Saturday, September 23, 2017

Positioning Nigerian Modernism Symposium at the Tate Modern, Sept. 27-28



FOREWORD

We are delighted to be able to present this major international conference at Tate Modern, which will reconsider the origins and socio-political underpinnings of modernism in Nigeria and West Africa more broadly and the legacy of some of its key proponents. One hundred years after the birth of pioneering Nigerian artist Ben Enwonwu, a resolute defender of the value of African culture internationally, it is timely to emphasise the contributions of artists active in the years before and after decolonisation and reconsider the context in which they were working. This conference seeks to address issues around the formation of post-colonial identity, the preservation of history and the impact of transnationalism and decolonisation in art criticism and museum collections today.

We were overwhelmed by the response we received to our open call for papers. The breadth and depth of research being undertaken by colleagues around the world is exciting and encouraging. Art histories are being written and re-written and we are honoured to be able to bring together scholars from major museums and academic institutions in Nigeria, Germany, Austria, the United States and the United Kingdom who are at the forefront of rethinking modernism. We hope that this conference will provide a platform for ideas to be shared and for the discourse to be developed further. We are extremely grateful for their collaboration. We would also like to acknowledge the contributions of Oliver Enwonwu, Sylvester Ogbechie and Neil Coventry whose tireless work over many years has informed our own.

This landmark event would not have been possible without the generous support of Yvonne Ike and Aigboje and Ofovwe Aig-Imoukhuede who are long-term supporters of Ben Enwonwu. We thank them not only for their financial contribution, but also for their steadfast vision.

Kerryn Greenberg (Curator, International Art, Tate Modern)
Bea Gassmann de Sousa (Independent Curator)


SPONSORS’ STATEMENTS

Nigerian art has a rich history dating back to 1000 BC. To my mind, Nigerian modernism includes some of Africa’s best-known artists such as the Zaria Rebels, Yusuf Grillo, Bruce Onobrakpeya, Uche Okeke, Simon Okeke, Demas Nwoko and other significant masters such as Aina Onabolu, Ben Enwonwu and more recently El Anatsui.

Ben Enwonwu was the most persistent internationally successful artist to promote Nigerian art on the global stage. In August 1943 he wrote, ‘I submit that the modern African artist can go to seek inspiration for the new art of his country even in Europe. The only trouble is that in his work, he must be himself! He must be African! He must not imitate.’ Enwonwu’s contributions to Nigerian and African art cannot be understated. He was a visionary of his time.

The impact of the actions of these masters clearly extends beyond the arts. It is a commonly held view that culture and what we do to validate our common humanity through the arts is at the core of the good and beautiful life. Regardless of what our differences are; we are all prone to acculturate ourselves towards using the arts as an important means to help us understand ourselves more robustly and act as a motivating force to build bridges, not walls. Across all nations cultural stability in a nation adds measurably to how people see themselves in world history.

I am sure that Tate, a leading purveyor of culture, and this symposium will make history in helping to shape how Nigeria continues to creatively position herself globally within and beyond the arts in these complex modern times.

--Yvonne Ike

It is safe to say that the world has taken its fascination for African art to new heights. I was born, bred and made in Nigeria, Africa’s most populated country. Yet, for all of its historical contributions to modern art, globally, Nigeria has not been able to impose upon the global art world its own imprint, perhaps the opportunity is now.

It would be impossible to remark on modern African art without acknowledging the watershed moments of Pan-Africanism and the negritude movement which birthed many of our prominent modern masters and revealed the pioneering brilliance of the late Ben Enwonwu, who I knew as a child - in addition to works of other greats such as Aina Onabolu, Yusuf Grillo, Obiora Udechukwu, Uche Okeke and El Anatsui - whose individual contributions bore an authenticity yet remained aloof to categorisations like primitivism or authentically African.

