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Wednesday, September 22, 2021
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4 Reasons to Study Creative Arts and Design
Creative Arts and Design-NIG

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The umbrella of Creative Arts and Design covers several courses including photography, videography, performing arts, film, visual arts, fashion design, interior design, multimedia design, and more.

Not too long ago, these courses were often deemed as “fluffy” or frivolous, and not held in high esteem compared to STEM courses.

However, the Arts are now (finally) seen as a vital component of education due to the many benefits it offers students and individuals.

Pursuing subjects in the Arts allows students to hone their creativity skills. Creativity is one of the most sought-after traits by employers today as it leads to innovative thinking so that people can think out-of-the-box and come up with new solutions.

If you aren’t sure if a course in Creative Arts and Design is right for you, here are four reasons to consider studying in this field.

Transferrable skills


Besides creativity, learning creative arts subjects equips you with soft skills that are transferrable – meaning they can be applied in many other contexts and job scopes.

Thus, when you graduate, your prospects are not limited as you have the skills to be a valuable employee across different fields and industries.

Creative arts subjects have plenty of practical learning components where students develop problem-solving abilities, think critically, communicate with others, work in a team, and many other skills that are important in the coming future.

Rise of technology

The field of Creative Arts and Design is reaping the benefits of the rise of new technologies such as Artificial Intelligence, 3D printing and robotics.

There are a number of programmes where students can specialise in niche fields, where they can work with the latest technology to develop video games, apps, websites and other digital products.

According to IndiaToday, “The amalgamation of art and technology has given us a new way of looking at the world. This modern age art allows the visitors in an art gallery, museum or exhibition to engage with such art pieces in a multi-dimensional way.”

“Visual arts and contemporary immersive lighting have found significance across industries — from art galleries to communities — as companies now have started recognising the importance of visual appeal in product designs, branding, packaging, marketing and advertising.”

Diverse range of subjects

Students in Creative Arts and Design courses learn through a wide range of different subjects as courses are typically broad in nature.

No matter your specialisation, you can take classes in art, history, fashion design, photography, and more.

This diversity of subjects make you a more open-minded person and keeps you engaged, allowing you to soak up more information than if you were to study a more narrow degree.

You may even discover a new passion or interest while studying in this kind of degree programme as you are able to explore new subjects.

Job opportunities

There are a multitude of job prospects for those with a Creative Arts and Design degree. Depending on your course specialisation, you can work in the video game industry, digital advertising, graphic design, interior and spatial design, production design, and more.

The rising gig economy in this digital era is also suitable for those with a Creative Arts degree as work in this domain is typically flexible and can be done remotely.

Depending on your goals, you have options to freelance or launch your own start-up business or agency with a degree in Creative Arts and Design such as photography, videography and interior design.

According to Campaign, “Now, anyone with an Instagram account can be an illustrator or photographer with an international client list.

“It doesn’t necessarily mean the work is going to be good, but the opportunity is there for talent to shine through in a way it has never been before. There has never been a more exciting time to be a creator, with a worldwide audience at your fingertips.”

Kenya’s Best Contemporary Art Galleries: From Nairobi to Mombasa-Kenya
kenya

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Kenya’s Best Contemporary Art Galleries: From Nairobi to Mombasa

Puppet maker Im Muchemi works on a clay mould at the GoDown Arts Centre
Puppet maker Im Muchemi works on a clay mould at the GoDown Arts Centre | © Africa Media Online / Alamy Stock Photo

Kenya’s constantly evolving art scene revolves around a number of emerging and world-acclaimed artists predominantly from Kenya and the surrounding East African region, with art spaces clustered around Nairobi and Mombasa. Despite the high turnover of art galleries, which remain rather limited given Kenya’s rich and growing scope of creative art forms, here are some of the best contemporary art galleries in Nairobi, Kisumu, Nanyuki and Diani Beach.

Nairobi Gallery

Art Gallery, Building, Museum
Patrick Kinuthia, Giriama
Patrick Kinuthia, Giriama | Courtesy Banana Hill Art Gallery
In the heart of the buzzy capital, Nairobi Gallery features contemporary art from Kenya and wider Africa. It’s set in a historic building constructed in 1913, where people once came to register births, marriages and deaths, which earned it the nickname Hatches, Matches, and Dispatches. The Nairobi gallery is therefore strongly connected to the city’s history and continues to contribute to its cultural development. Temporary exhibitions include Dreaming in Pictures by painter Jak Katarikawe and the Hazina Traditions, Trade and Transitions in Eastern Africa exhibition in partnership with the British Museum. Since 2013, the Nairobi Gallery has become the official home to the Murumbi African Heritage Collections – the outstanding private collection amassed by the late vice-president, Joseph Murumbi.


