As a member of the Zaria Arts Society at the Nigerian College of Arts, Science, and Technology in the 1960s, popularly known as the “Zaria Rebels,” Onobrakpeya combined his training in the Western-representational style with a focus on Nigeria’s artistic traditions.
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Economist and
British Vogue. There have been book covers for publishers in the United States, Italy and the United Kingdom, and a Google Doodle marking the 119th birthday of Nigerian women’s rights campaigner Funmilayo Ransome-Kuti.
“It’s been an escalation of more and more projects coming in, each one more interesting than the last,” Ejaita says. “It [has been] absurd, surreal almost.”
“She’s become a star! As she should be,” Mouly says of Ejaita’s success. She attributes this to the artist’s knack for conveying complex themes with simple imagery, which she considers a mark of skill, saying, “To distill things into a simple image, you have to be very disciplined and focused it’s always easier to just keep adding, to keep talking. And it’s difficult to do people in a way that they are abstract, but still have that emotional quality to them.”
ART-ICLES
South South Veza looms. For this South South’s inaugural event, kó features a solo presentation by Peju Alatise, one of Africa’s leading female contemporary artists. Through the event, South South (a gallery-led online community, anthology, live resource and aggregator dedicated to art from the so-called Global South and its diaspora) hosts over 50 other galleries “from more than 40 cities spread across 30 countries and five continents” from Tuesday, February 23 to Sunday, March 7.
At kó’s formal launch on Friday, September 25, its visionary founder Kavita Chellaram – hitherto renowned in the Lagos art circles for her trailblazing auction house Arthouse Contemporary and its satellite projects (Arthouse -The Space and Arthouse Foundation) – enthused about her creating “a separate and unique gallery entity”.