I am privileged to have been immersed in African and international cultures and experienced some of Nigeria’s greatest art and artists - having had a uniquely art-filled childhood thanks to my parent’s cultural engagement. I have collected art for over 40 years. More importantly I am a keen observer of a new wave - which has ushered in a lasting environment for the production of art and the exchange of concepts - and I can conclude that now more than ever is a crucial time, in the words of this conference’s organisers ‘to examine strategies of cultural independence and to reflect upon the impact
of transnationalism.’

As Nigerian art is celebrated and re-explored and as we create new histories to pass on to our children and their children we must ask critical questions about our legacies, the preservation of our culture, what the future holds for African art and our changing understanding of history. I hope that we can use this symposium to reflect, discuss and act unfailingly on the results of our discourse to position Nigerian modernism both in our indigenous context and that of the other.

--Aigboje Aig-Imoukhuede

KEYNOTE LECTURE

PROFESSOR CHIKA OKEKE-AGULU
THURSDAY 28 SEPTEMBER 2017
18.30 - 20.00

Welcome by Kerryn Greenberg
Introduction by Yvonne Ike

Chika Okeke-Agulu is an artist, curator, and Professor of Art History in the Department of Art and Archaeology and the Department for African American Studies at Princeton University. He is the author of Obiora Udechukwu: Line, Image, Text (Skira Editore, 2016), Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria (Duke University Press, 2015), and with Okwui Enwezor, of Contemporary African Art Since 1980 (Damiani, 2009). He is coeditor of Nka: Journal of Contemporary African Art and other edited volumes. In 2016, he received the Frank Jewett Mather Award for Distinction in Art Criticism from the College Art Association; the Melville J. Herskovits Award, given by the African Studies Association to the author of the most important scholarly work in African studies published in English in 2015; and Distinguished Alumnus Award for Outstanding
Service to the Arts (The College of the Arts, University of South Florida, Tampa). In 2017, he received Honorable Mention, the Arnold Rubin Award for Outstanding Publication, from the Arts Council of African Studies Association. He sits on the boards of the College Art Association and Princeton in Africa. Okeke-Agulu is a columnist for The Huffington Post and maintains the blog, Ofodunka: Art. Life. Politics.


FRIDAY 29 SEPTEMBER 2017
Starr Auditorium, Tate Modern
10.00 – 17:45

10.20 – Welcome by Kerryn Greenberg
10.30

10.30 – MODERNISM AND INDEPENDENCE IN WEST AFRICA
11.45

  • Négritude and Natural Synthesis in the Formation of Modernism in West Africa - Alinta Sara
  • Performing Pan-Africanism: Major African Cultural Festivals from Dakar’66 to FESTAC ’77 - David Murphy
  • Weathering the Storm: Ben Enwonwu’s Biafrascapes and the Crisis in the Nigerian Postcolony - Matthew Lecznar
  • Q&A moderated by Paul Goodwin

11.45 – BREAK
12.15

12.15 – THE FORMATION OF NATIONAL IDENTITY AND PRESERVATION
13.30 OF HISTORY

  • The Family Archive as Political Site - Bea Gassmann de Sousa
  • Rewriting Art History with the Estate of Ulli Beier - Lena Naumann and Siegrun Salmanian
  • Nigeria’s Nucleus: Modernism into the Future - William Rea
  • Q&A featuring Oliver Enwonwu, moderated by Bea Gassmann de Sousa

13.30 – LUNCH
14.30

14.30 – KNOWLEDGE AND LEGACY: UNEXPECTED TROPES
15.45

  • Michael Cardew and the Making of Ceramic Art Modernism in Nigeria in the 1950s and 60s - Ozioma Onuzulike
  • Deconstructing De-Colonialism in Nigerian Modernist Art - Folakunle Oshun
  • Nothing Wey Man Eye Never See: A Writer’s Way of Seeing - Emmanuel Iduma
  • Q&A moderated by Chika Okeke-Agulu

