Languages and Literature, University of Birmingham
PODCAST about my research, The Africa Collection (formerly the Danford Collection) at University of Birmingham, collecting African art and artefacts and decolonisation. CLICK TO LISTEN TO PODCAST
Review of “Paul Mpagi Sepuya”: ‘between desired object and desiring subject’ 16/12/2020 Africa in Words 20120 CLICK TO READ REVIEW
Talking #Africadia and Afropolitanism: An Interview with Artist Siwa Mgoboza 07/02/2019 Africa in Words 2019 CLICK TO READ INTERVIEW
Researcher for: Francis Davis, E Murangira and M Daehnhardt (2019) Ageing in Rwanda – challenges and opportunities for church, state and nation. Teddington/Birmingham: Tearfund and University of Birmingham
LUCAS 'Creative Africas, Contemporary Africas' Leeds University, UK
Africa Rising, African Nostalgia: two narratives around African contemporary art at Bonhams Auction House in London
The last two decades have seen a surge of interest in ‘African contemporary art’, popularly cited as an emerging and ascendant market (Enwezor and Okeke-Agulu 2009). This ‘surge’ correlated with a period of economic growth on the continent, when the mainstream press, economists and academics formulated an ‘Africa Rising’ narrative (The Economist (3/12/2016).This paper is based upon my innovative art-anthropological study of art at auction, adding to purely economic readings of an ‘Africa Rising’ narrative by considering how ‘Africa’ is represented in the visual art world. Using ethnographic research data gathered over three years at one of the most important sites of operation of the international market for African art, Bonhams auction house in London, the findings illuminate an investigation around ‘Brand Africa’. I view economic transactions as social events and Bonhams as a place of cultural production, questioning how Bonhams package African art for consumption, what ideas about ‘Africa’ Bonhams are selling and ultimately how Bonhams use ‘Brand Africa’ to market and sell African contemporary art. This paper will investigate two opposing narratives around the representation of ‘Africa’ which emerge from my research.
Global Urbanism workshop, University of Birmingham, UK
Art infrastructure in African urban spaces
New Voices in Postcolonial Studies: Interdisciplinary Imaginations, Critical Confrontations, Leeds University, UK
Women’s agency in the African Contemporary Art World: exploring Afropolitan art networks
There is an historical critical silence around women and gender in the art world, where scholarship to correct this focuses primarily upon art networks in the West. To address this silence I explore female agency and networking within the ‘African contemporary visual art world’; an exciting subgenre of the wider contemporary visual art world. In this rapidly emerging and expanding field, African (and Diaspora) women are highly visible in decision making and influencing roles: in greater numbers than in the contemporary art world more broadly where gender disparity persists (Reilly and Lippard, 2018). In this paper I suggest that these art world spaces are inherently ‘Afropolitan’. ‘Afropolitanism’ is a form of cosmopolitanism relating to ideas of connection and belonging to Africa (Mbembe and Balakrishnan, 2016) which has been conceptually led by women of colour (Abebe, 2015). I suggest that Afropolitan networks of individuals congeal the global ‘spaces’ of the African contemporary art world and, in tracing how women operate within local, national and transnational art networks, shed light on the role of women in diaspora and female transnational networks in cultural production.
February 2019 Marrakech and Casablanca, Morrocco
May 2019 New York, USA
August 2019 Florence and Venice, Italy
October 2019 Lagos, Nigeria
I completed a research placement to investigate five individual women who donated art works and artefacts to the Danford Collection: a unique archive of material culture held by Research and Cultural Collections and the Department of Anthropology and African Studies at the University of Birmingham. This research involves archival research into files held by the Cadbury Research Library, database interrogation and physical object engagement with the collection, as well as interviewing primary sources and the donors themselves (where possible!) This exciting research sheds light on collecting practices around the material culture of West Africa, in particular Nigeria; the structure of the African art world in the recent past; women’s agency within that art world and the reasons why women may have collected and donated art. Biographies were produced for three of the women: Jill Salmons, Lalage Bown and Sister Evelyn Bellamy.
POCO New Voices network 2018/19 Regional Rep
Research Curate Steering Group member
Judge on the panel of LESLAN art prize in Niger
Researcher in Residence, Research and Cultural Collections