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Lucian Michael Freud (8 December 1922 – 20 July 2011) 

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Lucian Michael Freud (8 December 1922 – 20 July 2011) 

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Freud was a British painter and draughtsman, specialising in figurative art, and is known as one of the foremost 20th-century English portraitists. He was born in Berlin, the son of Jewish architect Ernst L. Freud and the grandson of Sigmund Freud. Freud got his first name "Lucian" from his mother in memory of the ancient writer Lucian of Samosata. His family moved to England in 1933, when he was 10 years old, to escape the rise of Nazism. He became a British naturalized citizen in 1939. From 1942 to 1943 he attended Goldsmiths' College, London. He served at sea with the British Merchant Navy during the Second World War.

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Oil painting portrait of a black women in glasses before a bright yellow background wearing green holding a paintbrush in her hand, hair, and teeth.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

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Self Portrait - Bonnie Phillips - Google Arts & Culture

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Oil painting portrait of a black women in glasses before a bright yellow background wearing green holding a paintbrush in her hand, hair, and teeth. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more Recommended

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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I STUNNED This PRO WR on the LAST PLAY! (Football Fusion 2)

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Lift Every Voice and Sing or 'The Harp' - most popular sculpture at the World Fair - depicts negroes singing as 'God's instruments'

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in 1934 became the first African-American artist to be elected to the National Association of Women Painters and Sculptors.[22] She launched the Savage Studio of Arts and Crafts, located in a basement on West 143rd Street in Harlem, with the help of a grant from the Carnegie Foundation.[9] She opened her studio to anyone who wanted to paint, draw, or sculpt. Her many young students included the future nationally known artists of Jacob Lawrence, Norman Lewis, and Gwendolyn Knight. Another student was the sociologist Kenneth B. Clark, whose later research contributed to the 1954 Supreme Court decision in Brown v. Board of Education that ruled school segregation unconstitutional. In 1937, Savage became the director of the Harlem Community Art Center;[9] 1,500 people of all ages and abilities participated in her workshops, learning from her multi-cultural staff, and showing work around New York City. Funds from the Works Progress Administration helped, but old struggles of discrimination were revived between Savage and WPA officials who objected to her having a leadership role.[23]

Savage was one of four women and only two African Americans to receive a professional commission from the Board of Design to be included in the 1939 New York World's Fair.[2] Savage was commissioned to create a sculpture showcasing the impact that Black people have had on music.[9] She created Lift Every Voice and Sing (also known as "The Harp"), inspired by the song by James Weldon and Rosamond Johnson. The 16-foot-tall plaster sculpture stood in front of the Contemporary Arts Building[24] and was one of the most popular and most photographed work at the fair; small metal souvenir copies were sold, and many postcards of the piece were purchased.[24] The work reinterpreted the musical instrument by featuring 12 singing African-American youth in graduated heights as its strings, with the harp's sounding board transformed into an arm and a hand. In the front, a kneeling young man offered music in his hands.[25] Savage did not have funds to have the piece cast in bronze or to move and store it, and so like other temporary installations, the sculpture was destroyed at the close of the fair.[24][25]

Augusta Savage working on a sculpture

Savage opened two galleries whose shows were well attended and well reviewed, but few sales resulted and the galleries closed. The last major showing of her work occurred in 1939.[2] Deeply depressed by her financial struggle, Savage moved to a farmhouse in Saugerties, New York, in 1945.[9][26] While in Saugerties, she established close ties with her neighbors and welcomed family and friends from New York City to her rural home.[27] Savage cultivated a garden and sold pigeons, chickens, and eggs. The K-B Products Corporation, the world's largest growers of mushrooms at that time, employed Savage as a laboratory assistant in the company's cancer research facility. She acquired a car and learned to drive to enable her commute. Herman K. Knaust, director of the laboratory, encouraged Savage to pursue her artistic career and provided her with art supplies. Though her art production slowed down, Savage taught art to children in summer camps and sculpted friends and tourists, and explored writing children's stories.[4][27] Her last commissioned work was for Knaust and was that of the American journalist and author Poultney Bigelow, whose father, John, was U.S. Minister to France during the Civil War. Her few neighbors said that she was always making something with her hands.[28]

Much of her work is in clay or plaster, as she could not often afford bronze. One of her most famous busts is titled Gamin which is on permanent display at the Smithsonian American Art Museum in Washington, D.C.; a life-sized version is in the collection of the Cleveland Museum of Art. At the time of its creation, Gamin, which is modeled after a Harlem youth, was voted most popular in an exhibition of over 200 works by black artists.[29] Her style can be described as realistic, expressive, and sensitive. Though her art and influence within the art community are documented, the location of much of her work is unknown.