Banana Hill Art Gallery

Art Gallery
Banana Hill Art Gallery, Banana Hill
Banana Hill Art Gallery, Banana Hill | © Banana Hill Art Gallery
A leading exhibition space for contemporary African art in Nairobi, the Banana Hill Art Gallery has exhibited the work of over 70 artists and sculptors, principally from Kenya and East Africa. Founded by Shine Tani, a talented local artist, together with 12 other artists, the gallery was officially opened in 2006. Dedicated to opening up the continent’s incredible art source and promoting local art appreciation, the gallery holds exhibitions every two weeks. It showcases a large number of striking colorful paintings and remarkable sculptures which reflect a range of subjects related to the African context and landscape. Situated on the outskirts of Nairobi, north of the famous Village Market, the Banana Hill Art Gallery is worth the drive.
9 hours

The GoDown Arts Centre

Art Gallery
GoDown Arts Centre, Nairobi
GoDown Arts Centre, Nairobi | Courtesy One Off Contemporary Art Gallery
A key art institution nurturing East Africa’s art talents, the GoDown Arts Centre is a multi-disciplinary creative hub for contemporary art. Housed in a large renovated warehouse with a wall dedicated to evocative graffiti tags, the center consists of a main performance space, visual arts studio, an art gallery for major exhibitions, and discussion rooms. The center also runs a residency program providing an open studio, and a number of workshops and seminars to assist artistic development. Throughout the year, GoDown hosts a variety of captivating and insightful events such as the Kenya Burning photo series, which displays images of Kenya’s contested election results in 2007 and the resulting civil war in 2008, and the Nairobi Province Visual Arts Exhibition featuring works exploring the theme of Perceptions of Nairobi.

The Kuona Trust was established in 1995 with the aim of addressing the lack of visibility for visual art in Kenya and the desperate need for additional workspaces and exhibition centers. More than just a gallery, Kuona Trust is dedicated to providing much-needed support and resources to visual artists in Kenya, as well as being a platform for art lovers to enjoy and engage with the unbridled creativity that exists as a result. The center is home to more than 20 resident artists from Africa and beyond, and hosts a series of exhibitions and events throughout the year, as well as community outreach programs, workshops, and mentoring schemes. Formerly attached to the GoDown center, the trust has been in its new location in the Kilimani area of Nairobi since 2008.

One Off Contemporary Art Gallery

Art Gallery
Chelenge Van Rampelberg, Evolution, Gorillas on my Mind Exhibition
Chelenge Van Rampelberg, Evolution, Gorillas on my Mind Exhibition | Courtesy One Off Contemporary Art Gallery
The One Off Contemporary Art Gallery is one of the oldest and best-loved contemporary art galleries in Nairobi. Committed to exhibiting only the very best art from Kenya and the region, One Off works with and promotes East Africa’s most established names. The gallery has represented a large number of local talents such as Peterson Kamwathi, Beatrice Wanjiku and Jackson Wanju. Apart from its large permanent stock of paintings and sculptures, every month the gallery showcases a revolving exhibition featuring the artwork of a renowned artist. Recent exhibitions include the Gorilla’s on my mind painting series by Kenyan artist Chelenge Van Rampelbergen, plus alluring exhibitions from Ethiopian artist Zerihun Seyoum and Sudanese painter Salah Ammar.

Matbronze Wildlife Art Gallery and Foundry

Art Gallery, Shop
Founded by acclaimed sculpture artist Denis Matthews in 1987, the Matbronze Wildlife Art Gallery and Foundry was the first bronze foundry in East Africa. A haven for contemporary African sculptures, the gallery exhibits and sells everything from elephant statues and lion paw-shaped ashtrays to bronze starfish and coconuts, capturing the diversity of Africa’s rich fauna and flora. Guests are able to witness craftsmanship at its best by watching some of these creative processes, including bronze smelting and lost wax casting. The gallery also holds photographic art exhibitions and showcases a number of compelling wildlife and landscape paintings in various different mediums. After strolling through the gallery, visit the coffee shop and relax in the lush garden to appreciate Kenya’s wildlife through another lens.


