How African sculpture influences modern art
Monday, 09 January 2012 00:00
Tony Monda Art Zone
Many African schools of art study Western art and glorify the innovations of the "Cubists", "Fauvists" and "Expressionists", yet the genii of these works are rooted in African aesthetics and stylistic renderings. Zimbabweans are no exceptions due to the fact that a significant component of tertiary art education is based on the study of the history of European and Western art.
Modernist artists such as Brancusi, Leger, Rodin, Braque and others were drawn to African sculpture because of its sophisticated approach to the abstraction of the human figure.
The works of Picasso, Vlaminck, Matisse, etc, reflected the influence of African aesthetics. Matisse is said to have encountered African sculptures at the Trocadéro Museum in France, before embarking on a trip to North Africa in 1906, which helped to influence his latter works.
Picasso's most significant early sculptural work, including a monumental bust, has been linked to Grebo and Nimba masks in his collection of African sculpture. The "Fang" sculpture exemplified the integration of form with function, which has created a centuries-old tradition of abstraction in African Art pre-colonial period.
The spontaneity of intuitive, ethnic art imported from Africa and other styles, which were erroneously and derogatively described as "primitive" and "barbaric", began to be recognised as possessing great emotive power.
The art was seen to embody a more penetrating sense of form. In the West's search for more powerful form of expressions, they became conscious of the vitality of African Art.
This powerful source of inspiration changed the entire course of modern sculpture.
"Cubism", a movement in 20th century painting and sculpture, rejected naturalistic representational traditions of the 19th century, grew out of explorations and research into African tribal sculpture, and revolutionised contemporary painting and sculpture.
The term "cubist" was first used by the art critic Vauxcelles for the geometric simplifications of Braque's landscapes and Picassos' portraits.
The representational style is, therefore, abstract rather than naturalistic. It goes even further - to serve its function and typifies elements of African aesthetics that were frequently evoked in modernist sculpture. Picasso continued to sketch, sculpt and paint mask faced figures, composed as fragmented "geometric volumes" throughout the 20th century, attributing to the birth of the "Cubism" and a defining role in the course of modern art today.
The Afro-Cuban artist Wifredo Lam, who was closely involved with the "Surrealists" in Paris, painted "hybrid" figures, blending an uncanny surrealist sensibility with African figural styles with references to spirituality.
Several members of the post-war "Abstract Expressionists" were known to have collected and viewed African sculpture as their abstract styles evolved. In the contemporary post-colonial era, the influence of traditional African aesthetics and processes are profoundly embedded in artistic practices that it is only rarely evoked as such.
Bearing the above in mind, it is important for Zimbabwean school curriculums to incorporate the study of African art, its relevance and importance, as a means of self-understanding, identification and a means of intellectual progression and empowerment. After all, the art belonged to the Mother Continent.
l Dr Tony Monda holds a PhD in Post-Modern Art Theory and a DBA Doctorate in Business Administration in Post-Colonial Art and Heritage Studies. He is also a practising artist, designer, art critic and corporate image consultant.
Labels: ARTS
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Making visual arts a fulfilling profession in Zim
Friday, 30 September 2011 02:00
The recent utterances from the Arts Council and Culture Fund Committees to "Professionalise the Arts" are a welcome realisation for most practising artists and administrators.
Perhaps this recent clarion call from these quarters to professionalise the visual arts are a response to my previous instalments of Art Zone in which I was constantly alluding to this.
However, are our erstwhile Arts Council and Culture Fund administrators, clerks and cultural do gooders qualified and "offay" with the visual arts practice, laws, administration and channels of business? Or is this just another clamouring to raise money for salaries, overhead "expenses", fancy cars and shopping allowances for themselves and the staff and spouses? One hopes not, but we have seen and heard these bursts of inspiration from the Nama Awards, which are now, all but futile, to purveying funeral insurance policies. Is this not out off the Arts Council's jurisdiction?
What do the professional artists really benefit from joining these two organisations other than a pretentious burial ceremony in a golden burial casket when the artist is dead? What have these two organisations done for them during their lifetime? Would that "funeral money" not be put to better use when visual artists, actors, musicians and the like are alive, and in need? Would that money not be better spent in education, to procure artist's equipment, workshops and academic scholarships travel fares, books and publications, exhibition and performance loans, conferences, royalties for art scholars, public speakers and writers and legal representation.
Another anomaly in the profession of the visual arts is the continuous haggling about artists paying taxes. World laws in the field of the visual arts stipulates and declare that " . . . the creation and purchase of visual art is tax exempt and tax deductable . . . " Supplemented by government, city/state municipalities, banks, business corporations and philanthropy. Zimbabwe is a signatory to a United Nations Declaration stating this fact.
