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Daily scene: Crowds view 280 paintings, prints and sculptural works shown during popular exhibit, "African Artists of Our Time," held recently in Philadelphia.

MODERN ART FROM AFRICA
By HALE WOODRUFF
The author, former Art Director of Atlanta University now on the faculty of New York University, is widely known throughout the United States for his lectures and paintings - mostly in the abstract style.

IT IS RARE INDEED to be able to view a comprehensive exhibit of art from a single country, let alone from a whole continent. Thus, art critics, artists and amateur gallerygoers were pleasantly surprised last fall when a monthlong exhibit, "African Artists of Our Time," opened at Philadelphia's Civic Center Museum. Over 58 artists were represented in some 280 works of contemporary painting, print-making and sculpture - many of which were sold during the show. Unlike traditional sculpture, modern African art is a newcomer to the U.S. art scene. The Philadelphia show was a step toward remedying this defect - which was the intention of the Harmon Foundation, sponsor of the event.
It was a great pleasure for me not only to renew my acquaintance with artists whose works I have seen before - Vincent Kofi, Ben Enwonwu, Ibrahim El Salahi and others - but also to make some new discoveries. The works on view showed a wide-ranging imagination, a willingness to experiment, and - above all - proof that young African artists are going "modern" without forsaking the great themes of the past.
Indeed, the contemporary African artist's horizons are almost limitless, ranging from realism to symbolism, portraiture to landscapes, genre characterizations of daily life to fantasy, lore and legend. Within portraiture alone I could enjoy the realism of the Cameroon's Martin Abossolo in "Dancer No.3" and the more abstract, personally distorted "Profile" by Gerard Sekoto of South Africa. Like so many artists of our time, Africans favor painting in oil. The exhibit also had works in the exacting watercolor medium - works full of glowing freshness. I found striking woodcuts, including a bold design by Kenya's Hezbon Owiti in which figures sprout from a fantastic tree.
If the exhibit had a shortcoming it was the scarcity of sculpture - no doubt abetted by the difficulties of transport. Fortunately the pieces on display were, for the most part, graceful, powerful fusions of traditional and modern styles. Like the paintings and prints, they whetted my appetite for more - and hopefully the Philadelphia showing was a harbinger of things to come. Readers can view a representative selection chosen by me from the Civic Center Museum exhibit on the following pages.
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