THE STRATEGY OF AFRICAN ART ON THE INTERNATIONAL ART MARKET
Content: Section 1: Concept. Section 2: Introduction & Historical Context. Section 3: Post-Independence Developments in African art. Section 4: Creation of international avenues. Section 5: Market positioning and Artist. development Section 6: Use of digital and online Market places. Section 7: Participation in Art fairs and Biennials by African artists. Section 8: Conclusion. Section 9: List of image sources and Bibliography.
Section 1: CONCEPT
The African art market represents one of the most dynamic and rapidly evolving segments of the global art world, yet it remains understudied within academic design and art market research. Record-breaking auctions at Sotheby’s and Christie’s, the prominence of African artists at major biennials like Venice Biennale in Italy, Whitney Biennial in the United States of America, São Paulo Biennial in Brazil, Gwangju Biennale in South Korea, and the proliferation of art fairs such as 1-54 Contemporary African Art Fair, Afriart Gallery based in Uganda, Gallery 1957 and Art X Lagos, signal a significant shift.
This research seeks to move from observing this phenomenon to analyzing the deliberate strategies that underpin it. Moving beyond a simplistic narrative of «discovery,» it posits that the rising global prominence of African art is the result of deliberate, complex, and often contested strategies arranged by a network of actors including artists, galleries, curators, auction houses, and art fairs.
Carrying out a visual research on this topic provides crucial insights into how cultural production from historically marginalized regions navigates global commercial systems. The strategies employed by African artists, galleries, and institutions offer valuable case studies in market creation, cultural entrepreneurship, and the negotiation between regional authenticity and global commercial demands. The visual research question is: How African artists, galleries, and institutions developing strategic approaches to establish sustainable presence and value within the international art market? The research hypothesis is: African art’s increasing prominence in international markets results from a coordinated ecosystem of specialized fairs, diaspora engagement, strategic curation, digital innovation, and regional hub development-rather than isolated individual successes-representing an emergent model for global South cultural production within global creative industries.
Visual materials were selected to represent regional diversity, multiple generations of artistic practice, and varied market success levels from emerging to established blue-chip artists. The presentation progresses thematically from historical context to current market structures, then to specific mechanisms and case studies, concluding with implications for designers. This organization reveals how historical patterns inform contemporary strategies while allowing clear sectioning for visual demonstration.
Section 2: Introduction and Historical Context
«View of the exhibition Seven Stories about Modern Art in Africa, the Senegalese story, at Whitechapel Gallery London, 1995.» Clémentine Deliss.
According to David Cecil (2014): In 1996, Olabisi Silva, the Nigerian curator and critic, wrote a review of africa95 stating that John Povey, former editor of African art, at the ACASA Triennial of 1989 asked: «What are we going to do about contemporary African art?» It seemed like a strange and bewildering question, which had triggered concern about accessibility and knowledge. A network of artists in African cities like Dakar and Johannesburg, with the support of London-based galleries, museums and collectors, made the multi-site exhibition africa95 possible. However, its focus on a constellation of art schools on the African continent such as Zaria, Makerere, Khartoum, and Addis was as revelatory as it was controversial. The exhibition also provoked serious questions about repatriation and colonialism. Olabisi Silva, in her review in Nka, used the term «cultural terrorism» to describe the inclusion of artefacts from an 1897 pillage of the Royal Palace of Benin.
Market Day by Sam Nitro (1953)
African culture was seen as closer to the beginnings of civilization and thus naïve and pure, undeveloped and unspoiled. Kandinsky viewed ‘the primitive mentality’ as allowing access to ‘interior truths’ that were obscured by the corrupt materialism of modern life. This reflects a common view of traditional African artists as unconsciously channeling a genius that could be perceived by Western connoisseurs, and rarely imitated by trained artists.
Margaret Trowell, 1946, Uganda Society Archive.
It is clearly articulated that Magaret Trowell’s quest to seek out the true ‘Africanness’ in her students was not so peculiar for an expatriate European artist on the continent; it was merely ahead of its time. Workshops instituted and conducted by European mavericks and eccentrics began to spring up in Nigeria, Belgian Congo, South Rhodesia and elsewhere in Africa between the Second World .War and Independence. David C (2014).