I cannot speak or pontificate on behalf of the other art forms such as the actors, performing artistes and musicians, but certainly, the visual arts should be totally tax exempt, including all VAT, customs duties and shipping tax. Visual art is also considered an educational and cultural product. So what exactly do they mean , when they say they "want to professionalise the arts'"? are the arts not a profession? As a world recognised authority in the visual arts, a member and affiliate of a number of professional visual arts bodies, associations and federations, I will proffer a synopsis of what is required to professionalise the visual arts in Zimbabwe. As always, it begins with education, education and more education.
What I learnt about the visual arts profession after years of studying and several university degrees, was that the world of the "Artist as entrepreneur" was not an easy one. I was cheated, robbed, duped and used. I had dealings with bogus "art promoters" who on the exterior looked well presented and respectable, but cost me spiritually, emotionally and financially. I was constantly burnt out and unproductive. Administration was hectic and it interfered with artistic inspiration - it still does. However, I combined art practice with business administration.
My studies as an intern financial manager of a community arts initiative in Cape Town, South Africa, and as an understudy Youth Development Administrator in inner-city Washington, DC, New York and San Francisco opened my mind and eyes to the realities of "Professionalising the Arts".
I supervised projects, and learned about correct management and various government policies on Arts funding.
I was privileged to work and mix with various professionals and experts in the arts world; Financial managers, copyright, media, property and estate lawyers. Banking and labour consultants, arts academia, sociologists, medical advisors, public relations consultants, art auctioneers, art insurance brokers, art freight consultants, brand psychologists and image consultants, etc, etc.
It is from this vast and varied background that I would like to illuminate an effective way to "professionalise the arts in Zimbabwe". Taking into cognisance the fact that true business success in the arts is holistic and requires a whole person, not simply parts that make money for art's funding entities, but for the artist and the country.
It is pertinent to consult experts in their various fields in tandem with contributions and comments from the creators of the works - the artists.
What is so true of the visual arts profession is that it is a complete vocation filled with personal sacrifices, but great rewards if administered professionally. Art is not an industry - it is a professional vocation.
Comments and contributions are welcome.
* Dr Tony Monda, holds a PhD in Arts Theory and Philosophy and a DBA (Doctorate in Business Administration) of Post-Colonial Heritage Studies. He is a practising artist, critic, designer and a Corporate Image Consultant.
Labels: ARTS, ENTERTAINMENT
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Budding LA-based actress aims at promoting Zambian art
By Andrew Mulenga
Fri 29 Apr. 2011, 11:50 CAT
Meeting Gloria Huwiler at her Los Angeles base for the first time, one would expect to be confronted with some aloof rich girl swagger. After all she was born into a successful business family known for the Pilatus BMW dealership and Le Soliel health spa in Lusaka, to a Swiss German father and Zambian mother. She is an aspiring stage and film actress in Hollywood and pursued acting training at Oxford School of Drama (OSD), Oxfordshire in the UK after she completed school at ISL in Lusaka when she was just 17.
But this young lady is nothing short of courteous, no ostentatious seduction or calculated detachment. She is in fact direct and relaxed, and for this particular interview wore no make-up. And as if trying get a foothold on the LA acting scene, a feat that has made and broke many, she is also attempting to promote contemporary African art with a focus on Zambian artists.
“I started organising exhibitions with a gallery I was working for called Millenia Fine Art at the Times Warner Centre in New York. I organised a show with Zambian artists for eight painters and two sculptors, in 2008. The exhibition ran for a couple of months and was very successful.” says Gloria who after completing the foundation course at OSD, studied International Relations at Brown University, Rhode Island in the US where she was an active member of the theatre and filmmaking community, appearing in several theatrical productions playing Hecuba in The Greeks, Lady Montague in Romeo and Juliet, and the Priest in The Trial.
“The exhibition in New York was my introduction to the world of contemporary art, but I also discovered how under exhibited contemporary African art is in New York and the US in general. There are very few galleries that specialise in contemporary African and Millenia were one of the few galleries doing so, and the big auction houses like Sotheby’s and Christie’s where the major collectors come, do auction African art but its mainly tribal artifacts, antiques, masks, that kind of thing so I wanted to concentrate on contemporary African art.¨
To help support the numerous innovative artists who rarely get a chance at international exposure, Gloria created Anajuwa Gallery in Los Angeles, she conceptualized the exhibition Integration for Anajuwa Gallery; the opening reception was hosted by Sydney Tamiia Poitier and attended by Hollywood actors Sir Sidney Poitier, Oz Scott and Bernie Casey. Anajuwa Gallery is currently working with Audis Husar Fine Art on the exhibition Afrika that will open later this year.