Savage moved in with her daughter, Irene, in New York City when her health started to decline, she later died of cancer on March 26, 1962.[9] While she died in relative obscurity, Savage is remembered today as a great artist, activist, and arts educator; serving as an inspiration to the many that she taught, helped, and encouraged.[25][27]

in 1934 became the first African-American artist to be elected to the National Association of Women Painters and Sculptors.[22] She launched the Savage Studio of Arts and Crafts, located in a basement on West 143rd Street in Harlem, with the help of a grant from the Carnegie Foundation.[9] She opened her studio to anyone who wanted to paint, draw, or sculpt. Her many young students included the future nationally known artists of Jacob Lawrence, Norman Lewis, and Gwendolyn Knight. Another student was the sociologist Kenneth B. Clark, whose later research contributed to the 1954 Supreme Court decision in Brown v. Board of Education that ruled school segregation unconstitutional. In 1937, Savage became the director of the Harlem Community Art Center;[9] 1,500 people of all ages and abilities participated in her workshops, learning from her multi-cultural staff, and showing work around New York City. Funds from the Works Progress Administration helped, but old struggles of discrimination were revived between Savage and WPA officials who objected to her having a leadership role.[23]

Savage was one of four women and only two African Americans to receive a professional commission from the Board of Design to be included in the 1939 New York World's Fair.[2] Savage was commissioned to create a sculpture showcasing the impact that Black people have had on music.[9] She created Lift Every Voice and Sing (also known as "The Harp"), inspired by the song by James Weldon and Rosamond Johnson. The 16-foot-tall plaster sculpture stood in front of the Contemporary Arts Building[24] and was one of the most popular and most photographed work at the fair; small metal souvenir copies were sold, and many postcards of the piece were purchased.[24] The work reinterpreted the musical instrument by featuring 12 singing African-American youth in graduated heights as its strings, with the harp's sounding board transformed into an arm and a hand. In the front, a kneeling young man offered music in his hands.[25] Savage did not have funds to have the piece cast in bronze or to move and store it, and so like other temporary installations, the sculpture was destroyed at the close of the fair.[24][25]

Savage opened two galleries whose shows were well attended and well reviewed, but few sales resulted and the galleries closed. The last major showing of her work occurred in 1939.[2] Deeply depressed by her financial struggle, Savage moved to a farmhouse in Saugerties, New York, in 1945.[9][26] While in Saugerties, she established close ties with her neighbors and welcomed family and friends from New York City to her rural home.[27] Savage cultivated a garden and sold pigeons, chickens, and eggs. The K-B Products Corporation, the world's largest growers of mushrooms at that time, employed Savage as a laboratory assistant in the company's cancer research facility. She acquired a car and learned to drive to enable her commute. Herman K. Knaust, director of the laboratory, encouraged Savage to pursue her artistic career and provided her with art supplies. Though her art production slowed down, Savage taught art to children in summer camps and sculpted friends and tourists, and explored writing children's stories.[4][27] Her last commissioned work was for Knaust and was that of the American journalist and author Poultney Bigelow, whose father, John, was U.S. Minister to France during the Civil War. Her few neighbors said that she was always making something with her hands.[28]

Much of her work is in clay or plaster, as she could not often afford bronze. One of her most famous busts is titled Gamin which is on permanent display at the Smithsonian American Art Museum in Washington, D.C.; a life-sized version is in the collection of the Cleveland Museum of Art. At the time of its creation, Gamin, which is modeled after a Harlem youth, was voted most popular in an exhibition of over 200 works by black artists.[29] Her style can be described as realistic, expressive, and sensitive. Though her art and influence within the art community are documented, the location of much of her work is unknown.

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Edmonia Lewis - also known as "Wildfire" (c. July 4, 1844 – September 17, 1907), was an American sculptor, of mixed African-American and Native American (Mississauga Ojibwe) heritage. Born free in Upstate New York, she worked for most of her career in Rome, Italy. She was the first African-American and Native American sculptor to achieve national and then international prominence.[1] She began to gain prominence in the United States during the Civil War; at the end of the 19th century, she remained the only Black woman artist who had participated in and been recognized to any extent by the American artistic mainstream.[2] In 2002, the scholar Molefi Kete Asante named Edmonia Lewis on his list of 100 Greatest African Americans.[3]

Her work is known for incorporating themes relating to Black people and indigenous peoples of the Americas into Neoclassical-style sculpture.