Artz Gallery

Art Gallery, Market
Visitors to the Artz Gallery are immediately engulfed by the busy interior overflowing with stacks of original African paintings. Located in the Village Market, the gallery showcases an impressive range of art from some of East Africa’s rising and most celebrated artists. The gallery also has a noteworthy online presence and actively shuttles paintings to the USATanzanian Hendrick Lilanga, Kenyan Jane Wanjeri, and sought after Kenyan artist Daniel Njoroge, are just a few of the many talents represented by the gallery. Stop by the Artz Gallery and have a chat with the knowledgeable staff about any of the displayed pieces.

Diani Beach Art Gallery

Art Gallery
Diani Beach Art Gallery, Diani Beach
Diani Beach Art Gallery, Diani Beach | Courtesy Diani Beach Gallery
A fairly new addition to Kenya’s buzzing contemporary art scene and the first of its kind in the coastal region of the country, the Diani Beach Art Gallery has become a popular art attraction. Exhibiting a wide variety of fine contemporary African art, the gallery also serves as an exciting meeting space for artists and art enthusiasts alike. It also holds regular events, art classes, and special promotions to awaken the creative spirit within you. From oil and acrylic paintings to photography and bronze, clay, and wooden sculptures, the gallery spotlights an exquisite selection of artwork by Kenyan, Ugandan, and South African artists, among others. Featuring a breezy earth-toned exhibition hall, well placed eye-catching art pieces, and a friendly ambiance, a visit to the Diani Gallery is truly a pleasure.

An overview of South African Art
South African Art the Unique Flavor of the Country

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The 4 000-year-old gallery

The San Bushmen, Africa’s oldest hunter-gatherers, lived in the massive Drakensberg range of mountains from 4 000 years ago until they were driven out by colonialists in the 19th century. Over that time, they created a vast body of art on the walls of caves and rock shelters – the largest and most concentrated group of rock paintings in sub-Saharan Africa.

This rich collection prompted Unesco to inscribe the Drakensberg as a mixed natural and cultural world heritage site in 2000. The paintings, Unesco said, “represent the spiritual life of the San people” and are “outstanding both in quality and diversity of subject”.

“The San people lived in the mountainous Drakensberg area for more than four millennia, leaving behind them a corpus of outstanding rock art, which throws much light on their way of life and their beliefs,” Unesco said.

“The authenticity of the paintings, and their shelter and cave settings, as a reflection of the beliefs of the San peoples, are without question.”

Colonial art

During the early colonial era, white South African artists tended to concentrate on depicting what they saw as a “new world”, in accurate detail. Artists such as Thomas Baines travelled the country recording its flora, fauna, people and landscapes – a form of reporting for those back in the metropolis.

Towards the end of the 19th century, painters Jan Volschenk and Pieter Hugo Naude and the sculptor Anton van Wouw began to establish a locally rooted art. Their work – the first glimpse of an artistic vision that engaged with life as lived in South Africa – marked the moment the country began to acquire its own national identity, with the 1910 Union of South Africa marking the formal end of the colonial era.

The 20th century and apartheid

In the first decades of the 20th century, the Dutch-born painter JH Pierneef brought a coolly geometric sensibility to the South African landscape; he also, in a way that fed into Afrikaner nationalist ideology, found it bereft of human inhabitants.

By the 1930s, two women artists, Maggie Laubscher and Irma Stern, brought the techniques and sensibilities of post-impressionism and expressionism to South African art. Their bold colour and composition, and highly personal point of view, rather scandalised those with old-fashioned concepts of acceptable art. Yet younger artists such as Gregoire Boonzaier, Maud Sumner and Moses Kottler were rejoicing in this new spirit of cosmopolitanism.

The apartheid years (1948-1994) witnessed a great diversity in South African art – ranging from landscape painting to abstract art. There was engagement with European and American currents, but also a fiercely local sense of what it meant to be an artist in this country during troubled times.

Inevitably, black artists were largely neglected. It was left to white artists, endowed with training, resources and supportive galleries, to build a corpus of South African art.

After World War II, returning soldiers and some immigrants brought European ideas to the local art world. In the 1940s, Jean Welz, for instance, born in Austria in 1900, brought a detailed, nuanced and sophisticated style to still lifes, portraits, nudes and landscape paintings. Maurice van Essche, born in Belgium in 1906, applied the modernist techniques of his teacher Matisse to specifically African subject matter.

