Tate has acquired Blank stare (2021), a striking oil-on-paper work by Ghanaian artist Amoako Boafo, following its presentation at the 1-54 Contemporary African Art Fair: Marrakech. The acquisition was made possible through Tate’s Africa Acquisitions Committee Catalyst Fund, with the generous support of 1-54 Contemporary African Art Fair, the artist, and Gallery 1957. Shown at Gallery 1957’s booth (LM1) at La Mamounia during the fair, the work now enters Tate’s permanent collection, marking a significant institutional recognition of Boafo’s practice and the growing global presence of contemporary African art.

Born in 1984 in Accra, where he lives and works, Amoako Boafo is widely recognised for his innovative approach to Black figuration. His portraits are celebrated for their textured surfaces, expressive use of oil paint, and intimate focus on the individuality, confidence, and interiority of his subjects. Measuring 1000 × 700 mm, Blank stare exemplifies Boafo’s distinctive visual language, presenting a figure whose direct gaze and sculptural handling of paint invite prolonged engagement. The work was selected at 1-54 Marrakech by Gregor Muir, Director of Tate’s Collection, and Osei Bonsu, Curator of International Art, underscoring its importance within Tate’s expanding holdings of modern and contemporary art from Africa and its diaspora.

Since its establishment in 2011, Tate’s Africa Acquisitions Committee has enabled the museum to acquire more than 58 works by 42 artists, playing a crucial role in broadening the scope of Tate’s collection. In 2024, the Committee launched the Catalyst Fund to specifically support contemporary artists and the diverse arts ecosystems across the African continent. Commenting on the acquisition, Gregor Muir and Osei Bonsu described Blank stare as an “extraordinary painting” and expressed their gratitude to 1-54, Amoako Boafo, and Gallery 1957 for making the acquisition possible. They also highlighted how the Committee’s work aligns with Tate’s wider commitment to artists from Africa and the African diaspora, pointing to recent and forthcoming projects such as El Anatsui’s Hyundai Commission: Behind the Red Moon, A World in Common: Contemporary African Photography, Meschac Gaba’s display at Tate Modern, and an upcoming major exhibition on Nigerian Modernism.

Touria El Glaoui, Founding Director of 1-54 Contemporary African Art Fair, described the acquisition as a milestone moment, noting that it is the first purchase made by the Tate Africa Acquisitions Committee Catalyst Fund at 1-54 Marrakech. As the fair returns to the city for its sixth edition since its inauguration in 2018, El Glaoui emphasised the significance of the acquisition both locally and internationally. She highlighted 1-54’s role as a vital bridge between artists, collectors, and institutions, and expressed pride in seeing Amoako Boafo’s work enter the Tate collection. With Blank stare now part of Tate’s holdings, Boafo’s work is set to reach new audiences, further cementing his position as one of the most influential voices in contemporary African painting today.