15.45 – BREAK
16.15

16.15 – COLLECTING MODERN AFRICAN ART: 1950 – 2017
17.30

  • Double Lack: Where Are the Women in Nigerian Modern Art? - Isabelle Malz
  • Painting Global Art: A Transmodern Perspective - Christian Kravagna
  • Fisk University Galleries and Modern Nigerian Art - Jamaal Sheats and Nikoo Paydar
  • Q&A moderated by Kerryn Greenberg

17.30 – Summation by Zoe Whitley
17.40

17.40 – Closing remarks by Aigboje Aig-Imoukhuede
17.45


PARTICIPANTS
Oliver Enwonwu is the founder, executive director, and trustee of The Ben Enwonwu Foundation. He is also the president of the Society of Nigerian Artists, director of Omenka Gallery and CEO of Revilo Company Ltd, publishers of Omenka, an arts, business and luxury-lifestyle magazine.

Bea Gassmann de Sousa is the founder of the Agency Gallery, London and an independent curator and researcher. She curated the exhibition A Portrait in Fragments: Theresa Hak Kyung Cha (1951-82) with works from her archive. Since 2015 she has been researching manuscripts at the family archive of The Ben Enwonwu Foundation, Nigeria.

Kerryn Greenberg is Curator (International Art) at Tate Modern. She leads Tate’s Africa Acquisitions Committee and is responsible, together with Zoe Whitley, for formulating Tate’s strategy in the region. Most recently, she curated the exhibition Fahrelnissa Zeid (13 June – 8 October 2017).

Paul Goodwin is Director of the Transnational Art Identity and Nation Research Centre (TrAIN) and Professor of Contemporary Art and Urbanism at University of the Arts London. He most recently curated Untitled: art on the conditions of our time (New Art Exchange, Nottingham 2017).

Emmanuel Iduma is the author of the novel The Sound of Things to Come and A Stranger’s Pose, a forthcoming book of travel stories. He is also coeditor of Gambit: Newer African Writing, editor of Saraba Magazine, and a faculty member of the MFA Art Writing program at the School of Visual Arts, New York. He was associate curator of this year’s Nigeria Pavilion at the Venice Biennale.

Christian Kravagna is Professor of Postcolonial Studies at the Academy of Fine Arts in Vienna. His book Transmoderne: Eine Kunstgeschichte des Kontakts is forthcoming with b_books. He is the editor of The Museum as Arena: Artists on Institutional Critique, (2001) and co-editor of Transcultural Modernisms (2013).

Isabelle Malz is Curator of Modern and Contemporary Art, Kunstsammlung Nordrhein Westfalen, Düsseldorf, Germany. She has produced a number of acclaimed exhibitions. Isabelle Malz is currently part of the curatorial team for museum global (2018).

David Murphy is Professor of French and Postcolonial Studies at the University of Stirling. He recently published the edited volume The First World Festival of Negro Arts, Dakar 1966: Contexts and Legacies (2016). He is currently preparing an illustrated history of the Dakar festival with Cédric Vincent.

Lena Naumann works as the assistant to the directorship of Iwalewahaus, University of Bayreuth. As a junior researcher, she is involved in the research project African Art History and the Formation of a Modern Aesthetic. Naumann is currently coordinating the digitisation of the Ulli Beier estate.

Ozioma Onuzulike, ceramic artist, poet and writer, is Professor of Ceramic Art and Art History in the Department of Fine and Applied Arts, University of Nigeria, Nsukka. He has published widely, including in Nka, African Arts, Critical Interventions and Journal of Modern Crafts.

Folakunle Oshun is an artist and curator from Nigeria who expanded his Lagos studio into an art project space in 2013. He initiated the project Mending Histories at Gallery Wedding in Berlin, which challenged the contextualisation and presentation of African art in Western Museums.

Nikoo Paydar is Assistant Curator at Fisk University Galleries and a lecturer in the Art Department. She co-founded and co-directed Iranian Alliances Across Borders (IAAB), a non-profit organisation focused on Iranian diaspora youth now in its 14th year.

