The complex matter of preserving culture when attempting to also make a level of profit in the forever evolving art market.

African art is celebrated for its intricate design, spiritual and symbolic depth and often liberal use of colour. These characteristics has allowed it to capture audiences worldwide with art enthusiasts, collectors etc. valuing art from the continent. However, a clash often appears when conversation is opened around commercialisation and how it intersects with often ethical issues of culture and its preservation.

Historically art on the African continent has roots of 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 fulfilment as well as a level of financial gain.

A large amount of African art in museums in the West were taken during colonial time- this has thus led to modern request of a lot of these pieces to be returned to countries such as Benin, Ethiopia, Nigeria etc. The question is asked of ethics regarding the owners of African art and do those who create have a duty to follow ethical code in deciding ownership of said art..

For many African art is something which should be sheltered as something of cultural legacy honouring its historic purpose. With this idea debate is fueled on how African art should/is marketed and or sold.

The rise of interest in African art at a global scale has undeniably shifted this traditional role- auctions, exhibitions etc. allow 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 the opportunity of this commercial success. However, dilemmas also grow out of this. Questions of whether authenticity is preserved as the commercial success increases arise.

The commercial success which has been found is not awarded to all. 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 globalisation 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. A fairer system is necessary, ensuring that the African artists and communities which harbour African art also benefit form the distribution and sale of their product i.e., through fair-trade initiatives.

If done correctly African art can continue to inspire the world as well as financially benefit those who create.