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Charts the development of modern Nigerian art, analyzing the achievements of leading artists while exploring arts movements within and surrounding the country throughout the past century, in a volume that includes coverage of the works of Olowere and Uche Okeke.
An incredible collection of vibrant Nigerian record cover designs from the second half of the 20th century, most of which have never been seen outside of Africa This unique large-format book features hundreds and hundreds of unique and stunning record sleeve designs from Nigeria that span a period from the country's independence in 1960 through much of the second half of the 20th century--a time in which Nigerian artists and the Nigerian music industry thrived both at home and abroad. During this period, high-profile Nigerian artists such as Fela Kuti, King Sunny Ade, Sonny Okosun, Haruna Ishola, Oriental Brothers International Band, Tony Allen, Blo and Chief Ebenezer Obey became national and international stars. Many more Nigerian artists established successful careers at home and yet remain virtually unknown outside of Nigeria to this day. This book features the most important Nigerian artists both at home and abroad (as well as many of those that have remained unknown outside of the country), bringing together a vast array of rare, classic and stunning visual sleeve designs that document more than 50 years of the amazing musical, graphic art and social history of Nigeria.
This lavishly illustrated book, part biography and part artist's catalog, addresses tradition and innovation in Prince's art, the development of his personal style, the force of the supernatural in Nigerian life, and the hard times of the immigrant artist in the United States.
Written by one of the foremost scholars of African art and featuring 129 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic traditions and the stylistic sophistication that we have come to associate with twentieth-century modernist practices. He explores how these young Nigerian artists were inspired by the rhetoric and ideologies of decolonization and nationalism in the early- and mid-twentieth century and, later, by advocates of negritude and pan-Africanism. They translated the experiences of decolonization into a distinctive "postcolonial modernism" that has continued to inform the work of major Nigerian artists.
ART MUSIC IN NIGERIA is the most comprehensive book on the works of modem Nigerian composers who have been influenced by European classical music. Relying on over 500 scores, archival materials and interviews with many Nigerian composers, the author traces the historical developments of this new idiom in Nigeria and provides a critical and detailed analysis of certain works. Written in a refreshing and lucid style and amply illustrated with music examples, the book represents a milestone in musicological research in Nigeria. Although written essentially for students and scholars of African music, this interesting book will also be enjoyed by the général reader.
The Art of Nigerian Women by Chukwuemeka Bosah is a tightly packaged tome--an astonishingly delightful companion to a meme that was broached in the author's A Celebration of Modern Nigerian Art: 101 Nigerian Artists, published in 2010. In the current volume, Bosah marshals the intellectual capacity of some of the best scholars and curatorial impresarios in the field to contextualize the diversity of works of the artists featured. This work is a feat that must be acknowledged by students of Nigerian art for a number of reasons. First, this book contributes significantly to our knowledge of Nigerian art by its lasered focus on Nigerian women. Second, the author brings to the fore, in the process, a smorgasbord of creative enactments and analyses in an assortment of media by our womenfolk. Third, while Nigeria now boasts of a budding tribe of scholars on the visual arts, this is the first time, to my knowledge, that a book of this type has been published. And this brings us to the fourth reason: this book is the irrefutable demonstration of the maxim about lions having their own historians to obviate distortions that hunters would bring to the history of the hunt. This is a pioneering work, one that deserves a prominent place on the shelves of corporate, institutional, college, and personal libraries. Bosah deserves our admiration for the courage and resources ploughed into this work.
This book provides an in-depth analysis of the unique structure of the Nigerian popular music industry. It explores the dissonance between copyright’s thematic support for creative autonomy and the practical ways in which the law allows singer-songwriters’ (performing authors') creative autonomy to be subverted in their contractual relationships with record labels. The book establishes the concept of creative autonomy for performing authors as a key criterion for sustainable economic development, and makes innovative legal and policy recommendations to help stakeholders preserve it.
Widely acknowledged as Africa's master printmaker, Bruce Onobrakpeya (b. 1932) is also a world-renowned painter and sculptor. He has exhibited at Tate Modern, London; the National Museum of African Art, Washington, D.C.; and the Malmö Konsthall, Sweden; and has lived and taught in the United States. Educated in colonial Nigeria, Onobrakpeya stands in the van­guard of contemporary African artists who set the standards for innovation and professionalism in a new, postcolonial nation. This volume presents an astonishing array of color and black-and-white reproductions of his drawings, paintings, prints, and installations, and includes notes by the artist, as well as selections of his poetry.