Above: Tseday Alehegn in Harlem, New York. Photography by Liben Eabisa.
In the heart of Chelsea, New York, one of the world’s blossoming art districts, lays a gem for African art lovers. Skoto Gallery, a contemporary African art gallery, opened its doors to the public in 1992 with the notable African-American jazz icon Ornette Coleman as curator of its inaugural exhibition. Over the years, the gallery has mounted several memorable and engaging exhibitions, and has helped introduce the New York art world to the works of African artists such as master printmaker Mohammad Omer Khalil (Sudan); sculptors El Anatsui (Ghana), Uche Okeke (Nigeria), Ahmed Nosseir (Egypt), Pefura (Cameroon), Kan- Si (Senegal); and Ethiopian painters Wosene Kosrof , Tesfaye Tessema and sculptures by Etiye Dimma Poulsen, a Belgium based Ethiopian Artist.
Left: Mohammad Omer Khalil (Sudan), Descending Sun, 2004, 12×12 in. Right: Pefura (Cameroon), Untitled: Frontale Particuliere, Interior-Exterior Vol. II, video still, c-print, 17×12 inches. Photos courtesy of Skoto Gallery.
Left: El Anatsui (Ghana), Meeting of the Elders, 2005, aluminum (liquor bottle tops) and copper wire, 79”x133”, 198cmx343cm. Right: Tesfaye Tessema (Ethiopia), Addis Improvisation III, 2004, acrylic on canvas, 72×54 inches. Photos courtesy of Skoto Gallery.
Left: Wosene Kosrof (Ethiopia), Word Play III, 2006, acrylic on canvas, 25×24 inches. Right: Etiye Dimma Poulsen, Aztec Woman, 2005, mixed media, 23×10x4 inches. Photos courtesy of Skoto Gallery.
Occupying a charming space, Skoto shares the same floor with the legendary ACA, one of New York’s oldest galleries and a specialist in 19th and 20th century American and European art. Skoto Gallery was one of the first galleries in the United States to focus primarily on contemporary African Diaspora art. Prior to its inception, African art aficionados had to make do with occasional museum exhibits, which, when closed, left an irreplaceable void.
Gallery owners Skoto Aghahowa and his artist-wife Alix du Serech have created a neutral and continual exhibition space where established and emerging artists display their work, fusing traditional elements with modern influences. “There has been an increasing body of knowledge in the field of contemporary African art in recent years, and credit must be given to African scholars, art historians, curators and the artists themselves for their active participation in this effort,” says Skoto.
Above: Gallery owners Skoto Aghahowa and Alix du Serech. Photography by Liben Eabisa.
“We invite and encourage artists from throughout the African Diaspora to visit the gallery and share in this experience.” Skoto also acknowledges the work of non-African artists from throughout the world, since they also bring their unique perspectives and experiences into their practices.
Asked why he chose to become an art dealer, Skoto posits, “As much as we have talented artists, writers, art historians, musicians and poets, so too must we have African art dealers, publishers, and promoters who are actively engaged in all phases of the process – from the private studios of the artists to the marketplace.” Interpretation of African art needs to be conducted not only through the eyes of the Western world but likewise through the mindset of the Africans who created the art.
Skoto also stresses the importance of having a greater understanding of the creative process, the environment in which one operates, as well as marketing and promotion skills within African communities. “A piece of artwork retains its value when one strikes a balance between scholarly work and commercial success,” he reminds us. Hence, he points out, “The most important role for an art dealer is to be familiar with the work of world artists, not just African artists, and to help create a context in which the work can be understood and appreciated.” According to Skoto, “Becoming a good art dealer requires open-mindedness, and honestly engaging oneself in the practice of the artists one works with.” In essence, the task is to serve as an interlocutor, putting up exhibitions that illuminate what artists want to interpret.
For Skoto, the best part of owning and running a gallery is the time he spends organizing exhibitions with Alix. He especially enjoys setting up group shows that bring together artists from various backgrounds and cultures. “I not only like displaying artworks, but also watching the artists themselves interact with each other, sometimes for the first time,” Skoto shares.
True success, for Skoto and Alix, is watching artists and the gallery grow together as the public becomes familiar with their work. Equally gratifying is the acquisition of works by museums and other institutions for their collections; it means these works will be viewed by a much larger general public, and become a part of the collective visual documentation of our times. Skoto dreams of a Museum for Contemporary African Art established and run by Africans in the United States in the not-too-distant future.
Learn more about the gallery at skotogallery.com
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About the Author: Tseday Alehegn is the Editor-in-Chief of Tadias Magazine. Tseday is a graduate of Stanford University (both B.A. & M.A.). In addition to her responsibilities at Tadias, she is also a Doctoral student at Columbia University.
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