ISSA SAMB

"Issa Samb is considered a total artist. His practice ranges from acting, for both theatre and cinema, to writing (poetry, essays, novels), installing, performing, painting and sculpting… yet his work is unclassifiable."

Photo: Christa Holka

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Angèle Etoundi Essamba (Douala, 1962) is a Cameroonian photographer.

She grew up in Yaoundé moved to Paris as a young girl, where she was trained at the Dutch Professional Photography School in The Hague. Later on she moved to the Netherlands where she trained at the Nederlandse Fotovakschool (Netherlands professional school of photography)

Her art focuses on representations of black womanhood, individuality and humanity. Her work is historical and cultural, aimed at promoting mutual understand and respect for African identity.

Etoundi Essamba gained international recognition with exhibitions all over the world. Her photographs were first displayed in 1985 at the Maison Descartes in Amsterdam. Exhibitions followed throughout the world (Africa, Europe, Asia, South America and the United States)

She is associated with DUTA or Douala Urban Touch of Arts, which allows Central African visual artists in Douala, Cameroon to share their work.

Click the images for date and title.
Website

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Hyper Realistic Pencil Drawings byJono Dry

on deviantART

South African artist Jono Dry creates awesome large-scale pencil drawings, many of which are a beautiful blend of photorealistic style and surrealistic subject matter. A completely self-taught and very meticulous artist, Jono sometimes spends months on a single piece in order to achieve such an astonishing level of detail.

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Happy Women’s Day

to celebrate we feature the work of a great Kenyan artist James Njoroge from his “Mwanamke ni effort” series (roughly translating to it takes a lot of effort being a woman or the more succinct “woman IS effort”)

James Njoroge aka Kimoshire

Country: Kenya

Style: Realist/ Digital Art

Fun Fact: I am a fine art student in Kenyatta University. I love doing illustrations and playing around with design software.

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Works

1. Haki (Right)

2.Nywele (hair)

3. Chama (association)

4. What it feels like to be a girl

5. Mama Soko (market Woman)

6. Nywele (hair)

7. Mother Makmende (SuperMom)

8. Ndio Sababu Hajanichoka (It’s Why She’s not tired of me)

9.Nywele (Hair)

10. Taji (crown)

more at https://www.behance.net/kimoshire

www.kimoshire.deviantart.com

FOLLOW HIM AT: http://kimoshire.tumblr.com/

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Edosa Ogiugo

Country: Nigeria

Style: Expressionism

Medium: Oil/Acrylic on Canvas

Fun Fact: Born in Ibadan in Nigeria’s Edo state in 1961. He graduated as a Fine Arts Major from Yaba College of Technology in 1985 with several college awards as well as awards in other fields of his life, including the Youth Corps and in the advertising field. He has worked with the Nigerian Television Authority in Benin, Promoserve Limited in Lagos and the Yaba College of Technology.

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Paintings

1. Typical Niger Delta dance

2.Polo

3. Charge Series

4. Ecstasy (Joy Series)

5. Market series

6. Vitreous Women

7. Sweet Mama

8. Untitled (from Dance)

http://edosaogiugo.blogspot.com/

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Iké Udé, Cover Girls series, from top to bottom: “Cigar Aficionado” (1997), “Nigerian Vogue” (1994), “Sports Illustrated” (1997): Iké Udé is an artist from Lagos, Nigeria and a writer/publisher for New York’s aRUDE Magazine. Traditionally trained as a painter since he began his artistic career in the 1980s, Udé turned to photography in the 1990s to explore and deconstruct issues of identity represented in various media, from magazines, to television and film. In his Cover Girls series, Udé fabricates magazine covers from well-established magazines, and inserts himself on the front covers, often posing in drag and/or in whiteface to address questions about conventional conceptions race, class, and gender, and the demographics of magazines catered to a particular breed of consumer audience.

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Tanzanian artist Rehema Chachage (Dar es Salaam, 1987) creates video, sculptural, performance and image installations which explore the theme of gender, identity, voicelessness and alienation. She graduated in 2009 with a BFA from Michaelis School of Fine Art, University of Cape Town. Her artistic pieces make use of ritualization, subversion and tension, reflecting the four years she spent in South Africa as a ‘cultural foreigner’ and as a black female student in a predominantly white middle-class setting.

Mizizi/Nasaba explores the state of bereavement and the politics of gender in African society when it comes to inheritance. It consists of digital prints that document a relationship between a bereaved daughter and the text that was left behind by her deceased father—which is her only true inheritance since all material inheritance (according to beliefs in most African society) is ‘ideally’ left behind for the male subjects in the family. - Rehema Chacage on her work, pictured above.

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Inspirational Art by Kenyan ArtistbWangechi Mutu

Wangechi Mutu is an African artist renowned for her haunting and dramatic female figures. An artist from Nairobi, Kenya, Mutu creates painted and collaged images of the female body offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.

Mutu’s work has been featured in museums and galleries all around the world exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. She participated in the 2004 Gwangju Biennale in South Korea. Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. As a unique visual artist Mutu’s work has important political and social implications.

Wangechi Mutu observes: “Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body.” Piecing together magazine imagery with painted surfaces and found materials, Mutu’s collages explore the split nature of cultural identity, referencing colonial history, fashion and contemporary African politics.

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