For Peju Layiwola, It’s Time to Chart New Courses

On a leave of absence from the University of Lagos, PejuLayiwola’s museum experience takes her to a logical next level at Iowa University, writes Okechukwu Uwaezuoke

Indeed, not many among the art cognoscenti may have noticed: PejuLayiwola, one of Nigeria’s frontline female artists and art history professor at the University of Lagos’ Department of Creative Arts, has slipped off the bustling local art scene’s radar. But then, who, being familiar with her captivatingly lively social media footprint, which could have made it hard, if not impossible, to track her shift to new research interests, would have had the slightest hint about her physical absence?

That the artist, who not too long ago headed the Creative Arts Department at the University of Lagos, is now a Mellon Curatorial Fellow at the Stanley Museum of Art at the University of Iowa in the US, where she will do collaborative research on the museum’s African collection, is a logical next step to her lustrous career both as a studio and as an academic artist. Speaking of this Andrew Mellon Foundation-funded project, it will focus on uncovering the provenance and related histories of African objects from contested regions and historical periods. “It is a different sort of work from my routine in the last 22 years,” she explains. “Yet it is very much connected to the work I have carried out on expropriated African objects taken during colonial conquests in various parts of Africa, particularly in relation to the Benin Bronzes since 2003.”

Regarding the task at hand, everything, thus far,  appears to be proceeding smoothly. For example, she characterises the curatorial unit at the University of Iowa as “one big family,” and she is thrilled to be welcomed there. She also looks forward to her research interest in this “cordial space,” which borders on familiarising herself with the best practices in managing colonial loot. She continues, “It is crucial that you are surrounded by people who value and want to be around you.” Most Iowans are friendly individuals. It is common to encounter someone on the street who extends a cordial hello.

As for the task ahead, meanwhile, everything seems so far to be going swimmingly well. She, for instance, waxes fired upabout being well received at the University of Iowa, whose curatorial unit she describes as “one big family,” while looking forward to her research interest in this “cordial space” bordering on acquainting herself with the best practices in handling colonial loot. “It is important that you are surrounded by people who appreciate you and want to be around you,” she adds. “Iowans are largely warm people. It is not unusual to find someone greeting you warmly along the street.”

The museum, established in 1969, now resides in a new building that opened in 2022, replacing the old one devastated by an Iowa flood 14 years earlier. It houses a remarkable and diverse collection of African art, encompassing 20,000 works dating back to the 1920s. The collection combines contributions from Roy Sieber and Christopher Roy. Sieber, a driving force in introducing African art studies to the US, did a PhD dissertation on African art at Iowa University in 1957 before picking up a tenure position at Indiana University. At Indiana, he supervised such notable artists and art historians such as Cornelius Adepegba, BabatundeLawal, Emmanuel Odita, Dele Jegede, and Christopher Roy.  Christopher Roy, was a good friend of Layiwola’s PhD supervisor at Ibadan, the late Professor Cornelius Adepegba  Roy also supervised Cory Gunchlach, who now builds on his extraordinary legacy as the present curator of African arts at the Stanley Museum of Art.

Roy, with a successful university career and contributions to the Stanley Museum collection, received a notable recommendation from Sieber, who had his debut exhibition at the Iowa Memorial Union building in 1956.

No doubt, Layiwola is thoroughly enjoying her experience at the institution, known for pioneering the first MFA programme in the US. She is especially delighted to pass by captivating artworks like NnennaOkore’s installation, titled “Spirit Dance,” and a vibrant mural by Nigerian artist Odile Odita as she makes her way to the office lift each day, she says.

Of course, this isn’t her first time working at a museum. She was named a Tyson Scholar at the Crystal Bridges Museum in Bentonville, Arkansas, back in 2019. That turned out to be a really great opportunity for her. This was because it provided her with deep insights into the internal operations of American institutions, particularly those related to funding and maintenance.

Back in Nigeria, she is currently serving on the supervisory board of the YemisiShyllon Museum of Art, which is located within the Pan-Atlantic University in Lagos. This esteemed university museum is dedicated to the splendid task of raising awareness and promoting appreciation for the diverse and vibrant African cultures. Its efforts extend not only to the university community but also to the broader public in Lagos, truly fostering a deep understanding of the rich cultural heritage of Africa.

Meanwhile, at the University of Lagos, where she has already worked for 22 years, she remains a member of the academic staff, even while on leave of absence. Notably, she has been awarded three research grants by the university since 2008 to conduct her innovative scholarly and artistic endeavours’. In recognition of her outstanding contributions, she was honoured with the esteemed Faculty of Arts Distinguished Scholar’s Award in 2007 and also secured a nomination for the renowned Best Lecturer in Creative Arts based on student evaluations.

While she was acting head of her department in 2013, she reviewed its curriculum. As substantive head of department, the department achieved remarkable success in securing various grants during her tenure. A major donor was Prince YemisiShyllon, Nigeria’s esteemed art collector, who graciously donated a significant sum of 4.5 million naira to facilitate art workshops over a period of three years. Moreover, the department received substantial funding from Ashluxury, a prominent street fashion brand, to benefit its visual unit. Then there was the Israeli ambassador, who also played a pivotal role in promoting friendship through art by initiating a collaborative painting project, titled “Art of Friendship,” between her and the talented Israeli artist Ella Sadovsky. Furthermore, the exciting alliance between the department and the University of Fine Arts, Hamburg, brought forth new dimensions of internationalisation. In 2018, the department also hosted the international model Naomi Campbell, thus fostering valuable connections and cultural exchange. Additionally, a collaboration with Brett Cook, a skilled community artist based in Berkeley, California, as part of the Hilary Smartpower grant programme showcased the department’s commitment to engaging with diverse artistic influences from the US and beyond.

Beyond all these, her enviable track record earned through her exhibitions within and outside Nigeria stands her in good stead for projects like Iowa University’s museum project.