William Rea is senior lecturer in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds. He is a member of the JADEAS trust and has consulted for the British Council on Nigerian creative entrepreneurship. He organised the Ibadan 1960 conference at the University of Leeds (2004)

Siegrun Salmanian works as a junior researcher in the project African Art History and the Formation of a Modern Aesthetic and is a curator at Iwalewahaus, University of Bayreuth. Salmanian is currently working on her PhD, focussing on modern art movements in Sudan.

Alinta Sara is an independent researcher, teacher and art educator working in London. Her current research is on the Afro-Brazilian architectural heritage in the Bight of Benin. She is the co-founder of Bokantaj, a collective promoting intercultural understanding through artistic intervention.

Jamaal B. Sheats is the Director and Curator of the Fisk University Galleries and Assistant Professor in the Art Department. Sheats owns Sheats Repoussé and the Charlotte Art Project and holds positions on the Frist Center for the Arts Education Council and the “To Share a Legacy” HBCU Alliance.

Zoe Whitley is Curator (International Art) at Tate Modern. She is responsible, together with Kerryn Greenberg, for formulating Tate’s strategy for Africa. Most recently, she co-curated the exhibition Soul of a Nation: Art in the Age of Black Power (12 July–22 October 2017).

Friday, August 18, 2017

Dana Schutz, Damien Hirst, and the Matter of Cultural Appropriation

Just more than a week ago scores of members of the National Academy of Art published a widely-circulated letter in defense of the artist Dana Schutz whose recently-opened ten-year retrospective exhibition at the ICA Boston has drawn protests from local artists. This comes in the wake of the furor caused by her painting, Open Casket, shown at New York’s Whitney Biennial in the spring. The Boston protests have everything to do with that controversial painting. 

Having followed the debates for months, there seems to be a consensus in the world of elite culture—echoed by Kenan Malik, Adam Shatz, and now the academicians—to the effect that radical objections by non-white critics and activists to art usually by white artists that they feel does symbolic violence to their history and experience amount to censorship and nasty essentialism.
Critics of Schutz have a point, and that too must be defended. To be clear, charges of cultural appropriation are not always defensible, as the one against British artist Damien Hirst shows.
Schutz’s Open Casket is a painting depicting the mutilated body of Emmett Till whose racially-motivated murder in 1955 is considered a key moment in the rise of the 1960s Civil Rights Movement. And at the Palazzo Grassi and the Punta della Dogana museums in Venice, Hirst included a golden head said to be from the ancient kingdom of Ife (in today’s Nigeria) in his faux-archaeological Treasures from the Wreck of the Unbelievable installation. Both were accused of cultural appropriation.

But what is cultural appropriation? No point trying to define it; when philosophers can’t agree on the meaning of the term, what chance do I, an artist and art historian, have? But here is how I understand it. Cultural appropriation happens when someone in a position of power or privilege tells the story of someone less privileged, or uses symbols or takes ideas held dear by the latter in a way that is unsympathetic, disrespectful, pejorative, hurtful.

Cultural appropriation is about relations of unequal power. If two people of same status take from each other, it might be called exchange; if the weaker or underprivileged takes from the more powerful, it is usually seen as mimicry, a sign of one’s inferiority, inauthenticity and insufficiency. Picasso became an art star by putting masks designed by supposedly unsophisticated African sculptors on the faces of the naked women in his Les Demoiselles d’Avignon. That is cultural appropriation. When African American artists of the 1960s joined their white Abstract Expressionist counterparts and made non-objective paintings and sculptures, white critics saw this as lack of originality in black art. Cultural appropriation is what people with real power do.