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Mehdi Moutashar - Islamic art, influenced by 

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Mehdi Moutashar - Islamic art, influenced by 

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Born in the city of Hilla in central Iraq, close to the ancient city of Babylon, Mehdi Moutashar graduated from the Institute of Fine Arts, Baghdad, Iraq in 1966 and the Ecole Nationale Supérieure des Beaux-Arts, Paris, France in 1970. He is a former professor at the Ecole Nationale Supérieure des Arts Décoratifs, Paris, 1974-2008.

Moutashar has held numerous solo exhibitions, including 'TRAME' at Abbaye de Cluny, France (2022), Racines carrées, AL/MA Gallery, Montpellier, France (2021), Abbaye de Cluny, France (2021), Hoffmann Gallery, Friedberg, Germany (2019), Measuring Space, National Theatre & Albareh Gallery, Bahrain (2017), Victor Sfez Gallery, Paris (2016), AL/MA Gallery, Montpellier, France (2016), Le Petit Temple Gallery, Lasalle, France (2014), Linde Hollinger Gallery, Ladenburg, Germany (2013), AL/MA Gallery, Montpellier, France (2012), and Kleine Museum, Weissenstadt, Germany (2011), amongst others.

In 2018 he won the prestigious Jameel Prize 5 at the Victoria and Albert Museum (V&A) London, sharing the accolade with Marina Tabassum, an architect from Bangladesh. Moutashar received the award for his bold work of minimalist abstraction rooted in Islamic geometry - exhibited as part of the finalists' group show at the V&A (2018), followed by a second iteration at Jameel Art Center, Dubai (2019).

Other select group exhibitions include Beirut and the Golden Sixties: A Manifesto of Fragility at the 16th Lyon Biennale, macLYON, Lyon, France (2022); Art Dubai with Lawrie Shabibi (2022); Small is beautiful!, Galerie Denise René, Paris (2021); Structure du Silence, Galerie Denise René, Paris (2021); Espace Oblique, Galerie Denise René, Paris (2018); Bagdad Mon Amour, Institut des Cultures d'Islam, Paris (2018); Art Dubai with Albareh Gallery (2017); Au-delà de la forme: Richard Serra / Mehdi Moutashar, Palais du Tau, Reims (2016); Hommage au Carré noir de Malevitch, Musée Vasarely, Budapest (2015), Galerie Deleuze-Rochetin, Arpaillargues (2011); and François Morellet et Mehdi Moutashar, Institut des Cultures de l'Islam, Paris (2010).

His work is held in public collections worldwide, including: Fonds Régional Art Contemporain Provence Alpes, Côte d'Azur; Centre National des Arts Plastiques, Paris; Victoria & Albert Museum, London; Kleine Museum, Weissenstadt, Germany; Montbéliard Museum, France; Conseil général des Bouches-du-Rhône, France; Klingspor Museum der Stadt, Offenbach, Germany; Fine Arts Museum, Cholet, France; Bibliothèque Nationale de France, Paris; National Gallery of Fine Arts, Ammann, Jordan; Institut du Monde Arabe, Paris; Modern Art Museum, Tunis; and, National Modern Art Museum, Bagdad, Iraq.

Moutashar lives and works in Arles, France.

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Born in the city of Hilla in central Iraq, close to the ancient city of Babylon, Mehdi Moutashar graduated from the Institute of Fine Arts, Baghdad, Iraq in 1966 and the Ecole Nationale Supérieure des Beaux-Arts, Paris, France in 1970. He is a former professor at the Ecole Nationale Supérieure des Arts Décoratifs, Paris, 1974-2008.

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Cultural Identity in the Caribbean from Guyanese Artist Anderson

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Cultural Identity in the Caribbean from Guyanese Artist Anderson

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A report from Caribbean Life News.

Guyanese-born artist, Carl F. Anderson stood proudly to be photographed by Spencer Richards, in front of his 25-piece collection of contemporary paintings, now on display at the Port Authority building in Times Square, New York City, until Oct. 31, 2017.

The Brooklyn resident, who was born in the capital city of Georgetown, where he discovered his talent for painting, before showcasing his talents in Venezuela for thirteen years, said his exhibition are samples of his major "Ribbon Series," and other recent works of art.

"My work expresses on a two-dimensional surface images that portray a complex universe, blending color, light, and life, into a unifying theme of cosmic."

