On April 13, 2024, I Am Copying Nobody: The Art and Political Cartoons of Akinola Lasekan opened at the Chrysler Museum of Art. Here are some highlights from the exhibition.
Featured at the start of the show is the pastel drawing Abike. Photo by Ed PollardI Am Copying Nobody: The Art and Political Cartoons of Akinola Lasekan features more than 50 drawings, paintings, and political cartoons created by Akinola Lasekan, a pioneer of modern art and political cartoons in Nigeria. Lasekan’s artworks capture Nigeria’s landscape, people, culture, and political climate in the 1940s and 50s. Lasekan’s 38-year art career brimmed with beauty, innovation, and advocacy. He utilized easel painting to express the beauty and humanity of Nigeria and its people while simultaneously attacking the British colonial system with nationalistic political cartoons. His mastery and use of these Western art forms contradicted the narrative of European superiority and African inferiority. Photo by Ed PollardAt the start of the show, visitors are introduced to Amuda (left) and Ige (Right). Photo by Ed Pollard(Top left) A Nigerian Village; (Top Right) A Village School, Nigeria; (Bottom left) A Young Fisherman, Lagos, Nigeria; (Bottom right) Timber for Lagos Workshops. Photo by Ed PollardView of the exhibition. Photo by Ed PollardIntro panel for the first section of the exhibition. This first section presents the drawings Akinola Lasekan sent to the Harmon Foundation in 1947. Photo by Ed PollardMallam Bello. Photo by Ed PollardLeft to right: Arochuku (Ibo) Man, Southern Nigeria; Timothy Akinmode; Benin Woman, Southern Nigeria; Osiekwe; Mabang (Kolifa) Man, Northern Nigeria. Photo by Ed PollardView of the exhibition. Photo by Ed PollardLeft to right: Samuel Urhobo; Cloth-Weaver; Cloth Seller. Photo by Ed PollardIntro panel for the second section of the exhibition. The second section presents the oil paintings Akinola Lasekan sent to the Harmon Foundation in 1961. Photo by Ed PollardView of the exhibition. Photo by Ed PollardView of the exhibition. Photo by Ed PollardLeft to right: Hausa Trader; Yoruba Acrobatic Dance; Old Woman and Pets; Shrine Figure; Sacrifice to the Sky-God; Pot-Maker. Photo by Ed PollardLeft to right: Victoria Beach, Lagos; A Street in Kano; Traditional Alms Begging for Twins. Photo by Ed PollardSome Past Rulers of Owo-land. Photo by Ed PollardLeft to right: Young Story-Tellers; Recess Time at Farm. Photo by Ed PollardThe Attempted Return of Ajaka, Owo War-like King. Photo by Ed PollardIntro panel for the third section of the exhibition. The third section showcases reproductions of Akinola Lasekan’s political cartoons. Photo by Ed PollardView of the exhibition. Photo by Ed PollardTop row, left to right: Poor Africa!; The Giant Awakes!; The Nigeria of Tomorrow; Poor Nigeria!. Bottom row, left to right: Democracy versus Communism; Who is Guilty; Another St. George Goes into Action; Freedom for all but Africans?. Photo by Ed PollardLeft to right: The Sleeping Giant; The Ambitious Child; The National Choir. Photo by Ed PollardLeft to right: Grandfather’s Pipe; The Inextinguishable Fire of the Human Soul; Pte. Oshun; They died for world freedom; Palm-Wine Tappers, Lagos, Nigeria; Have Mercy on Us!. Photo by Ed PollardView of the exhibition. Photo by Ed PollardView of the exhibition. Photo by Ed Pollard
This is an excerpt from the essay Biggers and Boghossian: A Diasporic Voyage to Cultural Consciousness that will be featured in an upcoming exhibition catalogue, available April 2024.
"Christ in the Manger" by Francis Musangogwantamu, along with nine other selected artifacts from other institutions in Virginia, will be featured in an online public voting competition, which will take place from February 20th to March 3rd, 2024. The artifact that receives the most votes will receive the People’s Choice award and a $1,000 grant to be put towards the object’s conservation treatment.
In this post, we will dive into Lasekan’s painting Grandfather’s Pipe, and his political cartoon The Inextinguishable Fire of the Human Soul, to discuss the similarities between these two visually opposing artworks.
Article By Tashae Smith
