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Post an artwork by Yinka Shonibare from a museum, gallery, or new article. Write a short statement on how it relates to one of the ideas from this week's readings or videos.

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End of Empire / Yinka Shonibare / 2016 / Fibreglass mannequins, Dutch wax printed cotton textile, metal, wood, motor, globes, and leather 

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For the first time so far, Yinka Shonibare is an artist that I knew of before this class! I work in a store that sells Batik scarves and clothing which is how I came to learn about Shonibare and the work he does. Shonibare is a British-Nigerian artist renowned for his exploration of colonialism and globalization. He is also known for his profound commentary on historical and contemporary issues through his art. After reviewing our class content for this week, I wanted to find an artwork that demonstrated this. The work that I found particularly intriguing was his 2016 piece "End of Empire,". Shonibare took to his signature style to address the themes of colonialism and conflict. The artwork features two fiberglass mannequins dressed in these 19th-century garments that are crafted from, but of course, Dutch wax-printed cotton, which as we learned is a fabric that was originally designed to mimic Indonesian batik but is now seen as a symbol of African identity due to colonial trade. The two mannequins are positioned on both ends of this seesaw and their heads are replaced with globes depicting the opposing sides of World War I (Britain, France, and their allies are on the one globe while Germany and the Austro-Hungarian empire is on the other). This highlights the global impact of colonialism and the slow teetering of the seesaw is suggestive of the pace of progress toward the end of the empire. Through the use of historical textiles and symbolism that illustrate the enduring legacy of the empire, this piece represents Shonibare's critique of Western colonialism and its lasting effects on cultures. Also, a fun fact, this incredible piece was commissioned for the centenary of the First World War, which makes it even more compelling in my opinion!

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Yinka Shonibare, Scramble for Africa, 2003, life-size fiberglass mannequin, fourteen chairs, table, Dutch wax printed cotton textile, 132 × 488 × 280 cm 

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In this piece, Shonibare depicts the Berlin Conference of 1884-85, in which leading European powers gather around a map of Africa to claim their 'shares' of the continent in a scramble for territorial expansion. This piece is a great example of the irony and humor Shonibare uses in many works to highlight a global multicultural exchange through colonization and trade. The heads of state- understood to be white European leaders- are decorated in wax resist textiles commonly associated with African identity, and they are all headless, poking fun at their mindlessness in hunger for conquest and domination. The scene is staged as if viewers are watching actors perform a reenactment, and this theatricality allows for a reevaluation of historical events with the seemingly nonsensical nature of western imperialism. Their reliance on African and other non-white cultural art forms and resources is impossible to ignore.

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Yinka Shonibare CBEHibiscus Rising Maquette, 2022

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Yinka Shonibare's art piece "Hibiscus Rising" is a poignant and evocative memorial for David Oluwale, a British Nigerian who faced systemic racism and police harassment in Leeds, ultimately leading to his tragic death in the River Aire in 1969. The artwork features hibiscus flowers, which are significant in many cultures and often symbolize delicate beauty and resilience.

Shonibare, known for his use of African textiles and exploration of colonial themes, uses the hibiscus flowers in this piece to highlight the intersection of identity, displacement, and resilience. The vibrant, patterned flowers contrast starkly with the somber history they commemorate, underscoring the ongoing impact of British colonial rule and its legacy of racial injustice.

By memorializing Oluwale, Shonibare draws attention to the enduring effects of colonialism on individuals and communities, as well as the systemic issues that persist in post-colonial societies. The piece serves as a reminder of the historical and contemporary struggles faced by marginalized groups, and the need for recognition, justice, and healing.

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Yinka Shonibare CBE, Woman Shooting Cherry Blossoms, 2019, Unique fibreglass sculpture, Dutch wax printed cotton textile, bespoke hand-coloured globe, steel, brass, zamak, wood, resin, and silk, 244 x 193 x 436 cm, © Yinka Shonibare CBE, All Rights Reserved, DACS / Artimage 2020, Courtesy the artist and Fukuoka City Art Museum

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In Yinka Shonibare's "Woman Shooting Cherry Blossoms", a woman is posed firing what looks to be a shotgun, however, what comes out of the end are multiple branches from a cherry blossom tree. Like most of his works, the woman in this piece is fully dressed in elaborate and vibrant garments made from Dutch wax fabrics.

