{"id":1298,"date":"2016-04-27T18:54:34","date_gmt":"2016-04-27T18:54:34","guid":{"rendered":"http:\/\/matthewgreenjournalism.com\/index.php\/?p=1298"},"modified":"2018-08-26T21:40:50","modified_gmt":"2018-08-26T21:40:50","slug":"african-art-works-discover-a-new-world-of-patronage","status":"publish","type":"post","link":"https:\/\/matthewgreenjournalism.com\/index.php\/2016\/04\/27\/african-art-works-discover-a-new-world-of-patronage\/","title":{"rendered":"African art works discover a new world of patronage"},"content":{"rendered":"<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1299\" src=\"https:\/\/i0.wp.com\/matthewgreenjournalism.com\/wp-content\/uploads\/2016\/04\/14c1904c-923d-11e5-94e6-c5413829caa5.jpg?resize=350%2C391\" alt=\"14c1904c-923d-11e5-94e6-c5413829caa5\" width=\"350\" height=\"391\" srcset=\"https:\/\/i0.wp.com\/matthewgreenjournalism.com\/wp-content\/uploads\/2016\/04\/14c1904c-923d-11e5-94e6-c5413829caa5.jpg?w=350&amp;ssl=1 350w, https:\/\/i0.wp.com\/matthewgreenjournalism.com\/wp-content\/uploads\/2016\/04\/14c1904c-923d-11e5-94e6-c5413829caa5.jpg?resize=269%2C300&amp;ssl=1 269w, https:\/\/i0.wp.com\/matthewgreenjournalism.com\/wp-content\/uploads\/2016\/04\/14c1904c-923d-11e5-94e6-c5413829caa5.jpg?resize=330%2C369&amp;ssl=1 330w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\" \/><\/p>\n<p>Here is a <a href=\"http:\/\/on.ft.com\/1Hm9Wgl\">story I wrote for The Financial Times<\/a> on African Art:<\/p>\n<p>The sculpture standing in the corner of Ayo Adeyinka\u2019s gallery is a message from the future: a child, standing on tiptoe, poised to launch herself into space on iridescent wings. The life-size work by Yinka Shonibare, a British-Nigerian artist, is emblematic of the kind of striking creations powering a surge in the value of African works and luring a new clientele to Tafeta, Mr Adeyinka\u2019s art business in central London.<\/p>\n<p><em>\u201cIt\u2019s called \u2018Butterfly Kids,\u2019 because once we destroy the world, children \u2014 according to Yinka\u2019s conceptualisation \u2014 are going to grow butterfly wings and fly away,\u201d says Mr Adeyinka. \u201cHis sculptures say something, but they\u2019re so beautiful you\u2019re not put off by the statement he\u2019s making.\u201d<br \/>\n<\/em><br \/>\nAfrican artists have witnessed an explosion of attention in recent years, with painters and sculptors winning growing international acclaim and commanding soaring prices at auction from buyers who hope their work will mirror the dramatic price rises of contemporary Chinese art.<\/p>\n<h6 style=\"text-align: right !important; font-size: 14px; font-family: lato;\"><em><strong><a href=\"http:\/\/on.ft.com\/1Hm9Wgl\" target=\"_blank\" rel=\"noopener\">&#8230;Continue reading<\/a><\/strong><\/em><\/h6>\n","protected":false},"excerpt":{"rendered":"<p>Here is a story I wrote for The Financial Times on African Art: The sculpture standing in the corner of Ayo Adeyinka\u2019s gallery is&#8230;<\/p>\n","protected":false},"author":3,"featured_media":1299,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[8,6],"tags":[],"class_list":["post-1298","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-africa","category-financial-times"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/matthewgreenjournalism.com\/wp-content\/uploads\/2016\/04\/14c1904c-923d-11e5-94e6-c5413829caa5.jpg?fit=350%2C391&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4ilu4-kW","_links":{"self":[{"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/posts\/1298","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/comments?post=1298"}],"version-history":[{"count":6,"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/posts\/1298\/revisions"}],"predecessor-version":[{"id":1616,"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/posts\/1298\/revisions\/1616"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/media\/1299"}],"wp:attachment":[{"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/media?parent=1298"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/categories?post=1298"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/matthewgreenjournalism.com\/index.php\/wp-json\/wp\/v2\/tags?post=1298"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}