the face of adversity 
1955? That's like, my grandma's age lol. I love how they're showing all these different styles and influences 
what's Black Orpheus tho? sounds like a cool journal 
. The way they've woven together these 59 artists from over five decades is pure genius. I love how the curator has highlighted the complexities and richness of Nigeria's artistic heritage – it's not just about one style or movement, but a vibrant tapestry of different voices and perspectives 
. And the Oshogbo School? That embroidery and beadwork is EVERYTHING 
. It's a powerful reminder that art can be a force for hope & change in a nation's history 
.
. The way these artists blended traditional and modern styles is also super inspiring – it's like they're saying, 'Hey, I'm not just one thing or another, I'm something entirely new!' 
. And don't even get me started on how Eurocentric our art history has been 
. I mean, come on! We've been stuck in this 'ethnography' mindset for far too long 
.
!
. i love how it highlights the diversity of Nigerian art, from embroidery to painting - it's like they're showing us that modern African art isn't just one thing, you know? 
it's so cool to see Uzo Egonu's works blended with European modernism and Igbo sculpture... he's like a total genius 
.