Papers by frank A O ugiomoh
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Duke Asidere is an artist whose command of form evokes the sensuous in such ways that enchant. Hi... more Duke Asidere is an artist whose command of form evokes the sensuous in such ways that enchant. His many approaches to the realisation of form notwithstanding, his formal vocabulary seethes with lively sentiments that invigorate aspects of lived reality in the audience; at the same time alluring to identify with. Partly responsible for the above attribution, I dare to suggest, is his disposition as an artist. He invests the common-place with mysterious airs that seem to say; the secrecies of nature are not sophisticated after all; they are within reach and lurking by to be appreciated in the simplicity that clads nature. Hence, in a previous solo exhibition, I called attention to the way Asidere captures ‘truth’ in visual fictions or metaphors that allow an understanding of the principles and the nature of reality so addressed in the themes and titles that obcess him…………
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Kiabàrà: Journal of the Humanities, 2008
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Third text, 2013
The effects of oil exploration in the Niger Delta region in Nigeria have attracted serious concer... more The effects of oil exploration in the Niger Delta region in Nigeria have attracted serious concern on a global scale, largely thanks to the initiative of Ken Saro-Wiwa. In spite of the activities of environmental activists the region remains an epitome of environmental disaster. This has given rise to an impressive body of work by poets and visual artists enunciating the environmental challenges in this oil-rich region. The authors examine the common thread that is shared in this corpus within the larger context of education in eco-aesthetics and social responsibility, considering the relationship that currently exists between oil-producing communities and the multinational oil corporations. This position is anchored on the insights offered by current thought in eco-ethics and eco-aesthetics. Previous efforts to ameliorate these effects failed; what is now required is a strong synergy between aesthetic/environmental education and social function.
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Third text, Jul 1, 2005
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Nka Journal of Contemporary African Art, Sep 1, 2010
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The photographs of George Osodi are robust in the concern for the environment. A sense of activis... more The photographs of George Osodi are robust in the concern for the environment. A sense of activism is apparent in Osodi’s approach to documentary photography focused on the environment. For this reason, they propose calls for considerations beyond the beauty of formal ordering or presentation. In this essay, three documentary spaces, Nigeria, Ghana, and Norway that Osodi has engaged constitute the subject of evaluation. The concern interrogates the values of the human agency considering the post-colonial condition and collective responsibility in amending environmental infractions of the past and those still on-going. In this regard, the photograph shed its value as an object of appreciation for metaphor and appropriated for the knowledge and understanding it provides. In this way, it allowed the evaluation of its aesthetic propositions furthering expected goals of good governance and modernization of democratic institutions. The human-centered focus of Osodi’s photographs on the environment are metaphors that place a demand on the human agency to engage requisite environmental stewardship.
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Routledge Companion to Decolonizing Art, Craft and Visual Culture Education
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Ijinle: The Aisha and Gbenga Oyebode Collection, 2022
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Black Orpheus: Jacob Lawrence and the Mbari Club, 2022
Modern Nigerian art benefited from the informal art workshops that trended at its inception. The ... more Modern Nigerian art benefited from the informal art workshops that trended at its inception. The workshops had impacts on the overall development and dissemination of trends and styles in it. Jacob Lawrence, the African American artist, partook in some of the workshops participating in exhibitions and giving lectures while he visited Nigeria twice. This paper chronicles developments in modern Nigerian art in the post-Jacob Lawrence era. The paper identifies two main stylistic traits governed by artists trained in workshop traditions and academically trained ones. A sub-style resulting from the fusion of styles between an academically trained and a workshop-trained artist is recorded in Tola Wewe and Nike Davies-Okundaye. The academically trained artists exhibited in their themes, composition and style the ideological ferment and social realities of their time.
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Dress Cultures aims to foster innovative theoretical and methodological frameworks to understand ... more Dress Cultures aims to foster innovative theoretical and methodological frameworks to understand how and why we dress, exploring the connections between clothing, commerce and creativity in global contexts.
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The photographs of George Osodi are robust in the concern for the environment. A sense of activis... more The photographs of George Osodi are robust in the concern for the environment. A sense of activism is apparent in Osodi’s approach to documentary photography focused on the environment. For this reason, they propose calls for considerations beyond the beauty of formal ordering or presentation. In this essay, three documentary spaces, Nigeria, Ghana, and Norway that Osodi has engaged constitute the subject of evaluation. The concern interrogates the values of the human agency considering the post-colonial condition and collective responsibility in amending environmental infractions of the past and those still on-going. In this regard, the photograph shed its value as an object of appreciation for metaphor and appropriated for the knowledge and understanding it provides. In this way, it allowed the evaluation of its aesthetic propositions furthering expected goals of good governance and modernization of democratic institutions. The human-centered focus of Osodi’s photographs on the en...
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Duke Asidere is an artist whose command of form evokes the sensuous in such ways that enchant. Hi... more Duke Asidere is an artist whose command of form evokes the sensuous in such ways that enchant. His many approaches to the realisation of form notwithstanding, his formal vocabulary seethes with lively sentiments that invigorate aspects of lived reality in the audience; at the same time alluring to identify with. Partly responsible for the above attribution, I dare to suggest, is his disposition as an artist. He invests the common-place with mysterious airs that seem to say; the secrecies of nature are not sophisticated after all; they are within reach and lurking by to be appreciated in the simplicity that clads nature. Hence, in a previous solo exhibition, I called attention to the way Asidere captures ‘truth’ in visual fictions or metaphors that allow an understanding of the principles and the nature of reality so addressed in the themes and titles that obcess him…………
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In 1987, Professor Uche Okeke (as he is widely known), had just been relieved of his position as ... more In 1987, Professor Uche Okeke (as he is widely known), had just been relieved of his position as a professor of art in the Department of Fine and Applied Arts at the University of Nigeria, Nsukka, due to an inhospitable political strife. At the time, the first set of undergraduate students of the Visual Arts programme in the Creative Arts Department, University of Port Harcourt was to graduate. Hence, Professor Ola Rotimi enlisted his assistance to provide the needed academic leadership for the unit. In due course, he restructured the courses of the Visual Arts programme; keeping it in tandem with conventional expectations. Owing to the location of the Visual Arts programme in a Department of Creative Arts under the sway of dramatic arts.
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Third Text February 10, 2007 , 2007
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Africana.org, 2020
In 1964, the year Wangboje began work as an academic, he composed a lino print entitled Man, Mas... more In 1964, the year Wangboje began work as an academic, he composed a lino print entitled Man, Mask and Myth. Over the years, before his retirement as an academic, he created eight prints of the same title. At retirement, while evaluating his contribution to the development of art pedagogy in Nigeria, he replied to an interview thus, "now that we are no longer anonymous, let us see what we have done." The statement is appropriated as a Freudian slip within the context of the composition Man, Mask, and Myth exploring diegesis as a methodological tool and imposing an epic encounter in the series. Wangboje and his role as “persona” in an institutionalized setting are supplanted in a semantically neutralized context in the mask he created. Hence in this trilogy of epic representation, the forms of mask and myth transform into tragic and comic elements in the composition. Any effort to come to terms with their reality by way of interpretations, as this paper set out to do, will end up in replicating other masks. Wangboje, in the compositions, created or addressed himself in the compositions
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Fashioning the Afropolis
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Third Text, 2004
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Papers by frank A O ugiomoh