catalyzed what one might call an emerging
integrated continental artworld system.
This system is constituted by art biennales
(Rencontres Picha, Lubumbashi, Rencontres
Bamako, Marrakech, Casablanca, Benin,
Doual’art, ETC); art fairs (Lagos, Marrakech,
Cape Town, Johannesburg); auction houses
(Arthouse Lagos, 尼日利亚, Aspire Auctions
and Strauss and Co, 南非, Circle Art,
肯尼亚, and a slew of others in the horizon);
private art foundations (Spiers, 南非,
Sidinka Dokolo Foundation, Angola, Fonda-
tion Zinsou, Benin, 除其他外); and new
private museums (Zietz MOCA, Cape Town,
The Museum of Contemporary African Art
Al Maaden, Marrakech, Yemisi Shyllon Muse-
um, Lagos, ETC。). I believe that in time the
construction of value for African art could
become homegrown and then translate to the
international context. 希望, this would
happen in my lifetime.

References cited

Appiah, Kwami Anthony. 1991. “Is the Post- in Post-
modernism the Post- in Postcolonial?” 批判性询问
17: 336–57.

Enwezor, Okwui. 2010. “Mega-Exhibitions and the
Antinomies of a Transnational Global Form.” In E.
Filipovic, 中号. van Hal, 和S. Ovstebo (编辑), The Bien-
nial Reader, PP. 446–53. Bergen and Ostfildern: Hatje
Cantz. Originally published 2004.

Fillitz, 托马斯. 2009. “Geo-Cultures: Circuits of Arts
and Globalizations.” Open! Cahier on Art and the
Public Domain 16: 106–15.

Fillitz, 托马斯, and Paul van der Grijp (编辑。). 2018. 一个
Anthropology of Contemporary Art: Practices, Markets,
and Collectors. 伦敦: 布卢姆斯伯里.

Gielen, Pascal. 2009. “The Biennial: A Post-Institution
for Immaterial Labour.” Open! Cahier on Art and the
Public Domain 16: 8–17.

肯尼迪, Randy. 2015. “Black Artists and the March
into the Museum.” New York Times, 十一月 28.
https://www.nytimes.com/2015/11/29/arts/design/
black-artists-and-the-march-into-the-museum.html.

Mayer, Danila. 2018. “How Global Art Came to Istan-
bul: The Context of the Istanbul Bienal.” In Thomas
Fillitz and Paul van der Grijp (编辑。), An Anthropology
of Contemporary Art: Practices, Markets, and Collectors,
PP. 74–86. 伦敦: 布卢姆斯伯里.

Rogoff, Irit. 2009. “Geo-Cultures: Circuits of Arts and
Globalizations.” Open! Cahier on Art and the Public
Domain 16: 106–15.

Seye, Bouna Medoune, and Gerald Matt. 2001. “你
Can’t Lock Up the Djinns.” Flash Afrique! 摄影
from West Africa, PP. 84–87. 维也纳: Kunsthalle.

Van der Grijp, 保罗, and Thomas Fillitz. 2018. “Intro-
duction.” In Thomas Fillitz and Paul van der Grijp
(编辑。), An Anthropology of Contemporary Art: Practices,
Markets, and Collectors, PP. 1–22. 伦敦: 布卢姆斯伯里.

contribution—particularly how he expressed
value judgments about a Fante female figure
and a Senufo helmet mask based on his own
aesthetic criteria—to show how value is
constructed in the art world. As Appiah points
出去, Rockefeller is permitted to speak, 并
say anything about African art, because he is
a wealthy white male collector who wields an
enormous influence even when he might know
next to nothing about the context of the work.
This essay really got me thinking about,
例如, the secondary art market. 什么时候
you pay close attention to Sotheby’s or Chris-
tie’s catalogue listings of historical African art,
the criteria for what commands the highest
price is determined by the net worth of the
previous owner (a wealthy white collector) 或者
whether the work once belonged to a famous
European modernist artist. 换句话说,
the value of the work has less to do with con-
noisseurship or the meaning it once held in
the source culture. 换句话说, Africans
have no say on how their art is valued. 你
can use this as a prism to gauge the fate of
contemporary African art and artists in the
市场, 和这个, 当然, is beyond the
obvious distorted nature of the market where
artists are made on a whim and increasingly
by the powerful gallery system and collectors.
For all the record high sales at Christie’s,
Sotheby’s, or Phillips in recent times, no black
artist—with the exception of Jean-Michel
Basquiat, an art world darling—commands
the very high end figures. And not to over-
flog what we already know, the structure of
the art world is reinforced by old patterns of
cultural brokerage and legitimation in spite of
all the new and exciting developments in the
过去几年. This is an old conversation that
continues to hold much relevance, and I think
that is the subtext of Fillitz’s observation.
As much as we all long for contempo-
rary African art to secure its rightful place,
to be canonized and represented in major
collections, Africanist curators, art historians,
and collectors should look dispassionately
at the ways in which value is constructed.
I think this is where the true impact of
Dak’Art as well as other institutions spring-
ing up in Africa can be found. Inasmuch as
Euro-America remains the “aspired” for a lot
of cultural spaces and peoples in Africa, and a
behemoth that adopts all manner of tactics to
maintain its hold on the shape and structure
of what we refer to as the global art world, 这
little efforts by Dak’Art since the 1990s have

Erratum
In “This House Is Not for Sale”: Nolly-
wood’s Spatial Politics and Concepts of
“Home” in Zina Saro-Wiwa’s Art,” by Nomu-
sa Makhubu (African Arts 49 [4]), “Zina
Sara-Wiwo” in the first paragraph of the
righthand column on p. 58 should be “Zina
Saro-Wiwa.”
6 | african arts WINTER 2018 VOL. 51, NO. 4

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