Professor Fabian Ajogwu, OFR, SAN, is the Founding Partner at Kenna Partners, a full-service law firm based in Nigeria, and a Lagos Business School Professor of Corporate Governance. He has contributed to legal jurisprudence through his works, including several legal books’ authorship. Professor Ajogwu (SAN) indulges in his passion for Art as an Art Intellectualist and Collector when he is not practising his beloved profession. This is underscored by his crucial role in founding the Society of Art Collection and co-authoring the book, Collecting Art: A Handbook. In this interview with GREGORY AUSTIN NWAKUNOR, he details his passion for Art and advocates for more significant investment in the art industry for national development.
Professor Ajogwu, you need no introductions in the legal sphere as you are not only a Senior Advocate of Nigeria but also an accomplished author and major contributor to shaping corporate governance in the country. You, however, have a deep-rooted love for the arts; would you mind discussing what cultivated this passion in you and how it has shaped your law practice?
As a child, I experienced the world of Art through my parents, who are ardent lovers and collectors of African Art. I, therefore, owe my appreciation for Art to their passion for it. Although this may sound strange, I see parallels between Art and law.
They both transcend boundaries in ways that few expressions can replicate. Narratives conveyed through art pieces are universally recognised, enabling us to connect with humanity and cultures while gaining a deeper understanding of the world.
What has been your biggest challenge since you started collecting Art, and how have you navigated it?
Constantly researching and staying informed about the changing art market has been one of the biggest challenges I have faced in collecting Art. Art is such that the historical context in which it is created, and the artist’s background plays a pivotal role in its value and significance, hence the need for Collectors to stay abreast of trends as it is a dynamic industry. Consequently, I ensure to stay as close as possible to the community via consistent attendance of art exhibitions and collaboration with galleries, artists, curators, and industry experts to guarantee informed decision-making and not miss out on premium aesthetically appealing artworks with long-term value.
You co-authored the book “Collecting Art: A Handbook” with Dr Jess Castellote. We want to know why you wrote the book and its significance to collectors.
We wrote the book, Collecting Art: A Handbook, to help with an understanding of art collection, the world and what makes people collect, and by so doing, hopefully, reduce the risks associated with art collection. The book can be considered a step-by-step guide into the complex art world for all, regardless of the stage in their art collection journey: beginner or seasoned. Dr Jess Costellotte and I wrote the book based on our experiences over the years, our disagreements on perspectives on the Art, and some of the common issues encountered by collectors. The book offers practical advice on building an art collection, identifying types of Art, preserving collections, and legal considerations, including passing Art from one generation to the other. Readers who have read the book can interact with the art community from a more informed perspective.
Your mention of legal considerations is apt in light of copyright and its infringement. In your opinion, what is the level of awareness of these considerations among Nigerian collectors, and what recommendations can you provide?
I believe there is a growing awareness of the ethical and legal considerations among Nigerian collectors today, but there is ample room for improvement. Property rights, for instance, is a subject that stakeholders in the industry need to understand—artists, collectors, and gallery owners—to preclude unwarranted litigation and ensure value optimisation for all. Understanding these rights will aid the preservation of artworks by collectors while providing clarity in the event of a sale or transfer of ownership.
Additionally, it is pivotal that collectors obtain the written consent of artists should they desire to use the artwork or elements of it for other purposes. This ensures respect for the artist’s intellectual property rights and protection from legal issues.
As a co-founder of the Society for Art Collection (SARTCOL), what is your assessment of the Society’s contribution to the growth and appreciation of Art?
SARTCOL, I believe, has done well since its inauguration in 2019. The Society was established with a vision to provide a platform for an educated collection and promotion of the arts, and it has been unrelenting in its pursuit of this goal. What we do at SARTCOL involves the promotion of meaningful dialogues amongst stakeholders in the industry through our bespoke initiatives. With the Society led by a Governing Council comprising renowned art enthusiasts – Dr Okey Anueyieagu, Mr Dotun Sulaiman, Ms Ngozi Edozien, Mr Ibrahim Dikko, Mr Nero Asibelua and I, the Society for Art Collection is poised for continued value addition to the art community.
SARTCOL partners with art galleries and institutions to create a platform where the primary stakeholders can engage – collectors, gallery owners, and artists. Through this initiative, numerous lesser-known local artists have been able to sell their works and have started to make a name for themselves because SARTCOL has assumed the burden of finding collectors to invest in their career trajectories. Beyond that, there are also programmes to enhance the knowledge of collectors to ensure that they make the right decisions regarding their collections.
SARTCOL also has programmes that enable seasoned artists to mentor their greener colleagues in an interactive environment. With these, one can consider SARTCOL as a centre where participants in the art value chain congregate to foster the expansion and improvement of the industry.
In what ways do you think the strides made by the Society for Art Collection in promoting art education and supporting local artists can be replicated for it to be more mainstream?
Replicating the efforts of SARTCOL will require the support and participation of key stakeholders in the art community and a clear and sustained commitment from the government and private institutions. Investing strategically in arts education in schools, forming meaningful collaborations with art institutions, and creating platforms that reach out to the broadest possible range of artists are three measures that can revitalise the role of the arts. These will serve the dual purpose of expanding the reach of the art community and improving nationwide appreciation.
What role can Art play in getting the youth engaged, and how can public and private stakeholders contribute to achieving this?
The 2023 Art Basel and UBS Global Art Market Report averred that the global art market reached an estimated $67.8 billion in 2022, demonstrating the immense potential the Nigerian art market could tap into. We, however, need to understand that the Nigerian market is not performing poorly, given the challenges in the country. One can even go as far as saying that the market is experiencing a boom due to the increased interest in African Art globally and the increased consumption pattern of collectors.
Notwithstanding, to compete on the same level as other global art markets, steps can be taken to further build on this momentum. First, supporting and promoting our artists locally and internationally must be emphasised. We cannot leave the burden of promotion solely on the artists as they also require institutional support. Second, establishing strong partnerships with global art institutions and galleries can give Nigerian artists the exposure and recognition to compete globally. Third, investing in art infrastructure such as museums, galleries, and art schools cannot be overemphasised. This will yield immediate industry and societal benefits and lay a strong foundation for the local art industry to thrive.
We know you are an avid collector and believe your art collection must contain stories. Could you share an artwork that has a particularly profound significance to you?
Every artwork within my collection harbours a distinctive narrative and holds a personal significance to me. However, one stands out: the works of the renowned Nnenna Okore, now a highly regarded professor of Art at the University of Chicago, and paintings by Ibikunle Dashur and Obasi. These works beautifully capture how Art has the inherent capacity to bring together people from diverse backgrounds and create a sense of unity regardless of superficial boundaries. On an ending note, let me say that Art is not meant to be understood as much as appreciated.
Source: The Guardian