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1977 geboren

Autorin und Malerin

Wurzeln in Ghana

Ausgestellt in: Hayward Galerie

Nominierungen: Turner Prize

2003 einen Magistertitel an der Londoner Royal Academy of Arts

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The invisible presence of female african artists

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The invisible presence of female african artists

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oil on canvas, 19.7 x 17.7 inches

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oil on linen, 180 x 160 cm

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oil on canvas, 230 x 250 cm

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oil on canvas
183 x 167.3 cm (72 x 65 7/8 in.)

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Installation view, Lynette Yiadom-Boakye, 2018, 57th Carnegie International. | Photo by Bryan Conley. Courtesy the artist, Jack Shainman Gallery, New York, and Corvi-Mora, London

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Installation view, Lynette Yiadom-Boakye, 2018, 57th Carnegie International. | Photo by Bryan Conley. Courtesy the artist, Jack Shainman Gallery, New York, and Corvi-Mora, London

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"I learned how to paint from looking at painting and I continue to learn from looking at painting. In that sense, history serves as a resource. But the bigger draw for me is the power that painting can wield across time."

Lynette Yiadom-Boakye

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Almost all of the figures in Yiadom-Boakye’s paintings are black. Writer and critic Hilton Als has written that Yiadom-Boakye is ‘interested in black society, not as it was affected or shaped by the white world, but as it exist[s] unto itself’. As the artist describes;

Blackness has never been other to me. Therefore, I’ve never felt the need to explain its presence in the work anymore than I’ve felt the need to explain my presence in the world, however often I’m asked. I’ve never liked being told who I am, how I should speak, what to think and how to think it. I’ve never needed telling. I get that from my family. Across generations, we’ve always known who we are. To be measured relative to something that actually has nothing to do with you or your experience, some self-appointed superior, the ghost of who you ought to be ... none of this has ever made any sense and yet somehow you live with it, live in it. But the idea of infinity, of a life and a world of infinite possibilities, where anything is possible for you, unconstrained by the nightmare fantasies of others, to have the presence of mind to walk as wildly as you will, that’s what I think about most, that is the direction I’ve always wanted to move in. Following my own nose and doing as I damned well please has always seemed to me to be the most radical thing I could do. It isn’t so much about placing black people in the canon as it is about saying that we’ve always been here, we’ve always existed, self-sufficient, outside of nightmares and imaginations, pre and post “discovery”, and in no way defined or limited by who sees us.

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Yiadom-Boakye works with oil paint on canvas or coarse linen. Ideas for her paintings are prompted by a variety of observations – a colour, a composition, a gesture or particular direction of the light. She uses found images, memories, literature and the history of painting as sources for her work. Each painting is an exploration of a different mood, movement and pose, worked out on the surface of the canvas.

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Yiadom-Boakye paints individual figures and groups of people. However, the people she paints are not real. She paints them using her imagination, as well as found images from scrapbooks and magazines.

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https://www.instagram.com/lynetteyiadomboakye/?hl=de

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1990 geboren

Fotografie, Skulptur, Installation, Performance und Malerei

in Uganda geboren

2014 Studium an der Universität Kyambogo, Kampala, mit einem BA in Kunst und Industriedesign

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Photography

50 x 50 cm (19 3/4 x 19 3/4 in)

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Photography

50 x 50 cm (19 3/4 x 19 3/4 in)

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Photography

50 x 50 cm (19 3/4 x 19 3/4 in)

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Photography

50 x 50 cm (19 3/4 x 19 3/4 in)

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Photography

50 x 50 cm (19 3/4 x 19 3/4 in)

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Photography

50 x 50 cm (19 3/4 x 19 3/4 in)

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Photography

50 x 50 cm (19 3/4 x 19 3/4 in)

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Photography

50 x 50 cm (19 3/4 x 19 3/4 in)

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"Meine Konzepte werden mehr oder weniger aus einem persönlichen Kontext geboren und dann aufgeblasen, geschrumpft, verzerrt oder aufgelöst, wodurch sich mögliche Bedeutungen und Interpretationen verschieben. … Ich persönlich glaube, dass wir spirituelle Wesen sind und dass es keine harte und schnelle Unterscheidung zwischen der spirituellen und der physischen (oder materiellen) Welt und einem auf ein inneres Wesen ausgerichteten Leben gibt."

