Strictly speaking, an art market is defined with artists on one side, art lovers and collectors on the other side, and commercial art galleries and museums in the middle. Today, there are few art galleries in Africa which are leveraging on some international events to support their artists. In addition, the lack of interest by Africans as well as the low investment by African art collectors remains an important obstacle to the promotion of African artists.

Support of Emerging African Artists

Art galleries and museums share a long history with artists in the promotion of their works. With a great wealth of internationally acclaimed artists living and working in and outside Africa, there is a need to support emerging artistic talents. A new generation of investors interested in African art is slowly emerging across the continent. Recently, an art fund that aims to establish itself as the preeminent investment vehicle in Africa for African art was launched in Cape Town [1]. The art fund intends to support artists from Africa and its diaspora as well as African museums.

Art lovers and collectors are taking notice of contemporary African art. While there are still a few major art collectors on the continent, the number of art lovers is growing in some countries. South Africa, Nigeria, and Morocco are currently the most vibrant and dynamic art scenes on the continent, with a burgeoning middle class and a long tradition of collecting art. However, most art collectors from those countries still tend towards more conservative art purchases, even when buying contemporary African art. They may be influenced by what is available during auctions or art fairs.

According to Simon Njami, before aiming to international markets, artists need to be anchored domestically [2]. Today, several visual art spaces and cultural centres are established on the continent including Espace Doual’Art, Raw Material Company, and Centre for Contemporary Art. They work locally with emerging artists and participate in international art fairs and biennials to promote their artists. They adapt to the dynamic changing of the international art market by organizing and offering their own exhibitions on African art.

Impulse of International Initiatives

There is also an emergence of art galleries dealing specifically in contemporary African art across the world. For instance, Jack Bell Gallery established in London is selling works of several African artists to major art collectors such as Charles Saatchi, Frank Cohen, and Jean Pigozzi [3]. In New York, many museums and art spaces continue to regularly schedule exhibitions dedicated to African art. In addition, several auctions organized in and outside Africa allow some African artists to acquire an international stature thanks to important sales.

With the expansion of 1:54 to New York, African art already have a successful international art fair that help to promote African artists. When launching the fair in 2013, Touria El Glaoui thought that running the event during Frieze will ensure the best visibility for artists and galleries. Recently, the art fair also benefits from the Venice Biennale organized by Okwui Enwezor with some sales made by artists represented in both events [4]. Other initiatives on the continent such as photography festivals and visual art biennials help to sustain the current dynamic and interest in contemporary African art.

[1] Africa is the new China, so it must be time for a dedicated art fund, Cristina Ruiz, The Art Newspaper, April 10, 2015.

[2] Fresh Air, Simon Njami, Revue Noire, October 2009.

[3] Something new out of Africa, Eddy Frankel, The Art Newspaper, June 14, 2013.

[4] African fair benefits from the Venice effect, Anny Shaw, The Art Newspaper, June 2, 2015.