Breaking the Cycle: Confronting the Exoticization of African Women in Art

Introduction

The exoticization and commodification of African women in portraits is a longstanding issue in the African art market. This concern has been voiced by many famous African artists but largely ignored by Western galleries and art consumers. The problem has become even more evident lately, as Africa has gained increased interest from international expats and a local art market for them has emerged.
What further intensifies this marginalization is the perception among many Congolese that local art is fetishistic—viewed as mystical or spirit-imbued objects.

Western art consumers must recognize their role in this dynamic. Thoughtful, ethical consumption can support genuine artistic expression and preserve the integrity of African art. This article explores the ethical implications of purchasing such portraits, the dilemmas faced by genuine emerging artists, and the role of galleries in perpetuating this trend. By understanding the origins and impact of these artworks, we can promote a more responsible and authentic approach to art collection.

The Problem with African Women Portraits

The origins of stereotypical portraits of African women can be traced back to colonial photography. During the colconial era, European photographers often portrayed African women as exotic objects, reinforcing racial stereotypes and dehumanizing their subjects. These images were intended to satisfy the curiosity and fantasies of Europeans, presenting a simplistic and often derogatory view of African cultures.

“The exoticization of African women in colonial photography was a form of cultural appropriation, as it used images of African women to satisfy the curiosity and fantasies of Europeans.” – Elizabeth Harney.

This practice has persisted into modern times, with many contemporary portraits of African women continuing to exoticize and objectify them. These paintings often reduce rich, diverse cultures to simplistic stereotypes, perpetuating the colonial mindset that African women are objects of curiosity rather than individuals with complex identities.

Additionally, many of these modern artworks are not genuine expressions of artistic creativity but rather plagiarized copies from the internet. Artists frequently reproduce photographs with little to no modification, adding vibrant colors and patterns to create a marketable image. This lack of originality raises serious questions about artistic integrity and intellectual property rights.

As part of my research, I conducted an experiment, the results of which are shown below. I took several paintings of African women, removed the added patterns and colors, and then used Google Image Search to find the original photographs. The findings were startling: over 99% of the images I tested were exact 1-to-1 copies of photos found online, revealing only the tip of the iceberg.

As follows, you’ll see each painting alongside its original photograph from the internet; the left half is the painting, and the right half is the original photo. Each image is a collage separated by a vertical white line or space to differentiate between the painting and the original image found online. This visual comparison demonstrates that all the showcased images are perfect replicas of stolen internet photos, highlighting only a small number of the African women portraits I’ve tested.

Whenever I identified an artist with one copied image, it became evident he is a serial plagiarist. Some of these artists are quite famous and even exhibit their plagiarized works in well-known  galleries abroad.

The Role of Galleries

Galleries play a significant role in perpetuating the trend of exoticizing African women in art. Driven by profit, many prioritize commercially viable, trend-driven pieces over genuine, original works. This often excludes emerging artists striving to find their own voice. In cities like Kinshasa, the market is dominated by European buyers drawn to stereotypical depictions of African women. Galleries, aware of this demand, showcase almost exclusively such artworks.

This is not to judge the artists but to highlight the impact on consumers and the art market. Artists have bills to pay and families to support. Even renowned artists face this dilemma, often adapting to market demands to survive.

“There is a constant struggle between staying true to my artistic vision and making ends meet. It’s not always easy to find a balance between the two.” – El Anatsui.

By prioritizing sales over authenticity, galleries contribute to the perversion of the art market, where African artists are pressured to produce works that appeal to Western buyers rather than works that reflect their true cultural heritage and personal artistic vision. This dynamic not only undermines the integrity of African art but also perpetuates harmful stereotypes and reduces the rich diversity of African cultures to superficial, exotic traits.

“African artists are often pushed to create works that appeal to European customers, compromising their cultural authenticity to meet market demands” – Kehinde Wiley

The Responsibility of Art Consumers

Art consumers, especially from Western countries, play a crucial role in shaping the local art market. Thoughtful and ethical consumption is key to supporting genuine artistic expression and preserving the integrity of African art.

Understanding the historical context is crucial. The exoticization of African women in art has roots in colonial photography, where subjects were dehumanized and objectified to satisfy European curiosity. Continuing to buy these portraits perpetuates these harmful practices and further marginalizes African cultures.
Buying art is also an investment. Opting for stereotypical portraits from profit-driven galleries often means paying inflated prices for works that lack originality. These pieces are unlikely to appreciate in value and may even depreciate if the artist’s lack of authenticity is exposed. True artistic value lies in the unique vision and genuine creativity of the artist.

“In an era of instant information, be wary of investing in art that lacks originality or provenance.” – An Art Collector.

