Chika Okeke-Agulu specializes on classical, modern, and contemporary African and African Diaspora art history and theory. He previously taught at The Pennsylvania State University, Emory University, University of Nigeria, Nsukka, and Yaba College of Technology, Lagos. Professor Okeke-Agulu was the Robert Sterling Clark Visiting Professor of Art History at Williams College (2007), and Clark Fellow at the Sterling and Francine Clark Art Institute (2008). He is also on the faculty of the Center for African American Studies, Princeton University.
In 2006, he edited the first ever issue of African Arts dedicated to African modernism, and has published articles and reviews in African Arts, Meridians: Feminism, Race, Transnationalism, Nka: Journal of Contemporary African Art, Art South Africa and Glendora Review. He contributed to edited volumes such as Reading the Contemporary: African Art from Theory to the Marketplace, The Nsukka Artists and Contemporary Nigerian Art, and The Grove Dictionary of Art. He has written catalogue essays and organized several exhibitions, including the Nigerian Pavilion at the First Johannesburg Biennale, 1995; Seven Stories About Modern Art in Africa (Whitechapel Art Gallery, London, 1995); and The Short Century: Independence and Liberation Movements in Africa, 1945-1994 (Museum Villa Stuck, Munich, 2001). In 2002 he served as Academic Consultant for Documenta 11 as well as coordinator of its Platform 4 conference in Lagos, Nigeria. In 2004, he co-organized and wrote catalogue essays for the Fifth Gwangju Biennale, South Korea, and Strange Planet, Georgia State University Art Gallery. Professor Okeke-Agulu, also a practicing artist with over 35 exhibitions of his work, is co-editor of Nka: Journal of Contemporary African Art, published by Cornell University. Professor Okeke-Agulu is a recipient of the Arts Council of the African Studies Association Outstanding Dissertation triennial award (2007).
RECENT PUBLICATIONS: “Venice and Contemporary African Art,” (First Word), African Arts 40:3 (2007), pp. 1, 4-5; “Benin Sculpture in Modern (Nigerian) Art,” in Barbara Plankensteiner (ed.), Benin Kings and Rituals: Court Arts from Nigeria. Ghent: Snoeck Publishers, pp. 263-267; “Politics by other means: Two Egyptian Artists, Gazbia Sirry and Ghada Amer,” Meridians: Feminism, Race, Transnationalism 6:2 (2006), pp. 117-149; “Nationalism and the Rhetoric of modernism in Nigeria: the Art of Uche Okeke and Demas Nwoko, 1960-1968,” African Arts 39:1 (2006), pp. 26-37, 92-93; “Art History and Globalization,” in James Elkins (ed.), Is Art History Global: The Art Seminar. London: Routledge, pp. 202-207; “Childhood Masking in Umuahia and Umuoji,” in Simon Ottenberg and David A. Binkley (eds.), Playful Performers: African Children’s Masquerades. New Brunswick, NJ: Transaction Books, pp. 159-164.