Impact of African forms


Meanwhile, African forms themselves began to have an impact on the work of white artists. An awareness of art forms ranging from those of the ancient Egyptians to San Bushman rock art increasingly influenced South African artists from the 1950s onwards.

Walter Battiss, for one, had developed an interest in rock art long before he became an artist in the 1930s. Until his death in 1982, Battiss returned repeatedly to the motifs and styles of San rock art. In Symbols of Life (1967), for instance, San-type figures and patterns become stylised into a kind of symbolic alphabet.

Other artists found different ways of interacting with the visual stimuli of Africa, whether by adapting its outward forms or finding ways to incorporate its textures into the work.

Alexis Preller, for instance, created fantastically detailed canvases influenced by the European surrealists of the 1920s and 1930s. Beginning in the late 1940s, Preller painted African scenes and themes such as The Kraal and Hieratic Women, but these were not realistic portraits of African life: instead, they were reinvented by Preller’s startling visual imagination.

Cecil Skotnes, by contrast, took a leaf from Picasso’s book – the European art revolution instigated by the great Spaniard had, in part, been generated by his appreciation of African masks. Skotnes became South Africa’s master of the woodcut, bringing European modernism into fruitful collision with African styles.

Meanwhile, a host of white artists were engaging with the South African landscape in interesting ways – though such formalism was increasingly criticised during the struggle against apartheid for its detachment from the political situation.

Emerging black artists

By contrast, black artists such as Gerard Sekoto and George Pemba concentrated on depicting their realities and environments in a direct, though forcefully expressionist, manner.

From the 1930s onward, Sekoto portrayed urban African life in places such as Sophiatown and District Six, vital and tumultuous hotspots of an emerging though unacknowledged black culture.

In Sekoto’s works of the early 1940s, such as Street Scene, bustling African figures are placed in the context of their often denuded environment, while Yellow Houses (the first work by a black artist bought by the Johannesburg Art Gallery), reduces the human presence, focusing instead on the environment itself. In Song of the Pick, naturalism gives way to severe stylisation: a rank of workers wield picks in unison, forming a powerful image of African labour; a white overseer’s figure is dwarfed, even threatened, by this phalanx of diggers.

In 1947, Sekoto left for Paris. Illness and intermittent impoverishment meant that his work never again reached the heights it had in South Africa.

George Pemba, by contrast, stayed in the township of Motherwell near Port Elizabeth, living into his 90s and patiently continuing to paint despite the lack of public acclaim. His often naively styled work focused on the simple lives of poor black people, humbly and sometimes humorously evincing their fundamental humanity, though he also treated themes such as the story of the Xhosa prophetess Nongqawuse of the 19th century.

Increasingly, and inevitably, black artists began to give voice to a political sensibility that left behind the realist depiction of township life. Lack of resources meant that many had to rely on media other than oil-painting, but making a virtue of necessity gave added force to their work. Dumile Feni (known as Dumile), for instance, became a master of drawing, often in ballpoint pen.

Dumile’s sense of anger and despair fed into work of extraordinary power; his distorted figures seemed to have been physically deformed by the very forces of society. Called “the Goya of the townships”, he painted his own version of Picasso’s Guernica, a cry of pain at human suffering. Dumile went into exile in 1968 and died in New York in 1991.

Black artists such as Azaria Mbatha and John Muafangejo also made striking use of the accessible and relatively cheap medium of the linocut. In the 1980s and 1990s, artists such as William Zulu, Vuyile Cameron Voyifwa, Cyprian Shilakoe and others extended linocut work into what has become practically a subgenre of its own.

The outsiders’ view


Meanwhile, the idiosyncratic Jackson Hlungwane, discovered by the mainstream community only late in his life, produced a vast body of sculpture in wood and built environments expressing his own highly individual religious world. It contains a multitude of creatures both mythical and real, as well as a large cast of characters.

In this he has something in common with another “outsider artist”, Helen Martins, who obsessively peopled her small-town home – known as the Owl House – with sculptures of concrete and found objects, up to her suicide in 1976.

Yet South Africa’s most successful “outsider” artist is perhaps the Russian emigre Vladimir Tretchikoff, who developed a distinctive style in which arch sentimentality was rendered with virtuoso formal exactitude.