Art should be seen as an aesthetically rewarding investment. Choosing the right artist at the right time can lead to significant value appreciation. Authentic works by genuine artists enrich your environment with cultural depth and integrity.

Moreover, buying these stereotypical portraits supports a market that marginalizes authentic artists. Galleries often prioritize profit over creativity, leading to a homogenized art scene. By choosing to buy original art, consumers can support artists who maintain cultural integrity and diversity.

By recognizing their power and responsibility, art consumers can foster a more ethical and vibrant art market, benefiting African artists and enriching the global art scene.

Promoting Authentic African Art

While the challenges are significant, there is a pathway to a more authentic and respectful representation of African art. By prioritizing and empowering genuine expression, the art market can truly celebrate the diversity and richness of African cultures.

Not all portraits of African women lack merit. Consider works like the ‘African Mona Lisa’ by Nigerian artist Ben Enwonwu—a masterpiece honoring individuality and cultural heritage. Such works contrast with the trend-driven, commercialized art prevalent in many galleries.

“I don’t want to be seen as an ‘African artist.’ I want to be seen as an artist who happens to be African.” – William Kentridge.

To ensure authenticity, galleries can require artists to provide photos with their portrait subjects. As a platform promoting and selling Congolese artists, we strictly avoid selling African women portraits that fall into the category of stereotypical, simplistic depictions. Our online gallery guarantees originality and non-plagiarism for everything we sell. We only work with artists we promote on this  platform, having already interviewed them and reviewed their portfolios and previous works. We know how to spot serial plagiarists, who are immediately blacklisted.

Art consumers should examine an artist’s portfolio to distinguish genuine artistry from artisanal work. If possible, they should talk to the artist about the woman in the portrait. Artists often deflect with another story or imply that the subject is not important, emphasizing their own significance over their artwork. Interestingly, I have yet to meet a female artist creating these simplistic portraits; it’s always men, which is why we refer to the artist as “he” throughout.

Conclusion

Supporting authentic African art means recognizing and celebrating the unique voices and stories of African artists. Consumers and galleries must prioritize originality and cultural integrity over commercial appeal. By doing so, they help preserve the rich cultural heritage of African societies and foster a more diverse and inclusive art scene.

The responsibility to champion true creativity and sustain art’s integrity lies with everyone involved in the art market. By making thoughtful and informed choices, art consumers can support genuine artists and disrupt the cycle of commodification and exoticization.

Together, we can create a vibrant and ethical art market that honors and accurately represents Africa’s cultural diversity. Let’s champion true creativity, sustaining art’s integrity and soul.

Special Focus: Voices of Renowned Artists

To further illustrate the importance of this issue, here are some thoughts from renowned artists who have spoken out against the commodification and exoticization of African art:

1. Chimamanda Ngozi Adichie: “We need to challenge these narrow portrayals and start to see African women as they truly are – as individuals with rich histories, diverse experiences, and profound stories to share.”
2. Zanele Muholi: “There’s a notion that black women are exotic objects to be consumed, and that objectification is perpetuated in the art world.”
3. Wangechi Mutu: “Art should be a reflection of the artist’s soul and experiences. When African women are depicted solely as exotic beings, it strips away their humanity and reduces them to mere objects. My work seeks to reclaim the narrative and present African women in all their complexity and beauty.”
4. Kehinde Wiley: “The commercialization of African art often comes at the expense of authenticity. It’s crucial for collectors and galleries to recognize the value of original works that genuinely represent African heritage and not just cater to stereotypical tastes.”
5. Njideka Akunyili Crosby: “As an artist, I feel a responsibility to portray the nuanced realities of African life. The art market’s tendency to favor simplistic, exotic images of African women undermines this goal and perpetuates harmful stereotypes.”
6. Chris Ofili: “Art should challenge and inspire. When it becomes a mere commodity, especially one that perpetuates stereotypes, it loses its power. We need to ensure that African art remains a platform for genuine expression and cultural dialogue.”
7. Chéri Samba: “The art world must move beyond the superficial and recognize the deep cultural significance of authentic African art. We need to celebrate works that reflect the true diversity and richness of our cultures, not those that reduce us to mere caricatures.”
8. Sokari Douglas Camp: “African art is rich and diverse, yet it is often simplified to fit Western tastes. We must resist this reduction and highlight the true complexity and beauty of our cultural heritage.”
9. Lubaina Himid: “Art should be about truth and authenticity, not about conforming to market demands. We need to celebrate the real voices of African artists and resist the pressure to produce what sells.”
10. Kudzanai Chiurai: “The commodification of African art undermines its cultural significance. We must support artists who are true to their roots and who challenge the stereotypes imposed on them by the market.”