African Art - In the Search of a New Idiom

African Art - In the Search of a New Idiom

African Art - In the Search of a New Idiom
Africa is too wide a place to have something like "African art." Since it is difficult to define Da Vinci and Dali in the same bracket, we do not really have a common set called "European Art" or say "Asian Art." Similarly, putting the arts and the cultures of a thousand tribes into one basket reveals not only a patronizing attitude, but also ignorance to some extent. Having said that, it is not that difficult to categorize the "African Art." Forgiving all its disparities of tribal aesthetics, the art from the "Dark Continent," does display some remarkable similarities.
For one, there are no significant "artists" in Africa. There are artisans. This points to the fact that the individual works have been over shadowed by group productions, throughout the history of African Art. We really do not hear of a Gainsborough or Rembrandt in the African context. We are yet to see an African art icon like Picasso. Africa's art, especially fine arts, are yet to escape the tribal sensibilities. Most African art available is artistry on daily utility items such as a shield may be painted by bright motifs, a spoon may be exquisitely carved, a mask may be polished & adorned, or a jug may be embellished. Art without "applicability" or "use" is an idiom, African artisans do not understand. They believe in the philosophy, if one cannot "use" art, what is the use of that "art."
The second common thread that runs through the African Sowei masks, Chi Wara headdress, Bagle mask, and Tutsi figurines, is the strong presence of a central idea of the paintings or sculptures. The central idea of these African art forms can be fertility, beauty, health, or even goodness. The entire craft is built around this central idea. Therefore, every art piece is actually an artifact and seldom more than that.
All or more accurately, most African artists believe in the fact that their sole aim is to depict beauty, and not reality. They root this philosophy to justify the exaggerated facial features on sculptures, the use of bright colors, and almost abstract limbs. According to the African artisans, these are the "artistic" elements of an "ideal" man/woman and not that of a commoner. Therefore, rarely is there any scope for individual expressions in these almost rigid stylizations.
Many find these stylized African art pieces decorative, but rarely more than that. The African art has to grow beyond the accepted tribal idolisms, to blossom into expressionist movement. Until then, it remains trapped in the sphere of its own success.
Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art . Artists can join for free and their image upload is unlimited. Please visit the website at http://www.labedzki-art.com