Peter K. Mulindwa, Untitled, 1981, Oil on Board, 119,5 cm x 195 cm. Makerere Art Gallery collection.
It is important to note that the africa95 platform was supported by international structures that made their local and international networks available to the curators. These included at an early stage, Robert Loder’s Triangle Workshops, which mostly had taken place in Southern Africa.
«Africa95 festival, Africa: Art of a Continent exhibition at Royal Academy of Arts. Design of the exhibition cases with Eva Jiricna Architects, London 1995.» Aivars Architects Ltd
The conception of «contemporary African art» in the context of africa95 was negotiated through platforms such as the 1991 SOAS African artist seminars, Tenq and the Dak’art Biennale of Contemporary Art in 1992. The support of knowledge and funding networks, and larger interconnections between artists in Dakar and London subsequently shaped africa95. In London, galleries (Whitechapel, Barbican Art Center), museums, universities (Royal Academy of Arts, School of Oriental and African Studies), culture offices (Arts Council England), and diplomatic missions (British Council and European Development Fund) were all involved in the realization of the africa95 platform. The support of diplomatic and government institutions also heavily shaped the platform, providing a layer of cultural diplomacy and negotiating within the field of international contemporary art. David C (2014).
Section 3: Post-independence developments in African art
Works of some African internationally recognized artists
Post-independence developments in African art have seen rapid growth on the international market, this is due to the increasing recognition of African artists from modernism through the contemporary era. However, growth is not just automatic, it is accelerated by major auction houses and galleries, art fairs such as Art x in Lagos. The expansion of collector base both within and outside Africa is also another factor for this rapid growth.
Okwui Enwezor. Photo: Andreas Gebert, 2011, Courtesy Museum Folkwang.
A key turning point started with Nigerian curator Okwui Enwezor, who made history directing Documenta 11 in 2002 the first truly postcolonial edition of the seminal German art show. His Short Century exhibition (2001) tracked Africa’s liberation movements through art, while Snap Judgments (2006) spotlighted contemporary African photography. Enwezor redefined global curatorial practice and expanded the space for African artistic discourse on its own terms. The inaugural Dak’Art Biennale in 1996 became a crucial platform dedicated exclusively to contemporary African art.
Mike Chukwukelu, 1989 and Barbara Kruger, We Don’t Need another Hero, 1989. (L) Nera Jambruk, Papua New Guinea, 1988®, installation view, ‘Magiciens de la terre’, Paris, 1989.
Lisa Mathews, (2025) articulates that: «The late 20th century saw a shift in how African art was exhibited and discussed. Landmark exhibitions such as Magicians de la Terre (Centre Pompidou, 1989) and Primitivism in 20th-Century Art at MoMA began including African artists in international contexts, though often under problematic framings. African publications like Revue Noire and Africa’s Journal challenged these perspectives, centering African voices and artistic agency.»
In the process of striving for the international market, post-independence artists decided to engage in a critical redefinition of form and identity, blending indigenous aesthetics with international modernist movements. The good examples of some movements that emerged are: Poto-Poto (Congo-Brazzaville), and École de Dakar (Senegal). Contemporary artists are exploring African narratives and identities, through mixing traditional and contemporary elements in their art works.
Section 4: Creation of international avenues
«African Art Investment: Emerging Markets and Cultural Significance» MoMAA, 2025.
African art has gone an extra mile to establish spaces in global art hubs, representing artists from the global south to build international networks as well as fostering cross-diasporic conversations. This is driven by major exhibitions, digital platforms, and a growing global appreciation for Africa’s diverse creative expressions.
