Romuald Hazoumé (born 1962), one of Africa's leading visual artists, has worked with many media throughout his career, but it is for his assemblage-masks that he is best known. These masks consist of discarded oil cans ubiquitous objects in Benin, which Hazoumé repositions to resemble faces. The use of oil cans implicitly criticizes the presence of multinational oil companies in west Africa.

Romuald Hazoumé (IRISH MUSEUM OF)

Arts & Photography

Magnin, André

Kissane, Seán

Juncosa, Enrique

Konatè, Yacouba

Houghton, Gerard

Individual Artists

Irish Museum of Modern Art

No other aspect of fashion is as fleeting and ephemeral as hairstyles. Whereas we might ponder the length of hemlines and the fabric du jour, hair often escapes the passionate fashionista's fastidious and discerning gaze. J.D. 'Okhai Ojeikere (born 1930), who worked as an advertising photographer for most of his life, has documented the hairstyles of his native Nigeria in painstaking detail for over thirty years. Plaited, braided, in buns, in towering tresses: In Ojeikere's photographs hair reveals its sculptural qualities. His deceptively simple, classically composed photographs display hairstyles as a sheer play of forms-minimal, abstract, transient artworks. But Ojeikere's photographs do not merely purvey aesthetic pleasures. They provide and unexpected insight into Nigerian culture. Detailed captions tell us by whom and for which occasion a particular hairdo was worn, leading the reader into a previously unfamiliar social milieu. In an exhaustive text Ojeikere recounts his life as a photographer, giving us a glimpse of the nascent African mass media culture of the 60's and 70's.

J.D. 'Okhai Ojeikere: Photographs

Okhai Ojeikere, J. D.

Oyairo, Elizabeth Akuyo

Scalo Verlag Ac

Seydou Keita

Keïta, Seydou

Cisse, Youssouf Tata

Distributed Art Pub Inc

A person has three sides: their face, their back, their profile. To snap a person's profile is interesting. To see someone from behind, especially my sisters or my mother, is more interesting. When you see a woman wearing a skirt from behind, it's a temptation. People have had car accidents that way. There was a beautiful woman walking in front of my studio and on the tarmac a man was coming on a Vespa. He saw the woman, forgot the road. A van was parked in front of my neighbor's house: he crashed into the van!" At the 52nd Venice Biennale in 2007, African contemporary art was shown for the first time in history. That year, its highest distinction, the Golden Lion, was awarded to Mali photographer Malick Sidibe, whose ebullient, deeply human, black-and-white work is presented here--on beautiful spot-varnished paper with special small, uncoated inserts sewn in.

Malick Sidibe

Schwarzenbach, Alexis

Photography & Video

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Books by Magnin, André