Tretchikoff had considerable commercial acumen, turning paintings such as The Dying Swan and Chinese Girl (also known informally as The Blue Lady) into prints and selling millions around the world. To the post-modern eye, Tretchikoff’s work, long scoffed at as the peak of kitsch, now has a distinctive ironic charm.

From the 1960s on, many South African artists responded to developments in American and British art. The severe yet sensual work of Cecily Sash showed the impact of post-painterly abstraction and later “op art”; the playful surfaces of Helmut Starke and Kevin Atkinson opened the dialogue with pop art.

A wide range of styles and modes were now available to South African artists, and the likes of Judith Mason and Andrew Verster extended the traditions of oil painting into personal expressions of life, society and the world around them.

Apartheid in crisis: 1970s and 1980s


As the apartheid state became more repressive in the 1970s and 1980s, many artists faced the harsh realities of South African life, sometimes obliquely, sometimes head-on.

In the early 1980s, for instance, Paul Stopforth made a series of works dealing with police torture – the cause of the death of resistance heroes such as Bantu Steve Biko. And Robert Hodgins satirised figures of power in paintings that turned leaders into sinister but laughable echoes of Alfred Jarry’s mad king Ubu.

In paintings, lithographs and sculpture, Norman Catherine developed the playful sensibilities of Walter Battiss into a disturbing private menagerie of threatening and threatened theriomorphs and larger-than-life human figures.

The crowded collages, pastels and charcoals of Helen Sebidi spoke of the struggle of human life; her figures seem to battle upwards, towards the picture plane, as though they were drowning.

William Kentridge used expressionist drawings and highly developed personal metaphors, symbols and characters to expose the hypocrisies and ironies of white South African life. More recently, he has employed his powerful drawing technique in “animated” films and installations, and the set design of Mozart’s The Magic Flute.

Penny Siopis tackled femininity and history in dense, allusive paintings, and in installations, photographs and other conceptual works.

In the 1980s, “resistance art” was increasingly recognised as a genre of expression directed at the white elite’s oppressive exercise of power. For example, trade union posters and T-shirts used imagery that had something in common with the Russian constructivists as well as African art. And anonymous artists placed images of state violence (or bewildering dream reflections) at traffic intersections.

Conceptual art of the 1990s

‘The Butcher Boys’ by Jane Alexander. (Image: Flickr)

Conceptual art in South Africa seemed to come into its own in the 1990s. Events such as the two Johannesburg Biennales (1995 and 1997) contributed to a new dialogue between local artists and currents from other countries. Media such as video, performance and installation took the place of painting.

Jeremy Wafer, for instance, used photography, earth, and fibreglass sculpture to tackle issues such as borders and boundaries.

The complex installations of Sue Williamson used found and reworked materials to speak of memory and history. Sandile Zulu made paintings out of the unpredictable marks of fire on surfaces, or created sculptural tableaux from natural materials.

Even refuse was turned into suggestive assemblages and collages by Moshekwa Langa. Steven Cohen made drag into a form of sculpture-performance that addressed identity and marginality, while Kendell Geers interrogated the very process of artmaking itself.

Other artists put a conceptual spin on traditional artforms: Jane Alexander, for example, took sculpture into new realms with disturbing figures that place the human form in extremis or subject it to frightening transformations, while Jo Ractliffe worked with photography to investigate personal and familial memory, death, decay and love. Hentie van der Merwe also used photographs, taken or found, to talk about the body in an age of HIV/Aids.

Crafts: the reinvention of tradition

While the “high art” continues to blossom in South Africa, the market for crafts has expanded to include every possible form of traditional artwork.

There is a host of work in traditional media on the market. Artists are constantly developing the repertoire of African crafts – from intricate and near life-size beaded wire sculpture to tableware, ornaments and embroidered cloth, to stunning costume jewellery, welded cast-iron objects, folk painting and more.

At the same time, the status of the traditionally anonymous maker of craft works is changing: “folk art” has made inroads into “high art”. For example, in the 1990s the work of late ceramicist Bonnie Ntshalintshali went well beyond the confines of traditional African pottery, yet her exquisite creations could conceivably still be used at the dinner table.

The Ndebele tradition of house-painting exploded with the advent of commercial paints, giving rise to artists such as Esther Mahlangu, whose adaptations of the highly coloured geometric designs adorned everything from cars to aeroplanes.

Notwithstanding the appearance of celebrity “folk artists”, ordinary craft continues to thrive – the main examples being beadwork, pottery, basketry and wooden carving.




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