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Tobenna Okwuosa (2022). From Historical Facts to Poetic Truths’: The Nigerian Civil War and Other Subjects: An Exploration of Texts and Images in Painting. Ufahamu: A Journal of African Studies, 43(1) 165-208 10.5070/F743156325 |
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Tobenna Okwuosa (2021). Yemisi Shyllon Museum of Art: A New Development in the Lagos Art World". International Journal of Art and Art History, 9(2) 11-31 10.15640/ijaah.v9n2p2 |
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Tobenna Okwuosa (2021). La vie en mieux: Michel Hengo. UNESCO Art Collection: Selected Works, () 167-168 |
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Tobenna Okwuosa (2021). Michel Hengo: "An Icon of Modern Congolese Painting". Africa in the UNESCO Art Collection, () 97-102 |
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Tobenna Okwuosa (2021). Adire and the Progression of Peju Layiwola’s Artistic Logic. Peju Layiwola’s Indigo Reimagined: Rethinking Adire in Yoruba Fashion and Textile Modernity, () 31-53 |
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Jess Castellote and Tobenna Okwuosa (2020). Lagos Art World: The Emergence of an Artistic Hub on the Global Art Periphery. African Studies Review, 63(1) 170-196 10.1017/asr.2019.24 |
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Tobenna Okwuosa (2019). Post-Zarianist Zeitgeist: A Reading of the Influence of Uche Okeke’s Modernist Work on Uche Uzorka, a Postmodernist. The Artfield: Journal of Arts and Visual Culture, 1(2) 54-62 |
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Tobenna Okwuosa (2019). Benin Art: An Invaluable Resources for Artists in a Time of Cultural Iconoclasm. Benin Iconography.com, () 81 |
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Tobenna Okwuosa (2019). Facets and Phases: Timipre Willis Amah’s Art in Photography, Painting, and Print. Facets and Phases, () 3-11 |
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Tobenna Okwuosa (2019). Krydz Ikwuemesi: A Diehard Ulist in the Time of Ethnic Identity Disavowal and Cultural Iconoclasm. Radiance of the Creative Spirit: Chuu Krydz Ikwuemesi in Three Decades, () 69-76 |
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Tobenna Okwuosa (2018). The Rhetorical Dimensions of Yinka Shonibare’s 2016 Work and Tobenna Okwuosa’s 2015 Work in Linked Appropriations. TOJA: The OYASAF Journal of Art, 1(3) 32-44 |
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Tobenna Okwuosa (2018). "Motions and Emotions": Critical Comments with Formalist Aesthetics". Motions and Emotions, () 52-55 |
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Tobenna Okwuosa (2017). “Oil is Our Doom": Photographs of the Niger Delta and Beyond". Critical Interventions: Journal of African Art History and Visual Culture, 11(2) 155-170 10.1080/19301944.2017.1363508 |
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Tobenna Okwuosa (2017). Peju Layiwola’s Art: An Engagement with Benin History and the 1897 Tragedy. The Art of Nigerian Women, () 278-281 |
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Tobenna Okwuosa (2017). The New Meets the Old: Strategies and Ideas in the Making of Scroll Paintings for ‘Soulcentricism’. The Artfield: Journal of Arts and Visual Culture, 1(1) 124-133 |
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Tobenna Okwuosa (2017). Celebrating African Arts at 50 and Its Place in Africa. African Arts, 50(1) 1-5 |
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Tobenna Okwuosa (2016). The Creative Expressions of Traditional Oraifite (Igbo) Women and their Exploration in Modern Painting. Okpulo: Journal of Arts and Cultural Heritage, 2(2) 50-60 |
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Tobenna Okwuosa (2016). Olisa Nwadiogbu: The Compulsive Artist and his Burden of Ideas. Tropical Built Environment Journal, 1(5) 58-68 |
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Tobenna Okwuosa (2016). Duke Asidere’s Allegorical Conversations and the Quest to Understand Postcolonial Anomy. TOJA: The OYASAF Journal of Art, 1(1) |
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Tobenna Okwuosa (2015). Niger Delta: The Spectacle of Culture and the Burden of Oil through the Lens of f/stop Collective. Eyo: Journal of the Arts and Humanities, 1(1) 101-114 |
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Tobenna Okwuosa (2015). Exhibition and Catalogue Review, Resurgence. Creative Expression: Journal of Fine and Applied Arts, 1(1) 117-129 |
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Tobenna Okwuosa (2015). Art Patronage, Promotion, and Publication in Nigeria: A Focus on Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF)". IOSR Journal of Humanities and Social Science, 19(4) 33-44 |
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Tobenna Okwuosa (2015). The Conundrum of Contemporary Nigerian Art in the "Bronze Age". Issues in Contemporary Nigerian Art, () 175-186 |
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Tobenna Okwuosa (2013). "Centre of Excellence" Redefined: Alterity and the Politics of Exclusion in Afropolitan Space. No Fly List, () 11-17 |
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Harrie Bazunu and Tobenna Okwuosa (2013). Ridding Nigeria of Filth: A Reading of Moyo Okediji, Bright Ugochukwu Eke and Harrie Bazunu’s Application of Discarded Materials. Awka Journal of Fine and Applied Arts (AJOFAA), 1() 48-61 |
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Tobenna Okwuosa (2013). Issues of Security and Insecurity in Boko Haram Era: A Contextualization of Moyo Okediji’s Explosive Images. Mgbakoigba: Journal of African Studies, 2(0) 163-178 |
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Tobenna Okwuosa (2013). Environmental Challenges as Creative Muse: The Installation and Performance Art of Bright Ugochukwu Eke. Academic Journal of Interdisciplinary Studies, 2(3) 63-70 |
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Tobenna Okwuosa (2013). Archiving Nigerian Contemporary Existential Realities: Ben Osaghae and His Dialectical Paintings. Academic Journal of Interdisciplinary Studies, 2(3) 181-190 |
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Tobenna Okwuosa (2012). The Contemporary Art Market in Lagos. Nigerian Art in Lagos Private Collections: New Trees in an Old Forest
, () 81-91 |
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Tobenna Okwuosa (2011). Clary Nelson-Cole: A 20th Century Enigmatic Futurist. Visual Arts Journal (VAJO SNA): Journal of the Society of Nigerian Artists , 1(2) 15-22 |
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Tobenna Okwuosa (2011). Tranquil Luminous: Exposing the Beautiful Sceneries of Bayelsa Through Landscape Photography. Emotan: A Journal of Arts, 5(1) 20-28 |
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Tobenna Okwuosa (2011). Lagos Commercial Galleries and the Artists: A Quasi-Symbiotic Relationship. Emotan: A Journal of Arts , 5(1) 90-97 |
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Tobenna Okwuosa (2011). Africanist Art Historians in Unusual Places. African Arts, 44(3) 96 |
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