Acclaimed artistes deserve honour

In 1980, UNESCO (United Nations Educational, Scientific and Cultural Organisation) added Kenyan artiste Elkana Ongesa's soapstone sculpture Enyamuchera (Bird of Peace) to its extensive and extremely valuable art collection. It remains at the entrance of the Miollis Building, one of UNESCO's many offices at their headquarters in Paris.

This sculpture is a globally recognised symbol of peace in the world, and by making Enyamuchera, Ongesa has managed to elevate Gusii soapstone sculptural traditions to a globally venerated art form, visual for all the world stage for all to see. Ongesa's name is featured alongside the likes of Georges Braque, and Pablo Picasso, who are some of the most important historical figures in the art of the 20th century, whose works are also featured in UNESCO's collection.

And yet, how many of us are aware of Ongesa's legendary status? He has been one of Kenya's most invaluable advocates for and champion of Kenyan art. He is the founder and chairman of the African Arts Promotion Network (AAPRON) and is a key advocate, organiser and patron of the Kisii soapstone industry of Tabaka in Kisii, the original home of this remarkable artistic practice.

And yet, how many of us are aware of his significance to the Kenyan art world, and his integral role as not only a trailblazer but an advocate and mentor to many artistes?

Similarly, Wangechi Mutu is not only Kenya's most critically acclaimed and financially successful contemporary visual artiste but one of the world's most respected contemporary artistes. She is a multimedia artiste and sculptor whose work encompasses many themes, but most importantly Afro feminism.

Indeed, American art writer Kim Bobier writes that Mutu is 'an artiste of an international repute. Wangechi is best known for the hybrid female warriors who inhabit her collages'. Mutu's work is in such high demand overseas that she is represented by various galleries across the Atlantic in America and Europe and even Australia.

Her work has graced the walls and plinths of many of the most well-known galleries and exhibition halls of Western art.

For example, the Metropolitan Museum of Art in New York commissioned Mutu specifically to exhibit a series of bronze casted sculptures called The NewOnes, will free Us in 2019, which are four caryatids, architectural pillars that were sculpted in the form of a female figure in the ancient world, designed and cast by Mutu herself.

Mutu is held in such esteem by the art world of the West that she was commissioned by the Met to inaugurate 'an annual commission to animate The Met's historic facade' (Metmuseum.org, 2022). This facade has been previously left empty by the museum's directors, as the Marina Kellen French Director of The Metropolitan Museum of Art Max Hollein says.

"The Met has not previously used the front of its iconic Beaux Arts building to present new art, we have even failed to take advantage of the fact that there are eight sculptural niches - pedestals included - carved into the facade, each with space to display a piece up to seven feet in height".

To correct this failure, Hollein says they commissioned Mutu, who in their eyes is an 'artiste who is perfect for this moment in The Met's history, and our world today and 'one of the most distinguished artistes of her generation.

The sculptures themselves are feminist symbols, as they repurpose and subvert the traditional motif of the caryatid. Wangechi Mutu, therefore, is a globally respected artiste and even a feminist icon in the global art world. And yet, how many of us are aware of her huge success?

How many of us would recognise Mutu if she happened at a restaurant or was walking down the streets of Nairobi, the way would other cultural icons, perhaps star athletes like Eluid Kipchoge? We have not done enough to honour our great artistes.