"Since I left Millenia I have had two shows so far, and I intend to continue promoting Zambian artists here in Los Angeles as well as continue trying to link them to New York galleries. The purpose is to work with museums and galleries with hopes to get sales so that the artists back home can get some sort of livelihood."
She explains that currently Anajuwa does not have a show and it is at times such as these that she enters agreements like the ongoing one with Fairmount Miramar Hotel & Bungalows in Santa Monica, California to display the work in their lobby and if someone is interested in buying, they can contact the concierge and make a purchase. She does however mention the challenges that Zambian art faces in the US.
“One of the challenges is that in LA people want to see cutting-edge stuff they really have a taste for conceptual work. So I try to encourage the artists to be bold and to push the frontiers and ask a lot of questions like the way Yinka Shonibares work does, Shonibares work is very political and really gets noticed. But the market does differ; some look for decorative work and others look for the more thought-provoking or shocking art... so we really have to start creating the Damian hursts of contemporary African art.” she explains.
She says another challenge is that viewers in the US often want to question the authenticity of African art, something they don't do when it’s the work of a European artist. She is bothered because it appears for to be called "African" it constantly has to reference Africa. This is something that collectors often raise and it irritates her, because she feels an artist should be free to express himself without being bound to referencing the continent.
“But anyway, right now, video art has become quite popular here. That’s why it is important for Zambian artists to have exposure to get to grips with what’s going on, the new trends. Video and film have a certain intimacy. It’s a very unique and important medium that allows you immediately to enter the thoughts of the artist, to know how they think.” Says Gloria.
And she says despite her sometimes hectic work schedule, she will remain dedicated to promoting Zambian art because it is her passion and also because it has the potential to grow. She emphases that for her, art is a lifetime commitment which she probably picked up from her mother who still lives in Zambia and used to organise exhibitions. What Gloria is doing is literally flying the Zambian flag and needs to be encouraged. The least we can do is wish her all the best in her endeavours and watch how far she will go with it.
In addition to acting, she studied filmmaking and screenwriting, and while in New York she appeared in several productions including a two person show with Nigerian actress Okwui Okpowasili called Pent up: A Revenge Dance which went on to win a Bessie Award.
She recently formed the company Sunchild Productions with actor Patrick Ssenjovu. Based on their connection to Africa, Sunchild Productions was created to produce film and theatre based on themes from the African Diaspora with a strong original voice. Currently Sunchild is working on its first feature Muzungu Houseboy written by Gloria, which will be co-produced with award winning South African producer Joel Phiri. Sunchild also recently produced the play Valley Song, by Athol Fughard, in which Gloria played the role of Veronica.
Labels: ARTS
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An artiste is like a mirror, says Mutukuzi
Written by Wana Kalala
Thursday, May 14, 2009 3:52:07 PM
RENOWNED Zimbabwean musician Oliver Mtukudzi has said artistes have a responsibility to address health issues in their nations. Addressing the media at Hotel Intercontinental on Thursday, Mtukudzi said artistes as representatives of cultures and nations needed to reflect issues affecting society.
"An artiste is like a mirror of the people. I think whatever we are doing here is our responsibility. We are a bridge between those who don't know and those who know... (This) is why we are artistes, we have to disseminate information to the people; not only musicians, sculptors, visual arts, we all speak the same language," he said.
Mtukudzi, who arrived in Zambia on Wednesday, is scheduled to perform at tomorrow's Rhythm of Life festival to be held at the Lusaka Showgrounds.
The all-day music, dance and art festival will also feature many prominent Zambian artistes, as well as the provision of free health services and information on malaria, HIV, family planning and related matters.
A malaria ambassador in Zimbabwe, Mtukudzi said health issues affected the entire continent, and artistes had an obligation to use their craft to build their countries. "The most important thing here is to talk about health, which is needed in Zimbabwe and it's also needed in Zambia, it's needed in Africa, and as artistes we are doing our best to do our job to make sure we build our nations through art," he said.
Mtukudzi added that journalists were also artistes, and shared the same purpose as musicians, sculptors in bringing about positive change in society.
He expressed hope that the Health Communication Partnership (HCP), which together with the United States Agency for International Development (USAID) are coordinating the festival, would hold a similar event in his country. "We should adopt this concept...we need to take this concept to Zimbabwe. This concept is just brilliant," said Mtukudzi.
HCP-Zambia deputy chief of party Uttara Bharath Kumar said the participating artistes had pledged to be health ambassadors and would bring energy and focus to health issues that affect everyone.
Labels: ARTS, OLIVER MTUKUDZI
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