The term "comics" has a rather broad definition today, and one that expands even further through the first exhibition of African comic art in the United States, at The Studio Museum in Harlem. The work featured in Africa Comics (on view through March 18, 2007) can be interpreted as documentary art, where format cedes its weight to content. The mostly colorful art found in this collection serves as an open window, whose purpose seems to be to educate the visitor on the most significant public issues that form the fabric of African culture, politics, people and history today.

In the introduction to the catalog, Calvin Reid (a senior editor at Publishers Weekly and a contributor to Art in America), notes that the artwork in the exhibition shouldn't be perceived as another form of superhero comics created for entertainment. On the contrary, this generation of African artists (mostly born in the 60's and 70's), is sending an explicit message: a cry from a continent that desperately needs - and wants - help. These artists expose the lack of respect for human rights and justice in a world where violence is common, even expected.

Different views call for different interpretations, and a great variety of styles is presented in this exhibition of work by 32 artists or 2-person artist teams from all over the continent of Africa. Pat Masioni expresses her perspective with picturesque depictions of Congolese social and political conflict, while Fifi Mukuna and Joe Dog choose a more pared down approach, successfully communicating their ideas in black-and-white, with no need of text. Other artists, including Al'Mata and Sapi Gampez, use a colorful children's book style to illustrate raw realities that should never be read to children.

Naturally, the action figure style is present too, well represented by Kola Fayemi. He tells a story about a violent cop who illegally arrests an innocent man. The cop threatens to press charges unless the hapless man convinces his cute sister to sleep with the cop. There is blood and torture, exploited to great effect by Fayemi's bold ink-work.

Comic art tends to be underestimated when compared - if ever - with fine art. It is generally seen as a graphic medium used in popular reading matter, such as the funny pages, where content is not as relevant as a clever punch line. But Africa Comics captures the visitor's attention thanks to its use of this popular medium, which, in the hands of these documentary artists is as intense as a photographic reportage. The imagery displayed on the uplifting baby-yellow walls of the museum presents such a realistic account of African life that it soon becomes clear that many of the narratives were inspired by true stories.

Walking through the Africa Comics exhibition is like a journey to a different world that doesn't appear to be even remotely connected to ours. But there it is, still, a harsh combination of truth and exceptional art that together gives us a valuable lesson on how different the world is outside of North America.

Illustrations:
Above: Komerera, by Tuf (Samuel Mulokwa, Kenya). Courtesy of the artist.
Below: 1974, by Joe Dog (Anton Kannemeyer, South Africa). Courtesy of the artist.

View DART contributor Fernanda Cohen's work.