Post-Colonialism and the Emancipation of African Art

Africa’s emancipation from its historical ties to Europe in the art world reflects a broader post-colonial movement to reclaim African narratives, cultures, and histories. For centuries, African art was interpreted through a European lens, often reduced to ethnographic objects rather than celebrated as fine art. Today, African artists, curators, and galleries are taking back control over how their work is represented and sold.

Historically, European institutions dictated the terms of African art’s reception, with African pieces often treated as artifacts rather than part of contemporary artistic discourse. Now, post-colonial frameworks challenge these narratives, positioning African art as dynamic and independent. This shift is evident as African artists are gaining autonomy in how they present their work, both within the continent and internationally.

What’s notable is how local African art institutions—such as the African Art Galleries Association (AAGA)—are contributing to this global independence. Founded in 2016, AAGA supports African galleries by promoting sustainable growth and providing resources to flourish independently. These initiatives help build strong local ecosystems, which, in turn, are reshaping the global perception of African art. Local fairs like Art X Lagos and the Cape Town Art Fair play a critical role by showcasing African talent to international collectors, curators, and institutions, making Africa an active contributor rather than a passive participant in the global art market.

Moreover, these institutions are fostering direct relationships between African galleries and global buyers, reducing dependency on European gatekeepers. For instance, galleries like Gallery 1957 in Ghana and digital platforms such as AFIKARIS have expanded their reach beyond the continent, showing at international fairs and offering online sales that cater to global audiences. This shift has allowed African artists to bypass traditional, often Eurocentric, structures, while maintaining control over their narratives and the commercial value of their work.

Events like the Dakar Biennale and other regionally significant exhibitions provide a platform not only for recognition but also for local-to-global collaborations, pushing African artists to the forefront of contemporary art globally. Artists like Alioune Diagne, representing Senegal at the Venice Biennale, and Ibrahim Mahama, a major figure in contemporary African art, gained their international recognition through such platforms. This interconnectedness between local African initiatives and global market forces underscores the transformative power of African art as it moves toward an era of self-representation, visibility, and increasing financial independence.