Daniella Zalcman Archives

Relying essentially on archival and library research, this article examines the (hi)story of exhibition making in Enugu and Nsukka (the political and educational capitals of Nigeria’s eastern region, respectively), beginning from the immediate postcolonial epoch of the 1960s, through the post-war period of the 1970s to the 1980s-1990s, historical periods when Nigerian artists constructed and consolidated their own perspectives on aesthetic modernism.

Double Lives, No Future

Actress Esteri Tebandeke: “Creatives need alternative and safe spaces”

Pamela Enyonu: “Don’t rush a career change, give yourself time”

Rachael Kangumba: Industrial design is still a male dominated profession

Using blockchain technology to protect intellectual property rights of artists

Exhibition Making in Enugu and Nsukka, Nigeria: 1960s-1990s

The Meaning of Contemporary African Art: Networks, Mobility, and Production

African Art History and the Formation of a Modern Aesthetic