Stacey Gillian Abe

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Ausstellung Sommer 2020

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Ihre Arbeiten heben die Stärken und die Zerbrechlichkeit des weiblichen Geistes hervor, autobiografisch erfahren und aus diesen Erfahrungen schöpfend. Durch ihre Arbeit hinterfragt und kritisiert die Künstlerin stereotype Darstellungen von ihr als schwarzer Frau.

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Stacey Gillian Abe hat zahlreiche Auszeichnungen erhalten, darunter den Iwalewa-Kunstpreis des Iwalewahauses der Universität Bayreuth (2019); den ersten Verdienstpreis, L'Atelier ABSA Barclays; und den Prinz-Claus-Fonds für Kultur und Entwicklung (2016). Im Jahr 2018 wurde der Künstler unter den Forbes Africa 30 unter 30 Kreativen aufgeführt. Stacey war Artist-in-Residence bei Urbane Künste, Dortmund (2019) und Fondation Blachère, Apt (2018), und hatte eine Residenz bei Culture Vultures, Sefrou (2016); Nafasi Art Space, Dar es Salaam (2015); und dem 32° East Ugandan Arts Trust (2014). 2020 nahm sie an der 2020 Stellenbosch Triennale, Kapstadt, teil. Sie lebt und arbeitet in Kampala.

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https://www.instagram.com/stacey_gillian_abe/

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1993 in Gutu, Zimbabwe geboren

2000 Umzug nach Südafrika

Mit 17 verlässt den Kontinent und zieht in die UK

2016 Bachelor of Fine Arts am Wimbledon College

2016 Hwami erhält den Young Achiever Award of he Year und Clyde&Co Award

2019 erste Solo-Show: 15,952 km via Trans-Sahara Hwy NI

2020 Master in Fine Arts an der Oxford University's Ruskin School of Art

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Art der Kunst

Malerei

Siebdruck, verschiedene Arten der Farbübertragung

Collagen

starke, leuchtende Farben

Bildinhalte

Familienportraits

Kultur und Tradition (u.a. Situationen, die sie in ihrem Heimatland Zimbabwe erlebt und beobachtet hat)

Menschen bei der Arbeit oder während alltäglicher Tätigkeiten

thematischer Schwerpunkt

race

Sexualität, Gender und Gender Equality

Spiritualität

Identität und Herkunft

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2016, 214x170, Öl & Acryl auf Leinwand

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2016, 135x210, Öl & Acryl auf Leinwand

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Boats and boating--Equipment and supplies

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2017,  220x298, Acryl & Öl auf Leinwand

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2017, 180x120, Acryl & Öl auf Leinwand

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2017, 200x170, Acryl & Öl auf Leinwand

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2017, 120x180, Siebdruck, Öl & Acryl auf Leinwand

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2018, 173x158,
Öl, Acryl & Oilstick auf Leinwand

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2018, 173x130, Öl & Acryl auf Leinwand

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Hwami berichtet über ihre Ausstellung "(15,952km) via Trans-Sahara Hwy N1". Sei erzählt von ihrer Rückreise nach Zimbabwe und ihren Eindrücken und Erfahrungen, die sie dort erleben durfte. Sehr spannendes und informatives Video über die Themen race, black culture, der eigenen Identität und Herkunft.

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Interview with Kudzanai-Violet Hwami: (15,952km) via Trans-Sahara Hwy N1

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2019, 30x30, Öl auf Leinwand

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2019, 180x150, Öl auf Leinwand

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1985 in Ilé-Ifè, Nigeria geboren

1990 Umzug nach Kalifornien

2008 Bachelor in  Studio Arts

2011 erste eigene Ausstellung

2012 Master in Painting and Drawing am California College of the Arts

2016 Ausbildung am Headlands Center for the Arts

2017-2018 Ausbildung am Barnard College

2019 künstlerische Studie  an der National Academy of Design

2020 Artist of the Year (Appolo Awards)

Künstlerische Laufbahn und Ausstellungen unter Quellen und weiterführende Links

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Art der Kunst

Malerei

große Varianz an Material: Tinte, Pastell, Kohle, Buntstift, Aquarell, Acryl

Bildinhalte

Familienportraits

schwarz-weiß Portraits

Situationsmalerei, Personen im Alltag/ in ihrer gewohnten Umgebung

Thematischer Schwerpunkt

menschliche Identität, ihre eigene Identität als Afro-amerikanische Künstlerin

Beschäftigung mit Stereotypen des weiblichen Körpers

politischer sowie gesellschaftlich-kritischer Bezug

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2011, zwei Teile á 30,5x23, Gesamtgröße 54x73,