According to MoMAA, (2025). East African markets including Uganda, Kenya, Tanzania and Ethiopia, show emerging potential with developing gallery scenes and increasing international attention from collectors and institutions. Nairobi’s contemporary art scene demonstrates particular growth with established galleries and art fair participation that creates market visibility and career opportunities for local artists. Nigerian contemporary art depicts a particular strength with artists like Njideka Akunyili Crosby, Yinka Shonibare and Ben Enwonwu achieving significant international recognition and market success. The Lagos art scene benefits from economic growth and cultural investment that creates sustainable market infrastructure for long-term growth and artistic development. Ghanaian art markets demonstrate strong cultural traditions combined with contemporary innovation, with artists like El Anatsui achieving major international recognition while maintaining connections to traditional artistic practices. Accra’s gallery scene shows growing sophistication with international programming and collector development that supports market growth.
Section 5: Market positioning and Artist development
Portraits and artworks of some iconic African artists who have internationally positioned themselves on the art market.
Camille H. (2023) asserts that:
«…we have seen a marked increase in interest in African modernism, referring to the work of artists primarily active from the post-independence era through the 1980s. These artists, working across painting, sculpture, printmaking, and beyond, often engaged in a critical redefinition of form and identity, drawing from both indigenous aesthetics and international modernist movements. Despite their significance, many of them have remained underrepresented in major institutions and the global art market.»
Majority of African artists are fighting tooth and nail to produce art works that can be recognized internationally, Despite of the unique international techniques and styles used in their art works, majority of them are still unrecognized on the international art market, however this has not stopped from producing creative and unique art works. There are some African artists who have gone an extra mile and this is depicted by the increasing demand for there artworks on the international art market.
Today, artists such as Ben Enwonwu, Ibrahim El-Salahi, Irma Stern, Mohamed Melehi, and Peter Clarke are not only entering museum collections but also reaching new highs at auction. The sale of Enwonwu’s Tutu for over £1 million in 2018 was a turning point for the visibility of African modernist painters on the international market. Meanwhile, artists like Malangatana Ngwenya, Skunder Boghossian, and Papa Ibra Tall are also increasingly the focus of institutional retrospectives and scholarly research. Camille, (2023).
«Auctioneer Oliver Barker, taking bids at Sotheby’s for Kerry James Marshall’s painting „Past Times.“ It was eventually sold for $21.1 million with fees.» Scott R.2018
This renewed interest is clearly reflected in 1-54’s programming and gallery presentations. In recent editions, a growing number of exhibitors have showcased works by modern African artists. These exhibitors have played a pivotal role in researching estates, reintroducing under-recognized artists to the market, and bridging the gap between historical and contemporary narratives. The market, too, is evolving. Major auction houses like Christie’s and Sotheby’s are increasingly including works by African modernists in their African and international sales, yet significant disparities remain, particularly between artists from anglophone and francophone regions. While figures like Enwonwu and El-Salahi have achieved global acclaim, many francophone modernists such as Souleymane Keïta, Théodore Diouf, or Frédéric Bruly Bouabré have only recently begun to receive institutional and market attention, often thanks to dedicated efforts by galleries, foundations, and researchers. Camille, (2023).
Pule Taukobong (L), Tristanne Farrell (M), Hannah O’Leary (right) Caroline E.V.W 2025.
The African art market is experiencing rapid growth, with significant interest from collectors, auction houses and galleries alike. In episode 1 of Art in Focus, a podcast series on Investec Focus Radio, Hannah O’Leary, Sotheby’s Head of Modern and Contemporary African Art, and Pule Taukobong, a venture capitalist and passionate art collector, shared their insights on what’s behind this growth, whether the boom is sustainable, and what African artists are on their collecting radar. Caroline E.V.W (2025)
Caroline continues to articulate that Hannah highlighted the remarkable growth of the African art market, stating, «When we started sales at Sotheby’s in 2016, the African market was around $20 million. Today, in 2023, it has surged to $80 million.» This impressive growth still represents only 0.6 per cent of the global art market, indicating vast potential for further expansion.
«Pamela Phatsimo Sunstrum», Lotte van Uittert, 2023.
Pamela Phatsimo Sunstrum is a contemporary visual artist known for her multidisciplinary practice encompassing drawing, installation, painting and animation. She is among the outstanding African artists with a high recognition on the international art market.