Much of Shonibare's artworks, as we have discussed are rooted in topics surrounding race and colonism. In this instance, I believe that the imagery of this woman can be interpreted as that resistance to societal standards and expectations written in Monica Miller's article, Black Queer Dandy. The position this woman is taking is an obvious act of defiance, defense, and offense, but also empowerment. Similarly, the face that she is not shooting a bullet, but rather numerous strands of flowers, celebrates the beauty and nature of identity and expression while also bringing attention to the constructed historical identities of women throughout time.

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Cheeky Little Astronomer, 2013, Yinka Shonibare RA (b. 1962)

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In Yinka Shonibare's "Cheeky Little Astronomer," he explores the idea of multiculturalism by blending various cultural references together. The figure's pose is reminiscent of Western classical sculpture, while the globe head signifies cultural exchange. The figure wears Victorian-style clothing, sitting on a chair, with a telescope pointed towards the sky. The use of batik fabric highlights Shonibare's interest in the multicultural history behind objects that have come to symbolize a single culture. Although batik fabric is now associated with Africa, it has its roots in Indonesia, was produced in Holland, and sold in West Africa, embodying that idea of a cultural exchange. Shonibare uses this fabric to question the idea of a fixed cultural identity, suggesting that cultural identity is more meaningful when viewed as hybrid and enriched by multiple influences. The globe serves as a symbol of Shonibare's exploration of geographical and cultural identity, colonialism, and post-colonialism. I have not seen Shonibare's work before now but he is definitely an artist I will continue to research.

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Black Gold 2006 Acrylic paint on wall, acrylic on 25 Dutch wax printed cotton canvases

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Black Gold (2006) by Yinka Shonibare-- N.Olidan

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Black Gold (2006) by Yinka Shonibare-- N.Olidan

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Yinka Shonibare's "Black Gold" is a powerful commentary on the intricate relationship between global conflicts and the pursuit of oil, which he metaphorically calls "black gold." The piece visually represents the explosive impact of oil consumption on international relations and how it fuels political and economic tensions. This idea resonates deeply with themes discussed in this week's readings, particularly how resources and their control have historically been central to global power dynamics. In "Black Gold," Shonibare uses the explosive imagery of oil to critique the capitalist drive for resources, echoing discussions on the exploitation inherent in colonial and post-colonial practices. The artwork shows how the desire for oil, like colonial expansion, leads to conflicts that disproportionately affect marginalized communities. The term "Black Gold" itself can be connected to the commodification of resources and bodies, a theme Miller explores in the context of colonialism, where natural and human resources were both exploited for profit. The way oil is shown in "Black Gold" is like a mix of liveliness and unpredictability, reflecting the complicated relationship between global economies and local cultures. Shonibare connects oil use to current global conflicts, criticizing the past and making us think about how resource driven imperialism still affects the world today.

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"Women Shooting Cherry Blossoms" engages with the idea of hybridity, a central theme in Shonibare’s work, reflecting the blending of different cultural influences and histories. The Victorian dresses made from African textiles symbolize the complex and often contradictory nature of cultural identity, shaped by colonialism and globalization. The artwork challenges viewers to reconsider traditional narratives and the roles assigned to women, particularly within the context of history and art.

In summary, "Women Shooting Cherry Blossoms" is a powerful exploration of themes such as colonialism, femininity, and the aesthetics of violence. Shonibare uses the contrast between the act of shooting and the beauty of cherry blossoms to question and critique historical and cultural norms, while the headless figures and hybrid costumes further emphasize the complex interplay of identity and power.

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WOMAN SHOOTING CHERRY BLOSSOMS, 2019 - Yinka Shonibare - WikiArt.org

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'WOMAN SHOOTING CHERRY BLOSSOMS' was created in 2019 by Yinka Shonibare in Contemporary style. Find more prominent pieces of sculpture at Wikiart.org - best visual art database.