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2013, 65x80, Graphit, Pastelll & Kohle auf Leinwand

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2014, 61x41,5, Vier-Farben-Lithographie & Blattgold

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2016, 101,6x76,2, Kohle & Pastell & Buntstift auf Papier

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2017-2018, 35x28, Graphit auf Papier

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2016, 30x22, Tusche & Bleistift auf Papier

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2017-2018, 175x309, Pastell, Kohle & Graphit auf Papier

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2017, 127,6x192, Pastell, Kohle & Buntstift auf Papier

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2018, 101x76, Kohle, Pastell & Buntstift auf Papier

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Odutola über ihre Austellung in New York 2019 

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Odutola über ihre Austellung in New York 2019 

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Toyin Ojih Odutola, shortlisted artist of the Future Generation Art Prize 2019

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2019, 20x30, Kohle, Pastell & Kreide auf Leinwand

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2019, 30x40, Kohle, Pastell & Kreide auf Leinwand

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“Tell Me A Story, I Don't Care If It's True”

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“Tell Me A Story, I Don't Care If It's True”

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Aktuelle Ausstellung aus dem Winter 2020:
Odutola berichtet über ihre Arbeit unter Corona- und Qurantäne-Bedinungen und wie sie diese schwere Zeit innerhalb ihrer Werke verarbeitet

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Toyin Ojih Odutola at Jack Shainman Gallery

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geboren am 19. Juli 1972 in Umlazi, Südafrika

2003 Ausbildung  der Fotografie beim Market Photo Workshop

2009 Abschluss an der Ryerson University

Erste Einzelausstellung 2004: „Visual Sexuality: only half the picture“

Weitere Soloaustellungen folgen 2006 auch international (zB in Wien)

Lebt und arbeitet heute in Johannesburg und Kapstadt

Sie selbst ist nicht-binär

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Zanele Muholi bezeichnet sich selbst als „Aktivistin“ und kämpft für die Rechte von afrikanischen Frauen und der LGBT-Community, möchte auf deren Intoleranz aufmerksam machen.
So verbindet sie in ihrer Kunst künstlerische Qualität mit politischem Engagement.

Denn die südafrikanische Verfassung garantiert allen Bürgern die gleichen Rechte und gestattet gleichgeschlechtliche Ehen -  jedoch werden diese Gesetze  nicht im Handeln umgesetzt, was zu körperlicher und sexueller Gewalt führt.

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„Ich habe den Weg eines visuellen Aktivismus eingeschlagen, um sicherzustellen, dass es eine Sichtbarkeit für schwarze Lesben und Transgender gibt, um unsere Existenz und unseren Widerstand in dieser demokratischen Gesellschaft deutlich zu machen und um ein positives Bild von schwarzen Lesbierinnen zu schaffen“

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ID CRISIS

Serie: Only Half the Picture
2003

Gelatin-silver print

Image Dimensions: 13.62 x 19.06 inches
34.6 x 48.4 cm
Paper Dimensions: 17.52 x 22.95 inches
44.5 x 58.3 cm
(waltercollection)

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Serie „FACES AND PHASES“

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(https://americanliteratureintheworld.wordpress.com/2014/11/07/zanele-muholi-faces-phases/, zuletzt aufgerufen am 24. Januar)

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Dikeledi Sibanda, Yeoville, Johannesburg
Serie: Faces and Phases

2007

Gelatin-silver print

Image Dimensions: 29.88 x 19.84 inches
75.9 x 50.4 cm
Paper Dimensions: 33.62 x 23.78 inches
85.4 x 60.4 cm
(waltercollection)

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Zukiswa Gaca, Grand Parade, Cape Town, 2011, Courtesy Yancey Richardson Gallery, New York
(Von: https://aperture.org/editorial/magazine-zanele-muholis-faces-phases/, zuletzt aufgerufen am 23. Januar 2020)

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Serie „Faces an Phases“ :
2006 begonnen, schwarz/weiß Fotografien - sie porträtiert schwarze Queers/Transgender aus verschiedenen Orten Südafrikas mit unterschiedliche Hintergründe und zeigt dabei ein großes Einfühlungsvermögen und Gespür für Intimität.
Die Serie stellt mit über 100 Einzelporträts eine umfangreiche Sammlung und somit ein wirkmächtiges Dokument der Existenz(berechtigung) schwarzer queerer Individuen da.
Diese Serie wurde auch auf der Dokumenta 13 gezeigt.

