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The modern/contemporary art scene in Nigeria has been experiencing significant growth in local patronage, promotion, research, and publication. However, there has been a shift in the trend that prevailed until the early 1980s, when the majority of buyers and patrons were expatriates--mostly Europeans and Americans, rather than Nigerians. Among the new tribe of local collectors and patrons, Prince (Engr.) Omooba Yemisi Adedoyin Shyllon is widely believed to have the largest collection of Nigerian artworks. In 2007, his activities in the art world were formally institutionalized with the founding of Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF), a non-profit and self funded foundation with strong commitment in the areas of art collecting, research, promotion, and documentation of indigenous cultural festivals/practices. Furthermore, OYASAF has been mediating opportunities for exchanges in the arts by bringing to Nigeria: art scholars, critics, and graduate students from the outside. This paper maps the foundation’s trajectory in its art, cultural, social, academic, and philanthropic commitments.

Art Patronage, Promotion, and Publication in Nigeria: A Focus on Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF)