About Me

dele jegede


  • Dr. dele jegede, Professor Emeritus of Miami University, Oxford, Ohio,  has over four decades of experience as artist, art historian, painter,  cartoonist, art critic, curator, and art administrator. After a  first-class honors degree in studio art from the Ahmadu Bello  University, Zaria, Nigeria, he obtained his Masters and doctorate  degrees from Indiana University, Bloomington, where he studied under  Professor Roy Sieber. His professional experience includes several solo  and group exhibitions in Nigeria and the U.S and a long list of  scholarly publications. He has authored several monographs, essays, and  reviews on diverse aspects of African, and African-American art. He  began his career at the Daily Times of Nigeria as Art Editor and  cartoonist before moving to the University of Lagos, Akoka, Yaba,  Nigeria, where he rose to become the Director of the Center for Cultural  Studies before moving to the U.S. in 1993 with his family. He was  Fulbright Scholar, Spelman College, Atlanta, Georgia (1987-1988);  President, Society of Nigerian Artists (1989-1992); President, Arts  Council of the African Studies Association (ACASA) (1996-1998). In 1995,  he was Senior Post-Doctoral Fellow at the National Museum of African  Art, Smithsonian Institution, Washington, DC. His academic  administrative positions include Professor and Chair of Department at  Indiana State University, Terre Haute (IN), and Miami University,  Oxford, (OH). He is recipient of the Distinguished Africanist Award of  the University of Texas at Austin. Professor jegede is actively engaged  in full-time art-making. His recent exhibition—Transitions—at Terra Kulture in Lagos (July 14th-23rd, 2016) was a tremendous success. His current academic project pertains to a forthcoming book on the pioneer Nigerian cartoonist—Akinola Lasekan: Cartooning, Art, and Nationalism at the dawn of a New Nigeria.—which he is co-editing with Dr. Aderonke Adesanya

Notes on My Work


  • As an art historian, my work attempts to disrupt the canonical imbalance  in the historicization of texts by privileging the African and  African-­American perspective. As a painter, I employ a variety of media  to inveigh against economic constructs that perpetuate the subaltern  condition of the underclass. As a cartoonist, I drench acerbic issues in  palatable coats for public consumption, and often at the expense of the  powerful. As a teacher, I relished motivating my students to be  respectful of the essence of divergency even as they sought to  contribute to knowledge. My work attempts to rupture the boundaries that  are installed in the way that we construct and affirm self-hood.

My Inspiration


  • I draw inspiration from the political, economic, and socio-cultural incongruities that constantly assail our collective probity.