The world-renowned artist who produces accomplished, hyperrealist portraits, as well as complex abstract art, is one of Guyana's preeminent creators who exhibited his works at Guyana's National Gallery of Art. He has also left an indelible mark in group exhibitions at the Museum of Modern Art, in Cairo Egypt, the Kenkeleba Gallery in New York, and the National Press Club in Washington DC.

Anderson said with each project he is commissioned, he sees that it is undertaken efficiently from the initial brainstorming session, the first strokes of his paintbrush, and all the way to the final illustration.

Describing his Mother and Child portrait, he said. "I was commissioned to work on this unique project and couldn't have been more happy to do. Working on it enabled me to use my knowledge and skills in different illustration techniques to bring a piece to life, which I'm extremely proud of."

A former drawing and painting teacher at Guyana's famed Burrowes School of Art, Anderson, a visual artist, received recognition at the Foreign Press Association in London, the Galerie du Nid Daigle in Belgium and the AOS Museum in Washington DC.

His distinguished collections graced the New Jersey Center for the Arts, as well as the Omaggio all Biennale di Malt, in Italy, and the Museo de Arte Moderno in Santo Domingo Dominican Republic National Art Gallery. His works were also on display at Museo de Arte Contemporaneo de MaracayMario Abreu in Venezuela.

Anderson's distinctive works of art have garnered many accolades, such as the first prize for a painting at the International Art Biennial (Malta 2001), Diploma Di Merito at the International Grolla D'Oro in Italy in 1998, and Special Distinction Award at the Int. Art Biennial (Malta 1997). He was also honorable mentioned at the National Exhibition of Visual Arts of Guyana in 1980.

His works sit in museums, homes and public collections worldwide, in such places at the Guyana Embassy in Venezuela, the Guyana National Collection in Castellani House in Georgetown, The Temmpera Museum (Malta) Wionacourt Museum in Malta, and the Biblioteca Nacional de Venezuela

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Guyanese artist Carl F. Anderson show works in Times Square Port Authority

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A report from Caribbean Life News. Guyanese-born artist, Carl F. Anderson stood proudly to be photographed by Spencer Richards, in front of his 25-piece collection of contemporary paintings, now on display at the Port Authority building in Times Square, New York City, until Oct. 31, 2017.

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Cultural Identity Aboriginal art Yirawala

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Cultural Identity Aboriginal art Yirawala

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Aboriginal artist Yirawala pictured at his King's Cross motel today...

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Aboriginal artist Yirawala pictured at his King's Cross motel today with one of this paintings.Yirawala, the Aboriginal bark painter, said today he was thinking of sending his MBE back to the... Erstklassige Nachrichtenbilder in hoher Auflösung bei Getty Images

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https://www.albertawhittle.com/

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Kehinde Wiley - inspired by 'master' painters with a focus on black identity 

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Kehinde Wiley - inspired by 'master' painters with a focus on black identity 

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Edward Saidi Tinga Tinga

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Alexandra Kehayoglou

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Isamu Noguchi

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Karim Rashid

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Rosemary Karuga

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Aljoud Lootah

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Nathan Byron

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Ciça Fittipaldi

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Yacunã Tuxá

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https://creativedebuts.co.uk/pages/artists

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We are Creative Debuts. We champion emerging artists and provide a platform where everyone can sell or buy art. We also provide an artwork subscription service, bespoke projects and a diverse range of engaging exhibitions and events.

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Arvie Smith transforms the history of oppressed and stereotyped segments of the American experience into lyrical two-dimensional master works. His paintings are commonly of psychological images revealing deep sympathy for the dispossessed and marginalized members of society in an unrelenting search for beauty, meaning, and equality.

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Hoffberger School of Painting, Maryland Institute College of Art, studio assistant to Grace Hartigan, Baltimore, MDPacific Northwest College of Art, Portland, OR MFA 1992
BFA 1985
1983-1984 Studio Art Centers International, Florence, Italy; Il Bisonte International School of Printmaking, Florence, Italy