Pamela Phatismo Sunstrum, «It will end in tears» SCENE 18, 2024.
One of the standout trends in the African art scene is the dominance of female artists. Hannah noted, «The bestselling artists from the continent are all women, ” citing figures like Marlene Dumas and Julie Mehretu. This trend challenges traditional narratives and showcases the immense talent emerging from Africa. Pule added, „We definitely need more local collectors, ” emphasizing the importance of nurturing homegrown talent and support for diverse artists. Both agree that while the market is evolving, there is still a need for greater representation and inclusiveness. Caroline E.V.W (2025)
«Ibrahim El-Salahi and some of his paintings» internet, 2025.
Ibrahim El-Salahi is iconic Sudanese painter, diplomat and former public servant .He is one of the great visual artists of the Khartoum School, and he is considered part of African Modernism and the pan-Arabic Hurufiyya art movement, that combined traditional forms of Islamic calligraphy with contemporary artworks. He is one of the successful African artists who have positioned themselves internationally. It should be noted that several African Artists like Ibrahim El-Salahi and Mohamed Melehi strategically positioned themselves on the international art market through researching target audiences and market niches, building professional portfolios and artist biographies; strategic pricing and participation in residencies such as Black Rock Senegal for career development.
Osinachi Published Dec 5, 2022
Post-pandemic, African artists turned increasingly to digital formats. Nigeria’s Osinachi became the first African crypto-artist to sell an NFT at Christie’s Europe, while projects like AfroDroids generated new models for visibility, ownership, and economic sustainability. Platforms such as Artsy, Artx, and social media have also fuelled direct engagement between African artists and global audiences.
Portrait of Wangechi Mutu-2024
Diaspora artists like Wangechi Mutu (Kenya/USA), Zanele Muholi (South Africa), and Ibrahim Mahama (Ghana), have unique works that explores identity, decolonization, environment, and gender with global resonance. This has put them on the top list of internationally recognized African artists.
Works of Some African artists with high positions on the international art market
Zohra Opoku, Rhododendron (2016). Courtesy the artist and Gallery 1957, Accra
Zohra Opoku born in 1976 is a German-Ghanaian artist, who won the Armory Show’s inaugural Presents prize for her solo booth in 2017, she makes hybrid textiles and photographs that often depict contemporary Ghanaian women in traditional dress, exploring what it means to be a woman in the African Muslim world. The price of her works ranges from $15,000 to $35,000.
Godfried Donkor, Anokye’s Dance I (2017). Courtesy of the artist and Gallery 1957.
Godfried Donkor was born in 1964, Donkor splits his time between London and Accra, is best known for his paintings and collages drawn from research into the history of slavery and intercontinental trade. The price of his works ranges from $18,700 to $37,000 for paintings; $10,000 to $12,400 for collages.
Nicholas Hlobo, Ulwabelwano (2015). Courtesy Lehmann Maupin.
Nicholas Hlobo (b. 1975), it is stated that the artist makes large-scale installations that tackle themes of sexuality and gender identity as well as the history of South Africa and his own Xhosa culture. Price Range: $20,000 to $120,000.
Elias Sime, NOISELESS [detail] (2019). Courtesy James Cohan Gallery.
Elias Sime (b. 1968, he creates monumental works from discarded technological components, including salvaged motherboards and electrical wires. Some of his most wanted Works include; his «Tightrope» series, which features electrical waste meticulously woven into abstract compositions reminiscent of aerial landscapes or textiles. Price Range of his works: $65,000 to $300,000
Simphiwe Ndzube, Invitation to my Voyage #2 (2019). Courtesy Nicodim Gallery.
Simphiwe Ndzube (b. 1990) is Los Angeles-based, Cape Town-born painter and sculptor creates Surrealist depictions of life in post-apartheid South Africa. Some of the most wanted work of his hands include: His otherworldly works on linen, which combine such mediums as acrylic, spray paint, collage as well as found objects. Price Range of his works is: $6,000 to $35,000.
