Actress Aindrea Emelife HD Instagram Photos and Wallpapers March 2023

Standing in front of Kehinde Wiley’s work is always a moment that demands a pause. Not only do we as the viewer have the opportunity to appreciate the awestriking mastery of his painting up close, but an equal chance to reflect on the importance of his practice and its position of influence in contemporary art. Wiley’s interrogation of historical portraiture has long inserted black bodies into spaces previously reserved for white noblemen and royalty and has thus been a catalyst for the evolution of how we represent blackness today. Wiley’s legacy extends further through Black Rock, his multidisciplinary artist-in-residence program which brings together international artists to live and work in Dakar, Senegal, with a mission to support creation, collaboration, and incite change in the global discourse about what Africa means today. @kehindewiley @blackrocksenegal

In this weekends @ft_weekend Life & Arts I was invited by the FT and Ben Okri to muse on the state of things. As the newly appointed Curator (Modern and Contemporary) at The Edo Museum of West African Art (@emowaa_ ) I have been privileged and humbled to be part of the imagining of a future for West African art. Amidst media grabbing discussion about the overdue restitution of objects, it is clear to me that the happy flappy self congratulation of returns needs to go further. Restitution is meaningless if it doesn’t catalyse and connect with the present and future. @emowaa_ is emblematic of this optimistic future. Stretching from ancient to contemporary it addresses a need to connect with a young, creative population, provide economic opportunities and expand and build museum infrastructure and sites of learning on the continent. But it cannot be an island. If globalisation can bring Africa to the world and the world to Africa, then how does this circulation bring returns? In this article, I envision a truly circular global art ecosystem and authentic collaboration between our hallowed halls in the West and institutions in Africa. I discuss @emowaa_’s plans, my first academic focus as the new Curator and wax lyrical on one of the favourite pieces of Nigerian Modernism: Nigeria 1959 by Demas Nwoko. The past few months have been enriching collaborative thinking between some of our greatest minds. It is an honour to learn, grow and be part of this story. But moreover, it is a call to arms. Restitution is the start of the conversation. Now, we must look to the future. @emowaa_ (Edo Museum of West African Art) is a David Adjaye designed museum and cultural district and opens in stages from 2024. (@adjaye_visual_sketchbook @adjayeassociates )

In this weekends @ft_weekend Life & Arts I was invited by the FT and Ben Okri to muse on the state of things. As the newly appointed Curator (Modern and Contemporary) at The Edo Museum of West African Art (@emowaa_ ) I have been privileged and humbled to be part of the imagining of a future for West African art. Amidst media grabbing discussion about the overdue restitution of objects, it is clear to me that the happy flappy self congratulation of returns needs to go further. Restitution is meaningless if it doesn’t catalyse and connect with the present and future. @emowaa_ is emblematic of this optimistic future. Stretching from ancient to contemporary it addresses a need to connect with a young, creative population, provide economic opportunities and expand and build museum infrastructure and sites of learning on the continent. But it cannot be an island. If globalisation can bring Africa to the world and the world to Africa, then how does this circulation bring returns? In this article, I envision a truly circular global art ecosystem and authentic collaboration between our hallowed halls in the West and institutions in Africa. I discuss @emowaa_’s plans, my first academic focus as the new Curator and wax lyrical on one of the favourite pieces of Nigerian Modernism: Nigeria 1959 by Demas Nwoko. The past few months have been enriching collaborative thinking between some of our greatest minds. It is an honour to learn, grow and be part of this story. But moreover, it is a call to arms. Restitution is the start of the conversation. Now, we must look to the future. @emowaa_ (Edo Museum of West African Art) is a David Adjaye designed museum and cultural district and opens in stages from 2024. (@adjaye_visual_sketchbook @adjayeassociates )

In this weekends @ft_weekend Life & Arts I was invited by the FT and Ben Okri to muse on the state of things. As the newly appointed Curator (Modern and Contemporary) at The Edo Museum of West African Art (@emowaa_ ) I have been privileged and humbled to be part of the imagining of a future for West African art. Amidst media grabbing discussion about the overdue restitution of objects, it is clear to me that the happy flappy self congratulation of returns needs to go further. Restitution is meaningless if it doesn’t catalyse and connect with the present and future. @emowaa_ is emblematic of this optimistic future. Stretching from ancient to contemporary it addresses a need to connect with a young, creative population, provide economic opportunities and expand and build museum infrastructure and sites of learning on the continent. But it cannot be an island. If globalisation can bring Africa to the world and the world to Africa, then how does this circulation bring returns? In this article, I envision a truly circular global art ecosystem and authentic collaboration between our hallowed halls in the West and institutions in Africa. I discuss @emowaa_’s plans, my first academic focus as the new Curator and wax lyrical on one of the favourite pieces of Nigerian Modernism: Nigeria 1959 by Demas Nwoko. The past few months have been enriching collaborative thinking between some of our greatest minds. It is an honour to learn, grow and be part of this story. But moreover, it is a call to arms. Restitution is the start of the conversation. Now, we must look to the future. @emowaa_ (Edo Museum of West African Art) is a David Adjaye designed museum and cultural district and opens in stages from 2024. (@adjaye_visual_sketchbook @adjayeassociates )