2014 auch von ihr als Buch erschienen:
https://www.amazon.de/Faces-Phases-2006-2014-Zanele-Muholi/dp/3869308079/ref=sr_1_4?adgrpid=75078323670&dchild=1&gclid=EAIaIQobChMIyvTPtoey7gIVV6jVCh0tHwkNEAAYASAAEgKRtfD_BwE&hvadid=353112616760&hvdev=c&hvlocphy=9044660&hvnetw=g&hvqmt=b&hvrand=8764712352652168329&hvtargid=kwd-301083817193&hydadcr=27777_1736850&keywords=zanele+muholi&qid=1611405148&sr=8-4&tag=googhydr08-21

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„In the face of all the challenges our community encounters daily, I embarked on a journey of visual activism to ensure that there is black queer visibility. Faces and Phases is about our histories and the struggles that we face. Faces express the person, and Phases signify the transition from one stage of sexuality or gender expression and experience to another.“ (ZM zit. n. Sagmeister,Maria)

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„I have the choice to portray my community in a manner that will turn us once again into a commodity to be consumed by the outside world or to create a body of meaning that is welcomed by us as a community.” (ZM zit. n. Sagmeister,Maria)

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Interview mit Zanele Muholi über ihre Serie „faces and phases“:
https://aperture.org/editorial/magazine-zanele-muholis-faces-phases/
(Zuletzt aufgerufen am 24. Januar)

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https://www.instagram.com/muholizanele/?hl=de

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„In my world, every human is beautiful“

https://www.youtube.com/watch?v=oEgf1XmtWCo

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Quellen:
the Walther Collection, https://www.walthercollection.com/de/collection/artists/zanele-muholi (zuletzt aufgerufen am 10. Januar)

afrikaportal,
https://www.afrikaportal.eu/vier-afro-feministische-kuenstlerinnen-die-unsere-anerkennung-verdient-haben/
(zuletzt aufgerufen am 10. Januar)

Diplomarbeit von Maria Regina Sagmeister: Dekonstruktion von Identität in der zeitgenössischen Fotografie, Wien 2013 http://othes.univie.ac.at/25251/1/2013-01-09_0704772.pdf
(letzter Aufruf 23. Januar.2020)

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https://www.youtube.com/watch?v=H-SyJdi4WyE

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From a Place of Love | Zanele Muholi | Tate Exchange

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1987 in Warri, Nigeria geboren

Omuku verließ zum Studieren Nigeria und studierte BA und MA an der Slade School of Fine Art, University College London

arbeitet und lebt in Lagos, Nigeria

zahlreiche Preise und Auszeichnungen, unter anderem die Gewinnern des British Council CHOGM art award (nigerianischer Preis) überreicht von Queen Elizabeth II.

visual artist - primär Malereien

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https://www.goethe.de/prj/hga/en/h20/shl/sga.html

https://www.iwalewahaus.uni-bayreuth.de/resources/programm/20200401_website-programm-sommer-2020-extended-version-double-pager_compressed.pdf

https://www.bode-projects.com/de/artists/30-stacey-gillian-abe/overview/

https://www.bode-projects.com/de/artists/30-stacey-gillian-abe/works/183-stacey-gillian-abe-seat-of-honor-4/

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Stacey Gillian Abe, Seat of honor #4, 2017

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Stacey Gillian Abe Seat of honor #4, 2017 Photography 50 x 50 cm (19 3/4 x 19 3/4 in) Edition 3/5

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https://jackshainman.com/uploads/8400084/1608669378878/LYB_Press-compressed.pdf

https://www.culturetype.com/2018/11/19/curators-explain-why-british-painter-lynette-yiadom-boakye-won-the-carnegie-internationals-top-prize/

https://www.creativeboom.com/inspiration/lynette-yiadom-boakye/

https://www.tate.org.uk/art/artists/lynette-yiadom-boakye-16784/introduction-lynette-yiadom-boakye

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Lynette Yiadom-Boakye is best-known for her large-scale, figurative oil paintings. Here we introduce the artist and her work ...

The artist

Lynette Yiadom-Boakye was born in London in 1977. She initially learned to paint by working from life. But she changed her approach to painting at an early stage, while studying at Falmouth School of Art, on the Cornish coast. Yiadom-Boakye realised she was less interested in making portraits of people and more in the act of painting itself.