Section: 6 Use of digital and online Market places
In the digital age, the African art market has embraced technology, leveraging online platforms and digital marketplaces to extend its reach and accessibility. These platforms enable artists to showcase their work to a global audience, connect with potential buyers worldwide, and transcend geographical boundaries. Online auctions, virtual exhibitions, and social media platforms have played a crucial role in amplifying the visibility and impact of African art, allowing artists to thrive in an interconnected world.
In order to accelerate and promote African art on the international art market, one of the strategies taken was to create market places which can act as bases for selling the African art across the world. There are numerous platforms but a few were selected and these include: Infinite Treasures African Art, Retro Africa (Abuja), 1-54 Contemporary African Art Fair, TAFETA (London), Afriart Gallery (based in Uganda), Gallery 1957 and Art X Lagos.
Serge Attukwei Clottey, My Mother’s Wardrobe, installation view at Gallery 1957, Accra. Nii Odzenma.
It should be noted that one of the strategies taken by Gallery 1957 in promoting African art internationally involves participating in major international art fairs, opening international gallery spaces in cities such as London, and supporting artists through a public program that includes residencies, publications, and an art prize. This multi-pronged approach increases global visibility for their artists and bridges the gap between local and international audiences by showcasing contemporary art from Africa and its diaspora.
Afriart exhibition at Miami Beach, Daudi k. 2024.
The Afriart Gallery based in the Republic of Uganda promotes African art internationally through a multi-faceted strategy that includes exhibiting at major international art fairs like Art Basel Miami Beach, partnering with institutions for shows, and launching online initiatives like AAG Editions. It also develops artists through programs such as residencies, mentorships and workshops to support their professional growth and international visibility.
«Installation view of the exhibition 'Structures' at Joburg Contemporary Art Foundation.» Photograph by Andile Buka for Art Basel.2025
The gallery’s reach is international, but it also supports homegrown talent through programming and exhibitions that bring critical discourse around site-specificity, such as the recent exhibition ‘Urban Entanglements: How Art Reflects City making’, featuring David Koloane, Sam Nhlengethwa, and Kagiso Pat Mautloa. For Essers, the city’s potential is nurtured through building new audiences and promoting accessibility by drawing on interdisciplinary convergences. (Nkgopoleng Moloi, 2025)
Section 7: Participation in Art fairs and Biennials by African artists
African artists participating in the art fairs and biennials
According to Coroline, (2025): Art fairs play a crucial role in the African art ecosystem. Pule stated, «The Investec Art Fair gathers artists from across the continent and brings in international collectors.» Fairs not only showcase emerging and established talent but they foster connections between artists and collectors, enhancing the visibility of African art on the global stage. Hannah echoed this sentiment, highlighting the Investec Cape Town Art Fair as a significant event that engages the city and its artistic community. «It’s probably the most exciting art week on the continent right now, ” she remarked. The Investec Cape Town Art Fair is its 12th edition and attracts over 500 artists from four continents and some 100 galleries.
Artist Olaolu Slawn’s monumental installation for the 2024 edition of the 1-54 Contemporary African Art Fair. Ben Montgomery/Getty Images
Events like 1-54 with locations in different parts of the world such as London, Marrakech and New York and ART X Lagos have become crucial platforms for showcasing African art to a global audience hence a rapid growth on the international market. It is clearly stated that major auction houses have entered the market, with Bonhams launching its «Africa Now» sale in 2009 and Sotheby’s establishing a dedicated department for Modern and Contemporary African Art in 2016.
1-54 Contemporary African Art Fair in London, Jim Winslet, 2023.
According to Lisa M. (2025); the current globalization of African art is not just about market success, but about reshaping the very architecture of the art world towards a more equitable, polyphonic, and historically conscious ecosystem. This is not simply Africa’s art moment. It could become Africa’s art century if the momentum is met with responsibility, collaboration, and a commitment to structural change. Between 2013 and 2023, sales of contemporary African art grew by 46%, with a record-breaking $101.3 million sold in 2021. Industry estimates suggest the market could reach $1.5 billion in 2025, fueled by online buying, art fairs, and a rising class of private collectors.
