There is an urgent need for solely art newspapers and magazines in today’s Nigeria. Art news papers and magazines are much more preferable instead of  journals because there are a lot of them which are scholarly inclined and less accessible to the average readers. There is a vacuum for training facilities and endowments for art reporters and editors. Many art trends are going on globally without the knowledge of many of these writers, thus there is need for accessibility to information on trends in the visual arts globally. This can be achieved with the introduction of new art newspaper and magazine outfits which would need to embark on a sponsorship journey for their art reporters to international art workshops and world class museums, where information on the arts could be easily obtained. This can be done same way journalists (sport writers) are sponsored for the coverage of international soccer tournaments such as CAF African Cup of Nations and the FIFA world Cup tournaments. 

Secondly, art pages in Nigeria newspapers are not enough. According to Uche Nnadozie (2024), in developed nations, art pages are more than for instance sports pages, but in Nigeria the revers is the case. The editorial boards of existing news paper and magazine outfits should be made to assign more pages to the arts just like they do to sports and “special reports” especially politics. 

Also, there is need for sharpening and reshaping the appreciative skills of arts writers. This can be achieved by constant workshops and symposia for art reporters and writers. Such events will be an avenue to bring to the fore the creative essence of art criticism as a vocation rather than just a meal ticket. 

On the part of the art writers, they should not be so enthralled by the achievements of anyone so that they do not end up praising everything an artist produces. Research by Doctor Akinwale Onipede of the University of Lagos argues that professional visual-art criticism remains insufficiently widespread in Nigeria. In his publication, “The Nigerian Visual Arts Critics: Watch Dogs or pets”, the vocal scholar identifies problems including praise-oriented writing, personal attacks and inadequate professional standards as part of the major issues confronting the reporting of arts among in Nigeria.

Equally, there should be no bamboozling of readers with artistic jargons since the targeted audiences are the average literate. Art criticism in newspapers should be less scholarly and not laden with too much technical jargons, so that average Nigerians can participate fully in visual arts understanding and appreciation which had for years been the exquisite rights of art scholars, thus making the visual artists the producers and consumers of their own merchandise. This should be reversed. 

Having stated the above, it is imperative to mention that artists also have some role to play in effective coverage of their activities. They are not expected to sit in their studios and expect Nigerians to know about them through the print media published and financed by others. They should be able to contribute their own quota by advertising their studios and their latest artistic projects or programmes as it is the case in the foreign nations where artists place advertisement for themselves and their studios and programmes for the year. This will go a long way to keep the art column alive. 

Since newspapers are objects of information dissemination, visual art, which has been rarely appreciated by Nigerians, need the print media to get to the heart and conscience of the people. This will enhance art appreciation, preservation and patronage. It is equally important to mention that the online writing idea shouldn’t be discouraged. It should continue as it would help everyone remain current regarding event unfold on art worldwide.

Paul Ewurum is a post graduate student of University of Lagos

Art auctions have become an increasingly important part of Nigeria’s art market, providing a platform through which artworks are bought and sold while also contributing to the preservation, promotion, and commercialisation of Nigerian cultural heritage. From traditional and contemporary Nigerian art to works by internationally recognised Nigerian artists, auctions have helped connect artists, collectors, galleries, institutions, and investors. However, despite their potential, the Nigerian art-auction sector faces several challenges that limit its growth and accessibility.

One major challenge is the lack of adequate regulation and standardisation. The Nigerian art market does not yet have a sufficiently comprehensive framework governing authentication, valuation, ownership history, and auction procedures. As a result, buyers may find it difficult to determine whether an artwork is genuine, fairly valued, or legally owned. This problem can undermine confidence in the market and discourage potential collectors.

Another significant issue is artwork authentication and provenance. Provenance refers to the documented history of ownership and origin of an artwork. In Nigeria, inadequate record-keeping and limited access to professional conservation and authentication services can make it difficult to establish the history of some works. The presence of forged or improperly attributed artworks can damage the reputation of the auction market and expose buyers and sellers to financial losses.

Limited public awareness and participation also present challenges. Art auctions are sometimes perceived as activities reserved for wealthy collectors, investors, or art professionals. Many Nigerians may have little understanding of how auctions operate, how artworks are valued, or how they can participate. This relatively narrow customer base restricts the expansion of the market.

The sector is also affected by economic difficulties. Inflation, currency fluctuations, and declining purchasing power can make art acquisition less accessible to individuals and institutions. At the same time, the cost of organising professional auctions—including transportation, insurance, storage, conservation, marketing, and security—can be substantial. These factors can affect both the prices of artworks and the profitability of auction houses.

Another challenge concerns infrastructure and technology. Although online auctions have created new opportunities for reaching international buyers, some auction operators still face limitations in digital infrastructure, payment systems, photography, cataloguing, and reliable online authentication. Inadequate storage and conservation facilities can also expose artworks to deterioration, particularly paintings, sculptures, textiles, and works made from organic materials.

There are, however, several workable solutions. First, relevant government agencies, professional art organisations, auction houses, galleries, and legal experts should work toward clearer industry standards and regulations. Such standards should cover licensing, disclosure of ownership, authentication, auction procedures, buyer protection, taxation, and the movement of artworks across borders. A transparent regulatory environment would improve confidence among both Nigerian and international collectors.

Secondly, auction houses should invest more heavily in professional authentication and provenance research. Partnerships with art historians, conservators, museums, universities, and recognised specialists can help establish the authenticity and history of artworks before they are offered for sale. Digital cataloging and secure databases could also make records easier to preserve and verify.

Public education should receive greater attention. Auction houses, museums, universities, and cultural organisations can organise exhibitions, seminars, workshops, and introductory programmes explaining art collecting and auction procedures. Providing affordable entry-level auctions or sales could also encourage younger collectors and members of the growing middle class to participate.

Technology offers another practical solution. Nigerian auction houses can develop reliable online auction platforms that allow potential buyers within and outside Nigeria to view high-quality images, obtain detailed information about artworks, register electronically, and participate remotely. Digital catalogues, online provenance records, secure payment systems, and appropriate authentication technologies can make the market more accessible and transparent.

Finally, greater collaboration between the government and private sector could strengthen the entire ecosystem. Investment in museums, conservation laboratories, art education, cultural research, storage facilities, and creative-industry infrastructure would provide long-term benefits. Nigerian artists and collectors can also benefit from stronger international partnerships, enabling Nigerian artworks to reach wider global audiences while ensuring that cultural-property laws and ethical standards are respected.

In conclusion, art auctions in Nigeria represent an important avenue for developing the country’s creative economy, promoting artists, preserving cultural heritage, and creating opportunities for collectors and investors. Nevertheless, problems involving regulation, authentication, provenance, public awareness, economic pressures, infrastructure, and technology continue to restrict the sector. Addressing these challenges requires coordinated efforts from government institutions, auction houses, artists, collectors, academics, museums, and technology providers. With stronger standards, professional expertise, public education, digital innovation, and appropriate investment, Nigeria’s art-auction industry can become more transparent, accessible, and sustainable.

Paul Ewurum is a post graduate of University of Lagos