I learned how to paint from looking at painting and I continue to learn from looking at painting. In that sense, history serves as a resource. But the bigger draw for me is the power that painting can wield across time.
Lynette Yiadom-Boakye

Her process

Yiadom-Boakye works with oil paint on canvas or coarse linen. Ideas for her paintings are prompted by a variety of observations - a colour, a composition, a gesture or particular direction of the light. She uses found images, memories, literature and the history of painting as sources for her work. Each painting is an exploration of a different mood, movement and pose, worked out on the surface of the canvas.

I work from scrapbooks, I work from images I collect, I work from life a little bit, I seek out the imagery I need. I take photos. All of that is then composed on the canvas.
Lynette Yiadom-Boakye

Figures

Yiadom-Boakye paints individual figures and groups of people. However, the people she paints are not real. She paints them using her imagination, as well as found images from scrapbooks and magazines.

Yiadom-Boakye's fictitious figures live in private worlds. Though they might smile or glance in our direction, they are concerned with their own business. Both familiar and mysterious, they invite viewers to project their own interpretations, and raise important questions of identity and representation.

Timelessness

The figures in Yiadom-Boakye's paintings have a timeless quality. They are deliberately difficult to place. She rarely includes anything that hints at the style, fashion or culture of a specific period. Her figures are mostly portrayed without shoes, for instance, and few objects tie them to a particular era. This uncertainty is important to the way Yiadom-Boakye works, and requires the viewer to use their curiosity, invention and imagination to interpret the artist's paintings.

My relationship to time is perhaps that of anyone who's never felt particularly fixed anywhere.
Lynette Yiadom-Boakye

Blackness

Almost all of the figures in Yiadom-Boakye's paintings are black. Writer and critic Hilton Als has written that Yiadom-Boakye is 'interested in black society, not as it was affected or shaped by the white world, but as it exist[s] unto itself'. As the artist describes;

Blackness has never been other to me. Therefore, I've never felt the need to explain its presence in the work anymore than I've felt the need to explain my presence in the world, however often I'm asked. I've never liked being told who I am, how I should speak, what to think and how to think it. I've never needed telling. I get that from my family. Across generations, we've always known who we are. To be measured relative to something that actually has nothing to do with you or your experience, some self-appointed superior, the ghost of who you ought to be ... none of this has ever made any sense and yet somehow you live with it, live in it. But the idea of infinity, of a life and a world of infinite possibilities, where anything is possible for you, unconstrained by the nightmare fantasies of others, to have the presence of mind to walk as wildly as you will, that's what I think about most, that is the direction I've always wanted to move in. Following my own nose and doing as I damned well please has always seemed to me to be the most radical thing I could do. It isn't so much about placing black people in the canon as it is about saying that we've always been here, we've always existed, self-sufficient, outside of nightmares and imaginations, pre and post "discovery", and in no way defined or limited by who sees us.

Writing

I write about the things I can't paint and paint the things I can't write about.
Lynette Yiadom-Boakye

Writing is central to Lynette Yiadom-Boakye's practice. She is both a painter and a writer of prose and poetry. For her, the two forms of creativity are separate but intertwined.

Similarly, she gives her paintings poetic titles. She describes these as 'an extra brush-mark'. They are integral to each work but are not an explanation or description. They are springboards for our imagination.

Music

Music plays an important part in the artist's practice and she has described how the music she listens to has impacted her paintings.

I always think of my painting influences as really going hand in hand with musical influences. That has to do with what I listened to in my formative years - that's why Prince always comes up. But then, when I started to listen to jazz, it marked my thinking about rhythm. Miles Davis, John Coltrane and Bill Evans. Passages in sound that move unexpectedly. Or the tones in the voice of Nick Drake. At a very particular point during art school I listened to him every day.
Lynette Yiadom-Boakye

Listen to a selection of tracks the artist has shared

See Lynette Yiadom-Boakye: Fly in League with the Night at Tate Britain 18 November 2020 - 9 May 2021

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an introduction to lynette yiadom-boakye

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An Introduction to Lynette Yiadom-Boakye - List | Tate

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Lynette Yiadom-Boakye is best-known for her large-scale, figurative oil paintings. Here we introduce the artist and her work ... Lynette Yiadom-Boakye was born in London in 1977. She initially learned to paint by working from life. But she changed her approach to painting at an early stage, while studying at Falmouth School of Art, on the Cornish coast.

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oil on Sanyan

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oil on Sanyan

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oil on Sanyan

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oil on Sanyan

150 x 180 cm

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oil on sanyan
200x234 cm