«The 12th edition of the contemporary African art fair brought more than sixty galleries showcasing works by 160 artists to Somerset House in London.» Ben Montgomery/Getty Images, 2023.
Museums in Europe and other western countries have hosted a growing number of exhibitions featuring African artists like Lilian Nabulime, Amanada Tumusime to mention but a few, This has contributed to their recognition on the international art market.
Eddy Kamuanga Ilunga, ‘Rencontre avec soi’, 2022, Acrylic and oil on canvas, 200×200 cm. Eddy Kamuanga Ilunga. Courtesy of the Artist and October Gallery, London.
Rebecca A. (2019), asserts that: Researchers project that the continent will be home to at least nine cities of more than 10 million people by 2050. Meanwhile, museums in Europe and North America have hosted an unprecedented number of shows of African art in recent years, while art fairs dedicated to the field have sprung up worldwide, including 1-54 in New York, Marrakech, and London.
«Africa Basel 2025, Curatorial Board comprising Azu Nwagbogu, Michèle Sandoz, Serge Tiroche, and Greer Valley.» Artafrica, 2025.
It should be noted that one of the main catalysts for the rapid growth of African art on the international market is participation in the art fairs and biennials by African Artists.
Section 8: Conclusion
This visual research has endeavored to move beyond a simplistic narrative of African art’s mere presence in the international market to a critical analysis of the strategies that underpin its positioning and valuation. The investigation reveals that the journey of African art from local studios to global auction houses, art fairs and biennials is not a passive flow but a dynamic and strategically managed process. The international strategy for African art is a multifaceted and often paradoxical endeavor, characterized by a continuous negotiation between global market demands and the assertion of local artistic agency. The strategy of African art on the international market is a story of remarkable transformation and strategic navigation. It is a movement from the margins to the mainstream, orchestrated through a complex interplay of global market forces, digital innovation and most importantly the unwavering agency of African artists as well as cultural entrepreneurs. The future of this vibrant market will depend on its ability to sustain this momentum while navigating the delicate balance between global integration and authentic self-determination, ensuring that the African Art Boom evolves into a lasting and equitable renaissance.
Section 9: List of image sources and Bibliography
Court. E, (1985): ‘Margaret Trowell and the Development of Art Education in East Africa’, Art Education, 38 (6), pp. 35-41.
Magaziner. D, (2015): ‘Designing knowledge in postcolonial Africa: A South African abroad’. Kronos 41 (I): 265-286.
Mudimbe. V.Y, (1994): The Idea of Africa (Indiana UP), pp. 154-59; Deliss, Clémentine 1995 — ‘7 + 7 = 1: Seven Stories, seven stages, one exhibition’ in Seven stories about modern art in Africa, Clémentine Deliss ed. (Whitechapel Art Gallery), pp. 16-18.
Ogbechie. S. O, (2011): Making history: African collectors and the canon of African art. Milan, Italy: 5 Continents Edition.
Silva. O, (1996): «Africa 95: Cultural celebration or colonialism?» Nka Journal of Contemporary African Art, no. 4 (1996): 30-35.
Sanaa, (1984): Contemporary Art from East Africa. Curated by Fatmah Abdellah, Mordecai Buluma, Elimo Njau, Commonwealth Institute, London.
Steiner, Christopher, (1994): African Art in Transit (Cambridge UP), pp. 9
Tributaries, (1985): A View of Contemporary Southern African Art, BMW Communications Department, Curated by Richard Burdett, African museum, Johannesburg, Germany.
Wolukau. W. E, (2014): Margaret Trowell’s School of Art. A Case Study in Colonial Subject Formation. Perception, experience, experiment, Knowledge objectivity and subjectivity in the arts and sciences, 45, pp. 101–122.
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https://artguide.com/posts/2329?page=5 11.15.2025
https://yourluxury.africa/collaboration/african-art-market-on-the-rise-is-the-boom-sustainable/ 11.16.2025