Finally opening a show in the UK Black Venus comes to Blighty 🇬🇧 this Summer 🧜🏾‍♀️ 💜

Finally opening a show in the UK Black Venus comes to Blighty 🇬🇧 this Summer 🧜🏾‍♀️ 💜

ROLL CALL – apply for @new_curators – applications close in 5 DAYS!! I’ve very excitedly been working with the incredible team behind New Curators as one of their trustees. It all started one wintery day a few years ago, walking socially distanced with @markgodfrey1973 who I am lucky to count as a dear friend and mentor. Being asked to be part of this exciting course and expansion of curatorial study is meaningful as a curator who started not as a curatorial assistant or with a curatorial MA, but a plucky art historian with bold ideas and a passion for storytelling in new ways. New Curators embraces the unconventional (as we should) and the future of curators and so expansion of exhibition programming and how we see art. This is the sort of course I would have ran to apply to so you should too. Applications close soon. Thank you to @kerryngreenberg @markgodfrey1973 @rudimd for your hard work and belief that the path to equity has many routes, and starting early, by expanding who sees themselves in these positions and who can contribute to these discussions is vital. Proud to be part of this important mission. Can’t wait to meet you, Class of 23 💜 x

ROLL CALL – apply for @new_curators – applications close in 5 DAYS!! I’ve very excitedly been working with the incredible team behind New Curators as one of their trustees. It all started one wintery day a few years ago, walking socially distanced with @markgodfrey1973 who I am lucky to count as a dear friend and mentor. Being asked to be part of this exciting course and expansion of curatorial study is meaningful as a curator who started not as a curatorial assistant or with a curatorial MA, but a plucky art historian with bold ideas and a passion for storytelling in new ways. New Curators embraces the unconventional (as we should) and the future of curators and so expansion of exhibition programming and how we see art. This is the sort of course I would have ran to apply to so you should too. Applications close soon. Thank you to @kerryngreenberg @markgodfrey1973 @rudimd for your hard work and belief that the path to equity has many routes, and starting early, by expanding who sees themselves in these positions and who can contribute to these discussions is vital. Proud to be part of this important mission. Can’t wait to meet you, Class of 23 💜 x

Tomorrow marks the opening of “homegrown”, Amoako Boafo’s solo exhibition that I am honoured to have curated and been given the opportunity to immerse in the world and community he builds. The exhibition is in conjunction with the launch of dot.ateliers, a new artist residency space founded by the artist, designed by Sir David Adjaye OBE, and situated in Accra, Ghana. It’s been a luxury to search through Boafo’s personal collection to draw together a presentation of of works that serve as a poignant reflection of his practice and its association with home and community. As a Nigerian, I am committed to working on the continent – there is so much art history being made and decades and centuries to unravel. Looking forward to the fruitful future of this creative hub and delighted to have been a part of its conception. Community first. Artists first. This talent is homegrown – it is vital to exhibit and expand here. @amoakoboafo @dot.ateliers @adjaye_visual_sketchbook

Sitting in Lagos wishing I could explore the rooms of The Chrysler Museum of Art and their current exhibition: Black Orpheus: Jacob Lawrence and the Mbari Club, which displays Lawrence’s ‘Nigeria’ series as a full body of work for the first time since 1965. Comprised of over 25 paintings and drawings, the series explores themes of spirituality with a visual focus on the role of the marketplace within the community, created during Lawrence’s nine month stay in Nigeria. The exhibition showcases the works of the Mbari Artists through the lens of their contributions to Black Orpheus, a groundbreaking arts and culture journal published in Nigeria between 1957 and 1975, which served as a key tool for circulating artwork and texts by African and Diaspora artists and writers. We need more publications like these. A marker in art history and a call for museums to continue recognising work from the continent in this way. Looking to the future!

Sitting in Lagos wishing I could explore the rooms of The Chrysler Museum of Art and their current exhibition: Black Orpheus: Jacob Lawrence and the Mbari Club, which displays Lawrence’s ‘Nigeria’ series as a full body of work for the first time since 1965. Comprised of over 25 paintings and drawings, the series explores themes of spirituality with a visual focus on the role of the marketplace within the community, created during Lawrence’s nine month stay in Nigeria. The exhibition showcases the works of the Mbari Artists through the lens of their contributions to Black Orpheus, a groundbreaking arts and culture journal published in Nigeria between 1957 and 1975, which served as a key tool for circulating artwork and texts by African and Diaspora artists and writers. We need more publications like these. A marker in art history and a call for museums to continue recognising work from the continent in this way. Looking to the future!

Sitting in Lagos wishing I could explore the rooms of The Chrysler Museum of Art and their current exhibition: Black Orpheus: Jacob Lawrence and the Mbari Club, which displays Lawrence’s ‘Nigeria’ series as a full body of work for the first time since 1965. Comprised of over 25 paintings and drawings, the series explores themes of spirituality with a visual focus on the role of the marketplace within the community, created during Lawrence’s nine month stay in Nigeria. The exhibition showcases the works of the Mbari Artists through the lens of their contributions to Black Orpheus, a groundbreaking arts and culture journal published in Nigeria between 1957 and 1975, which served as a key tool for circulating artwork and texts by African and Diaspora artists and writers. We need more publications like these. A marker in art history and a call for museums to continue recognising work from the continent in this way. Looking to the future!