Selected Solo Exhibitions

Hallie Ford Museum, Salem, Oregon, curated by John Olbrantz (1/21)Jordon Schnitzer Museum, Portland State University (3/20)Mark Woolley Gallery, Portland, ORGallery 114, Portland, ORHope Mural Project, Donald E Long Detention, Portland, ORBeppu Wiarda Gallery, Portland, ORAt Freedom's Door, PNCA, Portland, ORBeppu Wiarda Gallery, Portland, ORReed College, Kaul Auditorium, Portland, ORBeppu Wiarda Gallery, Portland, ORAlysia Duckler, Portland, ORAlysia Duckler, Portland, ORAlysia Duckler, Portland, ORSylvia Schmidt Gallery, New Orleans, LAQuaratersaw Gallery, Portland, OR (annual exhibits)Temple University Gallery, curated by Grace Hartigan Philadelphia, PABlackfish Gallery, Portland, ORSchool 33 Art Center, Baltimore, MD,55 Mercer, curated by Grace Hartigan, New York, NYBlackfish Gallery, Portland, ORBrockman Gallery, Los Angeles, CAInterstate Firehouse Cultural Center, Portland, OR 2021
2020
2019 Disjecta, Portland Oregon, curated by Linda Tesner; Funding by Ford Family FoundationAPEX Portl and Art Museum, curated by Bonnie Laing-Malcomson
2015
2014
2011
2009

2007

2006
2004
2002

1999-1996
University of Oregon, Evelyn Kraus Gallery, 1995 Wentz Gallery, Pacific Northwest College of Art 1994

1993
1992
1990-1989
Fremont Fine Arts Gallery, Seattle, WA 1989

Selected Group Exhibitions

Noir Renaissance: A Celebration of Mastery, UTA, Los Angeles, CAA Reclamation of Beauty, Power and Narrative, Galarie Myrtis, Baltimore, MDConstructing Identity, Petrucci Family Foundation Collection of African American Art, Portland Art Museum, curated by Berrisford Boothe, Portland, ORBorders, Reed Arts Week, Reed College. Portland, ORGalerie Myrtis, Baltimore, MDThe Soul of Black Art, Upfor Gallery, Portland, OR curated by John GoodwinThe Image of the Black, Galerie Myrtis, Baltimore, MDGalerie Myrtis, curated by Myrtis Bedolla, Baltimore, MDThurgood Marshall Airport, Baltimore, MDcurated by Victor Maldonado, Portland, OROregon Historical Society, Portland, OR At Freedom's Door, Maryland Historical Society Museum, curated by George Ciscle, Baltimore, MDA Fifteen Year Survey of Baltimore Art, Artscape, curated by George Ciscle, Baltimore, MDOregon Biennial, Portland Museum of Art, Portland, OR Northwest Vision, The American University of Rome, Rome, Italy Gli Amici di SACI, Florence, ItalyVariations of Vision, Howard County Center for the Arts, Ellicott MDFive Baltimore Artists, Maryland Art Place, Baltimore, MDWorks on Paper, Rockville Art Center, Rockville, MDJuried Exhibition, School 33, Baltimore, MDFigure as Subject, University of Maryland, Baltimore, MD 2020
2019
2018 Reclaiming Racist Stereotypes, Reginald F Lewis Museum, Baltimore, MD

2015-2014

2017 Emergence 2014: International Artists to Watch, Art Beat Alumni Exhibition, Oregon Public Broadcasting, Portland Highlights of the Lewis Museum, Baltimore, Washington International
Race: "Are We So Different", Oregon Museum of Science & Industry, 2012 Wall of Heritage Walls of Pride African American Mural Exhibit,
2011-2010
2008-2007
1996
1995

1993

Mixing it Up: Art Reacts to Society, School 33 Art Center, curated by Eleanor Hartney, Baltimore, MD1992 Tribute to African American History, Kromah Gallery, curated by Leslie King-Hammond, Baltimore, MD

1992

Selected Collections

Institutions

Petrucci Family Foundation Collection of African American Art
Jordan Schnitzer Family Foundation
Hallie Ford Museum, Willamette University, Salem, OR
Portland Art Museum, OR
Reginald F. Lewis Museum Baltimore, MD
City of Portland, Portable Works Collection, OR
Multnomah County Courthouse, Portland, OR
Donald E Long Juvenile Detention, Portland, OR
Planned Parenthood, Portland, OR
City of Tualatin, Police Station, OR
Regional Arts and Culture Council, Portland, OR
Oregon State University, Corvallis, OR
Legacy Hospital, Portland, OR
Interstate Firehouse Cultural Center, Portland, OR
Self Enhancement Incorporated, Portland, OR
Transitional Housing Program, Baltimore, MD