The clamor against Hirst began with an Instagram post by Victor Ehikhamenor, one of the artists represented in the inaugural Nigerian pavilion at this year’s Venice Biennale. According to him the inclusion of a golden head made in the style of 12—14th century Ife brass heads in Hirst’s installation could cause future Nigerians to not recognize the brass head as part of their artistic heritage. Other critics recalled that Hirst was not the first to deny the Yoruba people the achievement of their Ife ancestors. The German ethnologist Leo Frobenius, the first European to see these stunning, highly naturalistic, brass and terracotta sculptures, around 1906, claimed they had to be the work of some ancient Greek sculptor from the lost city of Atlantis. Frobenius’ theory—based on the assumption that “primitive” black Africans could not have made the fine sculptures—was soon recognized for its racist motivation and discredited. Hirst’s exhibition guide, in fact, recounted this story.

Mr. Hirst set out to create an extraordinary collection of treasures from the wreck of an imaginary ship loaded with artistic and material treasures from the world over. A kind of bombastic and kitschy Noah’s Ark of collectibles. The Ife head was one among scores of objects found in the ship wreck. Had he not included any object from Africa (there were Pharaonic Egyptian stuff as well), you bet he would have been found guilty of ignoring African contribution to human civilization and cultural heritage. The charge against Mr. Hirst results from the misuse of the cultural appropriation sledge hammer.

The furor caused by Schutz is of a different order. Her depiction of Emmet Till’s mangled face in her humongous painting based on an archival black and white photograph pricked a festering wound in America’s racial unconscious.

Voices mostly black and from outside the art world establishment have criticized what they saw as Schutz’s insensitive and opportunistic appropriation of an image that represents one of the worst moments in America’s history of racial terror and injustice. Among them, were Parker Bright who used his own body to block the painting from viewers, and Hannah Black who collected signatures calling for the painting to be withdrawn and burned. Ms. Black and her supporters were compared to Islamic fundamentalists who wield the deadly weapon of the fatwa. They, we are told, were driven by tiresome racial victimology and, worse, reverse racism.

But here is my take.

First, there is nothing in Open Casket that made the artist’s intention legible. And for a politically and racially charged symbol that Till’s dead body became, there is no room for equivocation, especially in an American society still haunted by the deep and enduring legacies of slavery and racism. It matters that the artist, with the natural privilege that comes with racial whiteness, is known as a painter of odd and grotesque stuff, and not for using her work to address in any meaningful way inequality or social justice. The artist and her supporters may invoke and defend her artistic license; but they ought to have been ready for the robust outrage of their critics.

Second, we have been here before. In 1969, the Metropolitan Museum of Art organized the “Harlem on My Mind” exhibition, with very little input or representation of black artists and voices that made 20th-century and civil rights era Harlem art and culture tick. Picketing against the show by crowds from Harlem and beyond shamed the museum’s attempt to appropriate Harlem’s history in the service of the institution’s particular vision of black America. Ms. Black’s online signature drive is virtual street protest. Like the Met then, the Whitney organized a speaking gig to address the Open Casket protests, and moved on. Unruffled.

Third, Ms. Black and her supporters have every right to deploy their collective voice to call out what at best is a careless appropriation of Till’s image. They must be seen as new-age practitioners in that core principle of the democratic society, free speech. If the Fang sculptors in the Congo whose work Picasso and his peers in imperial France copied had a voice, you bet they would have declaimed the French appropriators. Just as their Yoruba peers in Nigeria would have Frobenius!

Moreover, when the early 20th-century European Dada and Surrealist avant-garde (with no real coercive political powers of their own) expressed their outrage at modernity’s hegemonic system, and called for the destruction of its institutions and symbols. They became heroes of modern art.
Now, some young, mostly, black artists, in a reprise of that avant-garde rhetorical legacy, protest against a powerful museum and its white, very privileged artist who turned Emmet Till’s body into her usual grotesquerie. They are seen as vandals threatening the art system.

The passionate and vehement declamation of Mr. Hirst for the Ife head was on the other hand misplaced and shows the danger of invoking cultural appropriation every time a white artist—even one that is frequently controversial like Hirst—engages with art and ideas from the non-white world.

The Schutz controversy reminds me of an Igbo aphorism: you don’t step on someone’s foot and not expect him to cry out. As for that of Hirst, the idiom about crying wolf will suffice. 

