When the Johannesburg Art Gallery bought one of Mr. [Gerard] Sekoto’s paintings in 1940, they had to hire him as a janitor so that he could see his own art on display—circumventing the law outlawing black people from entering the country’s museums.

Now considered one of the most important 20th century South African artists, Sekoto left South Africa for Paris, France, in the late 1940s, where he died in 1993. In October 2009 his painting “The Milkman” (painted between 1945 and 1947) was sold for more than $542,000.

The Wall Street Journal.

Further Reading

Atayese

Honored in Yorubaland as “one who repairs the world,” Jesse Jackson’s life bridged civil rights, pan-Africanism, empire, and contradiction—leaving behind a legacy as expansive as it was imperfect.

Bread or Messi?

Angola’s golden jubilee culminated in a multimillion-dollar match against Argentina. The price tag—and the secrecy around it—divided a nation already grappling with inequality.

Visiting Ngara

A redevelopment project in Nairobi’s Ngara district promises revival—but raises deeper questions about capital, memory, and who has the right to shape the city.

Gen Z’s electoral dilemma

Long dismissed as apathetic, Kenya’s youth forced a rupture in 2024. As the 2027 election approaches, their challenge is turning digital rebellion and street protest into political power.

A world reimagined in Black

By placing Kwame Nkrumah at the center of a global Black political network, Howard W. French reveals how the promise of pan-African emancipation was narrowed—and what its failure still costs Africa and the diaspora.

Securing Nigeria

Nigeria’s insecurity cannot be solved by foreign airstrikes or a failing state, but by rebuilding democratic, community-rooted systems of collective self-defense.

Empire’s middlemen

From Portuguese Goa to colonial Kampala, Mahmood Mamdani’s latest book shows how India became an instrument of empire, and a scapegoat in its aftermath.