Printmaking as a Contemporary Art Form in Selected Nigerian Universities

Printmaking occupies a significant but often undervalued position in the hierarchy of studio art disciplines at Nigerian universities, where painting and sculpture tend to receive greater curricular emphasis and institutional investment. This study examines the state of printmaking practice and education in selected Nigerian universities, with case studies drawn from Ahmadu Bello University in Zaria, the University of Benin in Benin City, and the University of Port Harcourt. A descriptive survey design is employed, gathering primary data from 90 students enrolled in printmaking courses, 12 printmaking lecturers, and departmental heads through structured questionnaires and facility assessment checklists. The study evaluates the printmaking techniques taught, including relief, intaglio, screen printing, and digital print processes, the quality of studio equipment and consumables, and the exhibition opportunities available to printmaking students. The theoretical framework draws on art education scholarship and the historiography of Nigerian studio arts. The geographic spread across the North West, South South, and South South zones allows the study to identify regional differences in printmaking infrastructure and pedagogy. Recent literature from Nigerian art education journals highlights significant resource inequalities across institutions that directly affect the range and quality of techniques accessible to students. The study contributes an evidence base for institutional investment decisions, curriculum reform, and advocacy for printmaking as a viable professional specialisation within the Nigerian art ecosystem. Findings are intended for the National Universities Commission, art department heads, and professional bodies including the Society of Nigerian Artists. Keywords: printmaking, studio arts, Nigerian universities, art education, curriculum