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This 2001 piece of Shonibare's, "The Swing", is, "is an installation in which a life-size headless female mannequin, extravagantly attired in a dress in eighteenth-century style made of bright African print fabric, reclines on a swing suspended from a verdant branch attached to the gallery ceiling." Flowery vines cascade to the floor below her, as the figure is still, and appears to be at the peak of her swing trajectory. She has one of her legs kicked out as if she was just kicking her shoe off, which hangs idlily just-off of the foot. This is based on the iconic Rococo painting by Jean-Honore Fragonard, The Swing, 1767. It captures am aristocratic young woman in a frothy pink dress in the same position on the same swing, foot, shoe and foliage in the same spots. Shonibare replaces the original aristocrats pompous clothing with a Victorian style dress this time made out of Dutch wax fabrics - textiles that are from African identity but still rooted in European colonialism. The figure is, not to mention, headless in this depiction which reflects the violent and harsh consequences of run ins with said colonialism, and the erasure that took place with African identities in European art and history lessons.

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'The Swing (after Fragonard)', Yinka Shonibare CBE, 2001 | Tate

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'The Swing (after Fragonard)', Yinka Shonibare CBE, 2001

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Feeling Free Like a Bird (2023), Yinka Shonibare. Photo: Todd-White Art Photography; courtesy the artist and Stephen Friedman Gallery; © Yinka Shonibare

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"Feeling Free Like a Bird" by Yinka Shonibare uses vibrant fabrics and a headless figure to explore themes of freedom and identity. The work reflects on the legacy of colonialism and the complex history of cultural exchange, blending historical references with contemporary issues. Shonibare’s work is especially relevant today as it resonates with ongoing discussions about identity, race, and the legacy of colonialism. By drawing on historical references and recontextualizing them within the modern world, Shonibare invites viewers to reconsider the narratives that have shaped their understanding of history and culture.

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Yinka Shonibare, CBE, Man Moving Up, 2022, Fibreglass mannequins, Dutch wax printed cotton textile, bespoke globe, brass, leather, paper, cotton, silk, steel, aluminium and painted wood.68 7/8 x 87 1/4 x 76 3/4 in.175 x 221.7 x 195 cm

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Shonibare's, "Man Moving Up" is a symbol for and portrayal of the Great Migration of Black Americans from the south into the northern and western US from 1916 to 1970. The mannequin in the installation is wearing Shonibare's signature Dutch wax fabric, but sewn into late 19th c. Victorian-era style clothing, making reference to the early beginnings of Jim Crow, as a source of oppression towards Black Americans in the southern states. The man, as he is migrating north, is carrying all his belongings in just two suitcases, alluding to all the baggage he carries with him and everything he had to leave behind in order to find a better place to relocate. The staircase in Shonibare's sculpture is one of ornate Italian decorations and works, that was the prize of the British Chatsworth House, which, of course, held immense wealth and power. It is a symbol for the generationally wealthy and powerful white men that would employ Black Americans migrating north, hoping for a chance at upward growth socially and economically. Overall, the sculpture aims to depict this historical movement and migration and bring visibility to and admiration for the people who had to make this journey in order to escape repression and search for something better.

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Shonibare's African Bird Magic is a vividly colorful, picasso-esque depiction of a falcon and a traditional African mask. We are able to see yet another example of Shonibare intertwining cultures, by using not only embroidery but also dutch wax fabric, or Batik, which is a practice seen in both indonesian and African cultures, which became a symbol of independence in africa by the 1960s. Shonibare wanted to explore the relationship between african and european styles, and African Bird Mask does a wonderful job of showing the combination of the two,

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Diary of a Victorian Dandy: 03.00 hours, Photograph2012 (printed), 1998 (photographed)