*Originally published in Huffington Post

"Tradition and Postcolonial Modernism in the Work of Obiora Udechukwu"

Obiora Udechukwu, Alhaja, 1978, ink and wash on paper, Collection Iwalewahaus, Bayreuth © Obiora Udechukwu.

I recently published an essay on the work of Nigerian artist Obiora Udechukwu, the subject of my last book, Obiora Udechukwu: Line, Image, Text (Skira, 2016), in the Australian contemporary art journal, ArtLink. If you want to read it and have the time, check it out here:

Thursday, August 3, 2017

University of Chicago seeks Tenure Track Assistant Professor in Black Atlantic Art & Architecture

Position Description: 
The Department of Art History at the University of Chicago seeks (an) art or architectural
historian(s) of the Black Atlantic, specializing in any pertinent historical period and in any territory of Africa, Latin America, the Caribbean, North America, Iberia, and/or the more ramified Atlantic world. We are also interested in art or architectural historians working more broadly on race, (post)colonialism, and visual culture in the Atlantic world. The ability to work across fields and subfields is highly desirable, as we expect the successful candidate to collaborate with faculty within and beyond our department.

The Department of Art History values diversity. A goal of the search is to increase the diversity
of the faculty in the Department of Art History and across the Humanities Division, and we
therefore welcome applicants from groups historically underrepresented in academia, such as
black/African American, Hispanic/Latino, American Indian or Alaskan Native.
Successful candidates will be appointed either as a tenure-track Assistant Professor, or as a
Provost Fellow at the rank of Instructor with an initial two-year faculty appointment. This
initial period is intended to serve in lieu of a postdoctoral appointment. Provost Fellows will
teach one class/year, receive research support, and participate in programming designed to
help support them in their transition to Assistant Professor. Provost Fellows will ordinarily be
promoted to Assistant Professor at the end of their 2-year term. Candidates for Provost Fellow
appointment must have no more than two years of postdoctoral experience. All candidates
must have the Ph.D. in hand by the start of the appointment, 1 July 2018.

Complete application materials include cover letter (including discussion of research and
teaching interests), CV, two scholarly writing samples, names and contact information for
three professional references, and a statement describing the applicant's prior and potential
contributions to diversity in the context of academic research, teaching, and service.
Applicants should send all materials in electronic format (MS Word or PDF) to Caroline
Altekruse at caltekruse@uchicago.edu with subject heading "Black Atlantic Art and
Architecture Search." In addition, applicants must upload the CV and cover letter to the
Academic Career Opportunities website at http://tinyurl.com/ya6e3sek. No applications
received after 20 September 2017 will be accepted. University positions are contingent upon
budgetary approval.

Additional Information or Requirements:
Statement: The University of Chicago is an Affirmative Action/Equal Opportunity/Disabled/Veterans
Employer and does not discriminate on the basis of race, color, religion, sex, sexual
orientation, gender identity, national or ethnic origin, age, status as an individual with a
disability, protected veteran status, genetic information, or other protected classes under the
law. For additional information please see the University's Notice of Nondiscrimination
at http://www.uchicago.edu/about/non_discrimination_statement/. Job seekers in need of a
reasonable accommodation to complete the application process should call 773-702-0287
or email ACOppAdministrator@uchicago.edu with their request.

Required Applicant Documents: Cover Letter
Curriculum Vitae
Optional Applicant Documents:
Other documents to attach:
Posting Link: http://tinyurl.com/ya6e3sek

Sunday, July 30, 2017

Tenure-Track Art History position in African American Art at Stanford

Assistant Professor in African American Art
Stanford University

The Department of Art and Art History at Stanford University invites
applications for the position of assistant professor, tenure-track, in
African American art history. The appointment is expected to begin on
September 1, 2018. Recent recipients of the Ph.D. and candidates who will
have received their Ph.D. by the time of appointment are invited to apply.
Teaching experience at the university level and a record of scholarly
publication are highly desirable.