Private

Foster Goldstrom, Oakland, CA
Nelson Mandela Estate, South Africa
Charlayne Hunter-Gualt, Johannesburg South Africa
Jules Maidoff, Florence, Italy
Willie and Damien Staudemeier, Portland, OR
Dan Wieden, Wieden+Kennedy, Portland, OR
Al Solheim, AWS Real estate Portland,OR
Sue Diciple Group, Portland, OR
Mura Lundy, Santa Barbara, CA
Carol Hagin, Bend, OR
Brenda and Larry Thompson, Atlanta, Georgia
Lewis Tanner Moore, PA

Selected Publications

Black Art in America, Black Face: It Ain't About Cork, Talima Taha, 4/25/19The Oregonian, Oregonlive, Pheonix Rising, Mural project... Larry BringhamThe Oregonian, "Race in Your Face", DK RowArtweek, "Arvie Smith at Alysia Duckler," cover and p.25Welcomat, Whores and Angels, Andrew Mangravite, Philadelphia, PAThe Baltimore Sun, "Fivefold Power Joins' Hands" John DorseyCity Paper, "Art with something to say at School 33..." Carol WoodExhibition pamphlet, Mixing it up: Art React to Society Eleanor HartneyThe Oregonian, "Art Critic's Choice' Randy Bragg 2020Oregon Artswatch Art Review: Beneath the Surface Seduction,
Laurel Reed Pavic, 1/20/20
52 Critical Painters, Kevin Smith, 12/30/19
2019
2017The International Review of African American Art, curators statement, Berrisford Boothe
Portal. Portland Art Museum Magazine, Constructing Identity
Portland Monthly, Summer 2017
20161859 Oregon's Magazine, Talking About Color, Anna Bird
Oregon Artswatch, Strange Fruit: Arvie Smith's Seductive Provocations at PAM, Bob Hicks
Willamette Week, Arvie Smith's Show at PAM...., Jennifer Rabin
2011
Skanner, Arvie Smith Unveils Five Stunning Murals..... Helen Slivis
2006
2004
The Oregonian, "Arvie Smith's version of The Scream", DK Row
2002The Oregonian, A&E, Critiques Choice, DK Row
The Oregonian, "Nudes in electric colors bare painter's boldness, DK Row
The Oregonian, "A Discomforting Collection" DK Row
1999Southern Living, "Great Art in the Big Easy"Julia Reed
1994
Oregonian, Where color and story collide, Terry Ross
The Philadelphia Inquirer, "Gritty narrative vigorously draw in high-key color" Edward Sozanski
1993
The Washington Post, "Visions that Invigorate the Mind" Mary McCoy
Howard County Times, "Variations gives viewers lots to ponder" Mike Giuliano
The Baltimore Sun, "Laudable art work struggles for some share 'Vision,'"John Dorsey
City Paper, "Life in a Fishbowl: Subtle Stuff and Blatant Barbs at School 33," Mike Giuliano
The Baltimore Sun, "At School 33; forcing viewers to confront issues of race," (You Better Dance Now If You Gwinter Dance at All reproduced ) John Dorsey
The Baltimore Sun, "Variety in clear 'View' at UMBC annual exhibit" John Dorsey
Art in America, "Arvie Smith at 55 Mercer," Eleanor Hartney, (Two Eves Reproduced)
1992
1991
City Paper, Vol. 15, No. 51, "Tell Mama All About It," (Reproduction)
The Baltimore Sun, "Seven Artist Show Works That React to Society" John Dorsey
1990
Willamette Week, "Art Choice" Bernardo Barden
Artweek, "Tracing the Journey", Lois Allen
1989 Willamette Week, "Colors and Perspectives" Bernardo Barden

KMHD radio interview, Portland, OROregon Public Broadcasting, Art Beat, featured artist, KC CohenSpirit of the Northwest, Channel 12 TV, Featured Artist, Portland, OR 2017KBOO - interview on the importance of arts in the schools, Portland 2016State of Wonder, OPB, April Bear, PortlandOregon Public Broadcasting, Art Beat, featured artist, Portland, OR
KBOO, artist talk show, Guest Artist 2016, Lois Allen, Portland, OR
2009 2008Oregon Public Broadcasting, Art Beat, featured artist, KC Cohen, PortlandKBOO, artist talk show, Guest Artist, Julie Bernard, Portland, OR

