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Image courtesy of Dennis Osadebe.

Nigerian Artist Dennis Osadebe Dabbles In 3D Printing for His First Sculpture Piece

Dennis Osadebe continues to push his Neo-African movement and pop-art style forward in "Stand For Something."

Dennis Osadebe continues to push the envelope with his standout pop-art style. The Nigerian mixed-media artist steps into the realm of sculpture with his new piece, Stand For Something—a declaration of his Neo-Africa movement.


"What do you stand for? What does that say about you? For me, Neo Africa is a cause worth standing for," the artist says in his statement about the piece.

By combining street style (yes, the bust is rocking a durag for the culture) with the traditional (the Mask, which is a constant in his work), Stand For Something is a reflection of the Nigeria Osadebe knows today—a Nigeria of progress. "I have also taken a fresh look at the Mask through the use of colour, textures and style of production," he continues.

"The Neo Africa movement is one that is near and dear to my heart, connecting back to these questions I ask myself again and again: What is African art? Who gets to define it? What are its limits? And where is it going?"

Stand For Something was made in collaboration with Unique Board—a New York-based platform that collaborates with visual artists to create limited edition, 3D-printed sculptures. Osadebe continues to ruminate and think critically about his view of the world and his place in it. He invites us to do the same.

Take a look at the sculpture below.

Image courtesy of Dennis Osadebe.

Image courtesy of Dennis Osadebe.

Image courtesy of Dennis Osadebe.

To keep up with Dennis Osadebe, follow him on Instagram, Twitter and his website.

Music
Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City — a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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