There are number of challenges just like other businesses in Nigeria. Lack of good art education is hampering the growth of art business in Nigeria. Very few insignificant numbers are involved in the purchase of art for the love and investment opportunities, while the majority of the populace did not see anything in it. This is worrisome when we have artists turning artworks from different studios yet without good patronage from the general public. Parts of the problems here is the absence of a structure of funding artists and art programs, defined guidelines that one can apply to.
In spite of all challenges, progress is being made in visual art considering the number of auctions sales in and outside Nigeria of Nigerian artworks. Auctions houses are recording good sales whether by public or private bidding with prices of art pieces going beyond market speculations and expectations. Osae-Brown 2015, states that, interest in Nigerian art is taking a new turn as the art auction organized by Arthouse Contemporary Ltd recorded a sale of N124 834,000 with a total of 16 lots sold from Africa’s most celebrated artist. For example in an auction in April, 2024 Bruce Onobrakpeya’s ‘Dance in the Bush’ sold at the hammer price of N3.65million, while El Enatsui’s untitled piece and Kolade Oshinowo’s ‘At the Party’ sold at N3.05million and N2.2million, as second and third highest sold works, respectively.
In 2017 Njideka Akunyili’s art piece 2017 ‘Bush Babies’ was sold at $3.4million (N1.2 Billion) in New York authoritatively breaking the records as the most costly Nigerian Art piece. Ben Enwonu’s ‘TUTU’ was sold at $1.6 million (N658 million) in 2018. Njideka Akunyili’s ‘DROWN’ was sold at $1million (N400million). Toyin Ojih Odutola’s 2017 ‘COMPUND LEAF’ was sold at $597,336 (N246million) in 2019 in New York. This revealed that investment potentials of visual art can be tapped in Nigeria by Nigerians when properly exploited.
One interesting thing to note is the happening outside Nigeria in the arts which can influence our art and make our economy grow making it a global player. Many promoters of arts in Nigeria are not resting on their oars in projecting Nigerian visual arts.
Importance of Visual Arts
The provenance of visual art and craft can be traced to time perspective and since then its production continued to thrive to this date. In developing economy like ours, the role of visual art can never be underestimated especially, given the axiom that Nigerians are not only hard working but evidently very creative. At least, the sophistication of made in Nigeria googds is a clear testimony to that the importance of visual art will continue in vogue. Names like Ladi Kwali can be easily associated with craft production especially pottery and today, such artists, craftmen and women have succeeded in engraving their names on platter of gold. Therefore, if one is to enumerate the importance of visual art the list would be endless nonetheless; attempt can be made for obvious reasons.
Art and cultural activities can draw crowds from within and around the community. Increasing the number of visitors as well as enhancing resident participation helps build economic and social capital.
Visual art can be used as a tool to promote national integration and this can be exemplified by the annual celebration of National Festival of Arts and Culture (NAFEST) where different visual arts are exhibited to showcase the dexterities of Nigerian artists, craftsmen and women and it is also through the exhibitions that people usually appreciate and respect each other’s abilities and capabilities.
Visual arts can be produced as means of foreign earning especially where tourism is being propagated.
\visual art is an important means of self-employment and according to Ekanem the Cross Rivers state Government adopted the “Obudu Experiment” and it did not only quell the menace of restive youths on the plateau, but jobs were created to the extent that many of the youth later became employers of labor.
It can be noticed from the recent past that university graduates no longer scramble for white collar jobs instead, they prefer to acquire skills that can help them operate on their own and many are on the verge of becoming millionaires.
Solutions to problems facing Visual Art and Artists
Perhaps the scenario of the “Survival of the Fittest” seems to explain the position of visual artist because of the competitive nature of our economy. An artist who is able to present and package his products in na standard manner is bound to survive and this explains why there is need for collaboration with Agencies like Small and Medium Enterprises Development Agency of Nigeria (SMEDAN) for better packaging. Microfinance institutions for soft loans. This is better in a situation where there are market prospects. Like Monye (2008) observe that “there is remarkably good market for arts and crafts in Nigeria” and what is needed by our artists is the ability to exploit every available opportunity to strategize market outlets. Visual artists should be encouraged by way of creating an enabling environment for art practices to thrive through sponsorships of exhibitions by private and corporate organizations. Art festivals should be organized on yearly basis to attract the attention of galleries from around the globe. Buyer education is necessary to make a one-time buyer a life-time collector of art pieces. Art producers must always have it at the back of their minds that they are always on their own as government support seems to be cornered to multinational enterprises. They should fight against piracy and ensure that they struggle for recognition beyond their cultural environments. They should that their knowledge and skills acquired are equally transmitted to others so that continuity is assured for visual art to remain a panacea in the growth of our economy.
Hassan Kasim and Shuaibu Haruna
Education unit, National Museum Gombe
