The New Africa Tribal Africa has produced some of the most sought-after art in the world, but what is the future for its contemporary cousin? EMMA BIGG 33
Tribal. Ethnic. Native. Every other season the catwalks churn out their latest offerings on African customs, and other parallels can be seen throughout culture. It might be because it is such a polar opposite to traditional western culture or it might be the effect of post-colonialism; either way, we have always been fascinated with African art. However, discussion has been raging for some time about whether contemporary African art truly has a place on the international stage. So why is it so different to any other form of art in the minds of the international community and the artists themselves?
on at least one of the parties involved. However, as with any cross-cultural experience one will always be influenced more than the other, whether it is through westernisation, globalisation or colonialism. Traditionally, African art was made for the purpose of rituals and there was never a reason to attribute ownership to a piece, as the comedian Griff Rhys Jones said recently in his programme Hidden Treasures of African Art, “the idea of authorship, which is our own sacred cow, is not quite as important in some parts of Africa.” As the west came into more contact with Africa and began to influence their culture, through trade and colonisation, the purpose and therefore authenticity of the art began to change. Money has always been a motivator and evidence of the change in African art to adapt to a western audience is staggering.
African art is unique in the fact that it appears to be more affected by the west than any other movement in history, as Ghanaian artist George Hughes explains, “the idea of grouping Ghanaian artists is an anomaly because of its complexity. The artistic climate is made up of a variety of styles.” British artist Chris Ofili is undoubtedly one of the most successful contemporary artists of African heritage, with a huge retrospective hosted by the Tate Modern in 2010. However, it is fair to say that he is yet to reach the level of fame as his whiteBritish contemporaries: which is where this debate gets very interesting indeed. “Great art often emerges when cultures cross boundaries or migration brings ideas and values into sharp conflict,” explains Nicholas Serota, Director of the Tate Galleries in the UK. Europe has had a long relationship with Africa, for example Ghana has had contact with the west since the 15th Century, and it is clear that the meeting of two very different cultures would have an impact
Confession (Lady Chancellor), Chris Ofili, 2007 [above] Mono Oro, Chris Ofili, 1999-2002 [previous page]
34
Communities such as the Dogon in Mali have introduced new designs, pieces and ritual dances purely for the benefit of tourists. This has been seen to decrease their value in the eyes of collectors wanting to own authentic pieces of African art, free of western influence. Contemporary African art also seems to be suffering the same fate by moving away from the figurative representation of its past. Natnuma Anafuteah, former mayor of Accra, Ghana, believes that its apparent western nature means that people “cannot take contemporary African art seriously”. The market for African art has always been based on tribal art, sometimes hundreds of years old that have a specific spiritual and ritualistic purpose, and contemporary art from this continent has never quite had the
same reception. This could just be because it is relatively new, however, the application of the age-old debate on authenticity is unique to this area. Collectors of traditional African paintings, textiles and fetishes tend to be from the west and believe authenticity in these objects stems from isolation from colonial influence. British collector Andrew Chinievsky explains, “I suppose all collectors of African art feel that age is important. I’m looking at pieces which haven’t been touched by western influence.” For many collectors, earlier pieces are worth more, purely for the reason that they are less likely to have been influenced by western ideas: they are entirely authentic representations of early African culture. The difference between
traditional and contemporary is most apparent in how each is seen in the western world and what part the west plays in its production. In tribal African art, the merging of cultures is seen as tarnishing, but in terms of its contemporary counterpart, the west is seen as a necessary part of its authentication. Nigerian artist and critical theorist Ogu Oguibe takes a tough stance on the treatment of contemporary African artists in the west, claiming, “every utterance, every gesture, carries with it implications of enormous weight” and that the artist must rely on the western critic in order to succeed: what he sees as the re-establishment of colonialism in art. It is easy to see the stark difference of opinion between ancient, tribal art and
Afrodizzia (2nd version), Chris Ofili, 1996 [above]
35
Blind Popcorn, Chris Ofili, 1995 [above]
its contemporary cousin, and it appears to be this very distinction that defines how the west views African art today.
it is this contradiction between new and old ideas that creates such a crisis. However, all is not lost.
It is this notion of authenticity that contemporary African artists are struggling to have their work shown and their voices heard, illustrating a lack of fair representation in the art world. Oguibe believes that in line with the cultural mores of colonial times, artists are being denied authorship and identity when it comes to their work. This is entirely believable of course and does hold some element of truth, but the reality may not be as cruel as first expected as the purpose of art has changed over the decades and centuries. Art is now made to be sold; it is an industry worth billions of pounds worldwide and
The natural merging of mother Africa and the western world have produced artists that offer the world vibrant and insightful work. However, the abstract style of many African artists is something that the west has yet to get used to. It is entirely possible that the years of focus on tribal art has blinded the western art world to the development and changes occurring in the cities and the world; rich and lively cultures that are consistently explored and imaginatively represented by their contemporary artists. This mixture of new and old is rarely seen elsewhere in the world: this is 21st Century Africa.