Photographs in the Harmon Foundation Collection

Abstract

T he contemporary art of Africa eludes generalized description. A tists have utilized various m diums from oils to silk screening, and methods which vary from brass casting by the ancient lost wax process to welding tin cans and other metals into sculpture. Traditionalists like Yemi Bisiri and Lamidi Fakeye produce sculpture based on classical African designs. A larger group works in the modern styles of cubism, expressionism, and surrealism, while others seek a purely personal style. Many African artists are trained at European and American schools; others feel that they can achieve truly African expression only in their native surroundings. In Nigeria, for example, the national artistic tradition is strong and pervasive, even though obscured by the effects of European colonialism and Christian and Moslem religious fervor. In many other countries, traditional art very nearly succumbed under these forces. Thus the basis for the classification of an artwork as 'African' is the artist's birthplace, rather than style, subject, or medium. Nearly all African artists are affected by a few common factors. The tremendous influx of new ideas and technology, the replacement of colonial rule with independence and the accompanying lack of stability contribute heavily to the climate in which contemporary art is produced, and necessarily affect the scope and mode of artistic expression. The lack of broad-based support for art among the African people leads to some practical problems. Opportunities for formal training are limited. Neither art technique nor appreciation is taught in many of the primary and secondary schools. University programs leading to a degree in Fine Arts have existed only since 1955, when one program was established at Ahmadu Bello University at Zaria, Nigeria. The public offers little financial support to these young, often unknown artists struggling to earn a living and a reputation. Many turn to producing 'airport art', a lucrative but creatively unrewarding business in hand-crafted pottery, figurines, bookends, ashtrays and related paraphernalia for homeward-bound tourists. The more fortunate receive commissions for work in new