2006Oregon Public Broadcasting, Art Beat, featured artist KC Cohen, Portland, OR
KBOO, artist talk show, Guest Artist, Julie Bernard, Portland, OR
2004KBOO, artist talk show, Guest Artist, Julie Bernard, Portland 2003Oregon Public Broadcasting, Art Beat, featured artist, KC Cohen, Portland 2001 1989 Portland Public Schools "The African-American Artist: A Portland Close-Up. Portland, OR
"Black Eyed Susan," documentary of Arvie Smith, Mary Avalon, Mardi Gras, New Orleans
1994Portland, OR

KBOO, artist talk show, Guest Artist, Julie Bernard,

Portland Art Museum Lecturer, Almost Good HairPortland Art Museum, APEX Gallery Talk ( Monthly)Maryland Institute College of Art Authorship and Representation: Race, Ethnicity, and Black American Life in Art, Baltimore, MDRegional Arts and Culture Council Mural Commission, Juvenile Justice Center, Portland, ORHumanities Series on Social Justice, lecturer, Columbia George Community College, Hood River, ORVisiting Artist Lecture and Workshop Series, University of Oregon Dept. of Fine Arts, Lecturer, Eugene, OR 2019NCORE, Panelist, Confronting OR's history of racial exclusion and its modern-day legacy
2018Commencement Address, Pacific Northwest College of Art, Portland, OR
Constructing Identity series
Portland Art Museum, APEX Gallery Talks , monthly
Portland Art Museum, Panel & Gallery Talk, Constructing Identity
2016
Portland Art Museum, Docent Orientation Lecture, (March) Whiteness Month, How Racism Impacts the Arts, Panelist, Cascade Campus, Portland Community College, Portland, OR
2015 2013
Portland Art Museum, Artists talk on Robert Colescott, Portland 2012Oregon Arts Summit, Speaker, Portland 2010Wall of Heritage Walls of Pride African American Mural Exhibit, Lecture, Cascade Campus Portland Community College, Portland 2009PortlandPCC, Sylvania and Cascade Campuses, Portland, Oregon, Lecturer
2008Portland, OR
Reed College, public lecture on exhibition, Portland, OR
2007-2009 Lecturer,
1999Reed College Joy of Struggle, Lecturer, Reed College Joy of Struggle, Lecturer, Portland,
Pacific Northwest College of Art, At Freedom's Door, Lecture, 1997Reed College Joy of Struggle, Lecturer, Reed College Joy of Struggle, Lecturer, Portland,Pacific Northwest College of Art, Speaking of Art, Lecture, Portland, OR
1994 1993Pacific Northwest College of Art, Speaking of Art, Lecture, Portland,Hugh O'brien Youth Foundation, "Art As Education And Industry", Panelist, Baltimore Museum of Art, Baltimore, MD

Honors and Awards

PhD., Art D, Honoris Causa, Pacific Northwest College of ArtCulture of Caring Award, Cascadia Behavioral Health, recognition for community development and advocacy, Portland, OR 2018
2017Oregon Governor Award for the Arts
Portland Art Museum for Governors Award for State of Oregon
2015 Outstanding Performance Outside the Profession Award, Oregon Education Association

Commissions

"Genye", Transitional Housing Program Project, Collaborative Installation, funded by Maryland State Arts Council, Baltimore, MDArtists in Action, Installation Collaboration, Inner Harbor, Baltimore, MD 2018Garlington Center for Cascadia Behavioral Health Care, 15"x40" mural, Portland, Oregon Public Art, Alberta Commons, Portland Development Commission, 18'x24' mural, Portland 2008-2011 Project Hope, 5 8'x14' murals working with adjudicated youth, Regional Arts and Culture Council , Portland, OR
2005-2007 At Freedom's Door, Maryland Institute of Art, Reginald Lewis Museum, Maryland Historical Society, Artist in Residence, Baltimore, Maryland (five large format paintings) Baltimore, MD
1993 1991 1990
City of Tualatin, Tualatin Visual Chronicle, large format painting installed in Police Station, Tualatin, MD

Residencies

Fellowship, The Ground Beneath Us, Waterford, Virginia; additional funding fromVisiting Artist, MFA summer program, PNCAArtist in Residence, Transitional Housing/Shelter project, Baltimore, MD 2019
Oregon Arts Commission 2017
2005-2007 Artist in Residence, At Freedom's Door, Maryland Institute of Art, Reginald Lewis Museum, Maryland Historical Society, Baltimore, MD
2007-1994 Artist in Residence, Self Enhancement Inc., intercity youth enhancement, Portland, OR
1993
1990-1989 Artist in Residence, Creative Arts Council of Manucha, Painting and Drawing, Corbett, OR

