africanah.org

Arena for Contemporary African, African-American and Caribbean Art

Archive: articles

The Ouattara Brothers

Sanne6

The enormous drive for maintaining their traditions is probably the most important reason for the Ouattara brothers to make masks. As they were saying, many masks have been sold or stolen and are in museums nowadays, in Europe and the United States, but also in Africa. People are left with copies or reproductions of the masks they used before, as a result of which the meaning and the cultural significance of mask traditions has changed

Sanne Molenaar on the Ouattara brothers from Burkina Faso

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Phoebe Boswell

PhoebeB6

I have connected previously with Phoebe’s work particularly when it has addressed notions of not-belonging, and women’s body as a mean of power, but I must admit, never to at such deep level. Extremely poetic and utterly relatable, Phoebe’s seminal exhibition has meant a place for solace and shared emotions of our most intimate selves.

Raquel Villar-Pérez on the last exhibition of Phoebe Boswell

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What is the Role of Art Criticism Today?

Athi-Mongezeleli-Joja_Headhsot

Is the art critic an endangered species? Is he a mystical figure dubbed a critic? Is he white writing on blacks? Critic Athi Mongezeleli Joja is looking for answers.

Photo: Athi Mongezeleli Joja

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John Baptist Ssekubulwa: Brain damage

MattA

John Baptist Ssekubulwa is among the fresh young minds on the Kampala art scene. A cluster of intelligent and ambitious fellows initiating conversations and stirring them, an ingredient that is new to the young art scene. He has just had his first solo show at Afriart gallery and this is why I had to hunt him down for a good old one on one.

Matt Kayem in conversation with John Baptist Ssekubulwa
The artist in his studio
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Is black art just a trend?

LubianaHimidNamingTheMoneyTheDancing Master

Is black art just a trend? “By putting the power of profit, the power of the gaze and the power of art into the hands of black communities, society can take this to the next level. Coupled with help from allies of all backgrounds then, and perhaps only then, can we say that black art transforms beyond a trend and into a sustainable force.”

Christabel Johanson tries to answer that ‘burning question’.
Lubaina Himid, The Dancing Master (detail of Naming the Money), 2004, courtesy the artist and Hollybush Gardens

 

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