Nigerian Modernism - 3

Nigerian Modernism - 3

at Tate Modern.

Nigerian modernism was not a single movement, but a variety of responses to the country's shifting cultural and political identity. Nigeria was established as a British colony in 1914. By this time, prosperous African kingdoms and societies had been profoundly altered by decades of military campaigns and colonial exploitation. Under British rule, artists continued to find innovative ways to express their ideas, histories and imaginations. They embraced and rebelled against the colonial education system. Some created their own art societies and curriculums, while others travelled abroad in search of professional opportunities.

Throughout Nigeria, artists were influenced by Pan-Africanism and European art forms. They also drew inspiration from local cultures. Artistic and religious traditions from the region's many ethnic groups - including Fulani-Hausa, Igno and Yoruba people - met Christian and Islamic practices.

In 1960 Nigeria gained independence from Britain. New artistic and literary clubs were founded across the country, providing spaces to explore the intersections of art, poetry and performance. During this time Nigeria experienced an economic boom, but it also faced a devastating civil war. In the aftermath, artists established new visual languages in their search for a new postcolonial identity.

Georgina Beier, Gelede, 1966, (woodcut)

Georgina Beier, Untitled, 1988, (oil on hardboard)

A fantastical world of humanoids, birds and reptiles in an expressionistic style.

Jacob Afolabi, Untitled, 1984, (oil on board)

Rufus Ogundele, Sacrifice to Ogyn, God of Thunder, 1965, (oil on board)

Rufus Ogundele, Iyo Sango at the Shrine, 1965, (oil on canvas)

Ogundele once remarked: 'Some call me the 'Picasso of Nigeria'... What sense is there in saying that I, an African, produced work which resembles the man who has copied African art? That's nonsense, Rufus is Rufus'.

Twins Seven-Seven, Condemning Witchcraft - Red Skulls, 1968, (oil on board)

Jimoh Buraimoh, Figural Abstract, 1973, (beadwork on panel)

Buraimoh's bead paintings recall the intricate surfaces of traditional Yoruba beaded cloaks, staffs, crowns and stools. In Yorubaland, beads are sacred, inbued with ase (spiritual energy) and worn during ceremonies and worship of the Yoruba deities.

Nike Davies-Okundaye, Osyn, 1972, (embroidery)

Nike Davies-Okyndaye, Animal World, 1968, (embroidery)

Nike Davies-Okyndaye, Osun, the Goddess of the River, 1987,  (batik with natural dyes)

Muraina Oyelarni, Birds in the garden, 1971, (oil on paper)

Muraina Oyelami, Untitled (Noble Man), 1965, (oil on canvas)

Muraina Oyelami, Shrine, (oil on canvas)