The art world must make an extraordinary effort to put itself in question. There is no relevance in the context of the world. Much of the art today is solely about aesthetics, the story, or marketing. There is only so much tension you can place on this rope before it snaps. But, as long as everyone believes these delusions - as long as people are sheep - it will continue. He is currently the Senior Editor of UPTOWN magazine, a national luxury lifestyle and entertainment publication. ![]() Harris has made a name for himself over the past 10 years as an entertainment writer and magazine editor. in English) and New York University (M.A. I don’t know if I am revealing a secret and will be labeled a whistler. Isoul Harris, a graduate of Morehouse College (B.A. Picasso was revolutionary because his work was relevant.Īfrica has a cultural DNA of engaging with art in a way that the art world has not yet explored or discovered. You must consider if something is revolutionary and relevant. Anyone who tells you otherwise is lying, stupid and completely out of touch. The real value of art is in how it engages with society. Value is determined by how revolutionary and impactful an artwork has been. The price of an artwork should be a reflection of its value. “We are not yelling in the desert anymore,” he told me. Dokolo’s excitement over the collaboration was palpable. ![]() Dos Santos is the continent’s first female billionaire and the daughter of former Angolan President Jose Eduardo Dos Santos. The European country once colonialized Angola, the African nation that he, his wife, Isabel Dos Santo, and two children called home. Securing a partnership with Portugal was significant for Dokolo. The success of the exhibit earned the foundation an invitation to establish a satellite headquarters in Porto. Other African artists included William Kentridge, Kendell Geers, Samuel Fosso, Marcia Kure, and African American artists Kara Walker and Nick Cave. Dokolo approached collecting as an act of collage - blending classic and contemporary to highlight Africa’s truth and possibility. The title “You Love Me, You Love Me Not” alludes to the collage work of Kenyan artist Wangechi Mutu. The Sindinka Dokolo Foundation owns more than 5000 African artworks, making it one of the most extensive compilations globally.
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