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I selected an image from Yinka Shonibare’s Diary of a Victorian Dandy series, drawn to its unique blend of contemporary and Victorian aesthetics. This artwork aptly reflects Shonibare's nuanced exploration of Black representation through the historical figure of the dandy. Traditionally, the Dandy was seen as a provocateur, challenging societal norms. Shonibare leverages the aesthetic associated with Oscar Wilde and the Dandy to delve into the concept of "dangerous beauty" and its intersection with Black identity. In this particular image, Shonibare himself assumes the role of the Dandy, gazing directly into the camera. He is surrounded by individuals engaged in various sexual acts, with two women attending to him. Positioned as the central figure of desire, Shonibare’s presence both belongs and does not belong within the scene, embodying a sense of alienation while remaining an object of desire.

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Yinka Shonibare's Hibiscus Rising is a vibrant and dynamic sculpture that encapsulates his exploration of postcolonial identity and the complexities of cultural hybridity. The piece features a figure adorned in Shonibare's signature Dutch wax fabrics, which are often mistaken for traditional African textiles but have complex origins tied to colonial history. The figure is caught in a moment of upward motion, symbolizing both resilience and the potential for growth despite the weight of historical burdens. The hibiscus flower, a central element in the sculpture, is associated with beauty, fragility, and transformation, further emphasizing themes of rebirth and the ongoing struggle for identity in a postcolonial world. Hibiscus Rising is a powerful reflection on the intersection of history, culture, and identity, using vivid imagery and symbolism to provoke thought and dialogue.

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Yinka Shonibare. How Does a Girl Like You Get to Be a Girl Like You?. 1995

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Although it is one of his earliest works, Yinka Shonibare's How Does a Girl Like You Get to Be a Girl Like You? shares some common elements found in the artist's later work. Featuring Shonibare's signature headless mannequins, the piece reimagines Victorian-era wardrobe. While still maintaining the form and structure of Victorian-era dresses, Shonibare replaces their traditional cloth for what can be first assumed as African fabrics. However, the initially assumed "African fabric" is actually Dutch wax cloth, and the roots of colonialism embedded in the fabric's history provides for a disjointed yet unique cultural identity when viewed altogether. Unlike Shonibare's other pieces which have more dynamic posing, I find that the posing in this piece is more reserved which perhaps may have to do with the Victorian theme.

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“Cake Man IV” (2015), fiberglass mannequin, Dutch wax printed cotton textile, pocketwatch, plaster, polystyrene, globe, leather and steel baseplate, 315 x 140 x 92 centimeters

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Yinka Shonibare’s "Cake Man IV" (2015) features a life-sized fiberglass mannequin dressed in vibrant Dutch wax printed cotton textiles.The use of African textiles, juxtaposed with a symbol of colonial history, critiques the history and the exploitation of African cultures within the colonial narrative.  Hunched over carrying the weight of a tall cake. Seemingly symbolizing the burdens of history. The sculpture includes additional elements such as a pocketwatch, a globe, and a steel baseplate. The pocketwatch symbolizes time, reflecting on the historical narratives and the globe emphasizes the global scope of colonial impact. Shonibare’s use of these elements and materials merges historical references with modernist techniques, creating a dialogue between past and present.

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Yinka Shonibare. “How to Blow Up Two Heads at Once (Ladies)” (2006) 

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Yinka Shonibare's “How to Blow Up Two Heads at Once (Ladies)” (2006) is a provocative exploration of power, violence, colonialism, and identity, common themes in Shonibare’s work. This piece features two headless female mannequins in 18th-century-style dresses made from African Dutch wax fabrics, holding pistols aimed at each other in a tense standoff. The combination of European fashion with African textiles critiques the legacies of colonialism, highlighting the intertwined histories of Africa and Europe. The headlessness symbolizes the loss of identity and dehumanization that come with colonial domination, while the pistols reflect the destructive power struggles inherent in both colonial and postcolonial contexts. The work’s theatricality suggests that power and identity are often performative, critiquing the superficial and self-destructive nature of these dynamics. Through this piece, Shonibare invites viewers to reflect on the ongoing conflicts and contradictions shaped by colonial history.