We solicit applications from candidates who study African American art in
historical and/or contemporary perspective. Candidates who explore this art
in a diasporic and/or hemispheric context are also encouraged to apply. The
successful candidate will be expected to develop an introductory level
survey and more focused courses for undergraduates, as well as seminars for
graduate students and advanced undergraduates. The ideal candidate would
bring to Stanford a program of current and future research that is poised
to transform the field as well as to attract graduate students of the
highest caliber. The successful candidate will be affiliated with
Stanford's Center for Comparative Studies for Race and Ethnicity and teach
courses cross-listed with that Center, known as CCSRE. The successful
candidate's connection to CCSRE will also include, but is not limited to,
serving on committees and involvement in various intellectual and related
activities that promote the center's goals.

Interested candidates should post a letter detailing the direction of
current research and teaching objectives, a CV, a writing sample, and three
letters of recommendation online at
https://academicjobsonline.org/ajo/jobs/9441.  No hard copy applications
will be accepted. The deadline for receiving applications is October 1,
2017.

Stanford University is an equal opportunity employer and is committed to
increasing the diversity of its faculty. It welcomes nominations of, and
applications from, women, members of minority groups, protected veterans
and individuals with disabilities, as well as others who would bring
additional dimensions to the university's research, teaching and clinical
missions.

Tuesday, July 25, 2017

Nigeria: Corruption, Inc.

If you ever wonder why even the most ardent Nigeriaphilic voices have all but given up on that peculiar construction; why its foundation, cemented onto a bedrock of festering, gooey petroleum, could never support the boneless structure of a pretend-nation, just take a look at this one episode of the shameful--sorrily, not particularly unique--story of official corruption in Nigeria.

The sad thing is not just that for years, these individuals whose dirty hands ravaged that country's commonwealth in an orgy of avarice, were not only protected by the Nigerian civilian government but that they enjoyed the company of the high and mighty in Europe and America. So, now the US government is going to seize these properties bought with monies that belonged to the Nigerian people? Funds that could no doubt build major infrastructure so badly needed by a distressed and impoverished citizenry? Here's my proposal, Mr. US Law. After you have, I hope, successfully prosecuted these criminals and deducted the monies you spent in the courts of law, could you please send the balance to someone (governmental or not) who could spend it on something that will benefit the Nigerian people?

Read the Quartz Africa story of Nigerian ex-Oil Minister Mrs. Alison Diezani-Madueke, and "businessmen" Kola Aluko and Jide Omokore. 

Wednesday, July 5, 2017

INTERNATIONAL FELLOWSHIP PROGRAMME AT THE TATE MODERN


BROOKS INTERNATIONAL FELLOWSHIP PROGRAMME – OPEN CALL

Tate, in collaboration with Delfina Foundation<http://delfinafoundation.com/programmes/residency-programme/collaborations/brooks-international-fellowship-programme-with-tate/>, invites applications for the Brooks International Fellowship Programme 2018. Now in its fourth year, the programme will enable three curators, researchers, art historians or other museum professionals to work with Tate colleagues in London for three months commencing January 2018, complemented by activities at Delfina Foundation.

During this period, the Fellows will be part of a Tate team, actively participating in gallery projects and discussions, with special access to the collection, programme, archive, staff and wider networks.

The Fellows will reside at Delfina Foundation, where they will contribute to the public programme by presenting their research at Tate to a range of audiences.

These fully funded opportunities are made possible by the generous support of the Rory and Elizabeth Brooks Foundation.

Three fellowships are available in 2018. For further information about individual Fellowship opportunities and to apply please refer to the attached document or visit Brooks International Fellowships<https://workingat.tate.org.uk/pages/job_search_view.aspx?jobId=2804&JobIndex=1&categoryList=&workingPatternList=&locations=&group=&keywords=&PageIndex=1&Number=19>


Tate Modern  |  Bankside  |  London  |  SE1 9TG  |  United Kingdom