John Akomfrah on Bob Dylan, Chris Ofili, J. M. W. Turner, and More | UNDER THE INFLUENCE

Why It Matters

This interview underscores how underrepresented voices shape artistic trajectories and demonstrates that cross‑disciplinary influences and a willingness to err are vital for cultural innovation, offering a roadmap for creators and institutions alike.

Key Takeaways

• Lack of representation drove Akomfrah to become an artist.
• Music taught him narrative power and non‑linear beauty.
• Turner’s “The Slave Ship” illustrates light as emotional conduit.
• Collective practice taught balance between collaboration and personal responsibility.
• Embrace mistakes, break rules, and stay kind as artistic guidance.

Summary

In this candid "Under the Influence" conversation, filmmaker and artist John Akomfrah reflects on the eclectic cultural forces that have shaped his practice—from early visits to London’s Tate Gallery to the music of Bob Dylan and Ornette Coleman, and the paintings of J.M.W. Turner and Andrea Montana. He describes how the stark absence of Black faces in major art institutions sparked a personal resolve to create his own space, a sentiment he says many artists of colour share. Akomfrah highlights specific works that taught him to read narrative and form differently: Dylan’s "Lonesome Death of Hattie Carroll" condensed a racial tragedy into three minutes, while Coleman’s "Lonely Woman" revealed beauty without conventional rhythm. He cites Turner’s "The Slave Ship" as a masterclass in using light to convey dread, and the Italian painter Andrea Montana’s unsettling Christ lament as a lesson in emotional resonance over aesthetic perfection. Filmic influences, such as Andre Tarakovski’s opaque "Mirror," reinforced his belief that ambiguity can unlock new ways of seeing. He recounts memorable moments—standing before the controversial Madonna by Ka‑Dong in the Sensation show, witnessing police guard the piece, and the grueling 48‑hour synchronization of his three‑channel installation "The Unfinished Conversation" about Stuart Hall. These anecdotes illustrate art’s capacity to provoke public debate, challenge institutional norms, and validate personal perseverance. Ultimately, Akomfrah argues that artistic growth hinges on embracing mistakes, defying prescribed rules, and maintaining kindness. His experience in collective practice taught him to balance individual voice with collaborative responsibility, a model he urges emerging creators to adopt as they navigate a landscape still marked by under‑representation.

Original Description

In this episode of Under the Influence, artist, filmmaker, and writer John Akomfrah discusses the iconic artworks he most admires, including Andrea Mantegna’s The Lamentation of Christ and J. M. W. Turner’s The Slave Ship; reveals that he considers music to be his greatest teacher, citing Bob Dylan and Ornette Coleman; and remembers how the 1999 exhibition “Sensation” at the Brooklyn Museum showed him that “art still has the power to shock.”

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