Art in all its forms has housed the cultures of the world for centuries. For as long as civilization has existed symbols and drawings have been used to share the authentic and vital messages of the world. Take centuries old West African art such as the Benin heads- or the example of the symbolism used and still seen to decorate the pyramids of Egypt. Art has always existed. These examples also only define art in the 'fine art' sense, the word can be further dissected to include other forms of creative expression such as music. In all its forms It is undoubtedly and universally important.

There is no money in art.

Whilst in a literal sense that statement is false, it is the reality of the majority of artists creating in the world today. The monetary benefit of creating art full time is something that is inconsistent throughout the industry. Being an artist is not like working in corporate law or Silicon Valley tech it is volatile, unpredictable, precarious and every other possible word to mean financially unstable. What art does have as a constant in all its forms is its ability to communicate as something culturally significant. This is cool- but who cares about the cultural value of art when that doesn't pay any bills.

African art is celebrated for its intricate design, spiritual and symbolic depth and often liberal use of colour, these characteristics have allowed it to capture audiences worldwide with art enthusiasts, collectors etc. valuing art from the continent. Historically art on the continent was for communal use rather than it being created for the purpose of commercial success- this parallels systems like that seen historically in West-European art movements when being an artist was a job not of grand spiritual or cultural significance but rather combining the chase of personal creative fulfillment as well as a level of financial gain. For many the latter position is still relevant with art being viewed as something which should be sheltered protecting and honoring its cultural legacy, in this, conversation is fueled on the ethics in attempting to capitalize on art, particularly African art. Is there a moral duty of protection when it comes to the owners of African art and do those who create have a duty to follow ethical code in deciding ownership of art.

The rise of interest in African art at a global scale has undeniably shifted this traditional role- auctions, exhibitions etc. have allowed for the market of buying and selling African art to constantly grow, with the African art industry in 2022 having an estimated worth of $1.8 billion. At the top of the market figures like Abdoulaye Konaté have seen opportunity in this commercial success. Although commercial success is to be celebrated a clash often appears when conversation is opened around commercialization and how it intersects with the issues of culture and its preservation, as well as the found issues of exploitation in capitalizing any form of product. Often times the benefits of the commercial potential in African art does not tend to find itself back to the communities and creators. A lot of artists are exposed to limited resources with little if not any access to the global art market landscape. Platforms like The African Artists' Foundation and Centre for Contemporary Art, Lagos attempt to bridge this gap yet it is heavily prevalent and hard to ignore. At its core, discussions on African art and profit should balance ideas of accepting the reality of a current art economy built on globalization however, the idea of cultural preservation must also be acknowledged. For the art to remain authentic and keep the qualities which drew the audience to it in the first place cultural preservation is vital. Its cultural significance should remain respected and this should never be an attribute lost due to the chase of profit. Though one shouldn't ignore that this chase of profit isn't just a way of praising Uncle Sam and all his work— it is necessary. Artists like everyone else existing in the world and its chosen system have to survive. A fairer system is necessary, ensuring that the African artists and communities which harbor African art also benefit form the distribution and sale of their product i.e., through fair-trade initiatives, whilst preserving and protecting the cultural value that art often holds.

If done correctly African art can continue to inspire the world as well as financially benefit those who create. But is there a world where this will ever be possible, or will one always have to be sacrificed?