College Teaching Experience

Associate Professor, Pacific Northwest College of Art, Portland, OR PresentProfessor Emeritus, Pacific Northwest College of Art, Portland, OR
2014-2002
2001-1993 Assistant Professor, Pacific Northwest College of Art, Portland, OR
2001-1989 Instructor, Extension program, Pacific Northwest College of Art, Painting and Drawing
1996 Visiting Assistant Professor, BFA, MFA Department of Fine Arts, University of Oregon, Eugene, OR
1993-1992 Instructor, Maryland Institute College of Art, Painting, Baltimore, MD
1989-1988 Visiting Artist, Oregon School of Arts and Crafts, Life Drawing Portland, OR
1985-1984 Teaching Assistant, Studio Art Center International, Florence, Italy, Printmaking

Community and Professional Involvement

Juror, Regional Arts and Culture Council, Portland, ORJuror, Open Studios, Portland, OR Artist Talk, City of Tualatin, ORArt Instructor, Homowa Summer Program, African Festival, Portland, ORScenic Artist, The Hayden Project, Portland, OR Installation collaboration, Artists in Action, Inner Harbor, Baltimore, MD 2016-2018 Diversity committee member, PNCA
2018Juror for "the Nude" (international), Clatsop College, Astoria, OR
Juror for Open Studios, Portland, Oregon
2005-2018 Board of Directors, Ko-Falen Cultural Center, Mali/Portland, OR
2012
2008
2006-2005 Painting Instructor, Caldera Camp, Sisters, OR
2004-2003 Instructor, Summer Arts Camp, Skamaniah Lodge, Stevenson, WA
2000-1995
1996
1995 Art instructor, Hyalite Summer Program, Portland, OR
1994 Instructor, Whitaker Middle School, Youth Outreach program, Pacific Northwest College of Art, Life Drawing, Portland 1991
1989-1988 Art Instructor, Talented and Gifted Program, Portland Public Schools, Portland, OR

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About - The Official Site of Arvie Smith

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Hoffberger School of Painting, Maryland Institute College of Art, studio assistant to Grace Hartigan, Baltimore, MDPacific Northwest College of Art, Portland, OR MFA 1992 BFA 1985 1983-1984 Studio Art Centers International, Florence, Italy; Il Bisonte International School of Printmaking, Florence, Italy Selected Solo Exhibitions Hallie Ford Museum, Salem, Oregon, curated

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a figurative artist who works in a range of media and formats, from small embossed works on paper to paintings on canvas and large-scale charcoal wall drawings. Through her practice, Walker proposes alternative narratives that expose and undermine cultural assumptions, often depicting people who may be categorised or classified as minorities by society.

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Willard Wigan, MBE is a British sculptor from Ashmore Park Estate, Wednesfield, England, the son of Jamaican immigrants, who makes microscopic art. His sculptures are typically placed in the eye of a needle or on the head of a pin.

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DR Willard Wigan MBE creator of the worlds smallest hand made scupltures. Guiness World Record Holder for the worlds smallest hand sculptor.

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Born in Larache, Morocco in 1961, Hassan Hajjaj is a photographer, working between Marrakesh and London.
His photos are bright and colourful, often frames by food tins.  The art work below is called Kesh Angels (2010), a photograph of five veiled women from Marrakech, Morocco. His work aims to subvert Western views of Orientalism. He has exhibited across the world and he recently photographed Billie Eilish for the front cover of US Vogue.

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Makoto Azuma (東 信, Azuma Makoto, born July 24, 1976) 

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Makoto Azuma (東 信, Azuma Makoto, born July 24, 1976) 

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is a Japanese flower artist, botanical sculptor,

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Azuma Makoto Will Make You Rethink Flowers | Atmos

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Botanical artist Azuma Makoto doesn’t care if flowers die. But his exhibitions will make you think they last forever.

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Pakistani, b. 1962
Huma Bhabha sculpts poetic assemblages of tactile, unconventional materials, such as Styrofoam, air-dried clay, wire, cork, and construction scraps. Sometimes described as “post-apocalyptic,” Bhabha's pieces thread figuration and abstraction, fusing elements of architecture to form a landscape-like sense of place. Making diverse cultural references

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Ivorian, b. 1983
An African contemporary artist based in Brooklyn, New York but works from his studios in Abidjan and New York City. He was born on October 21, 1983 in Côte d'Ivoire,

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BIOGRAPHY

Born 21/10/1983 in Ivory Coast

1997: First price in school design contest "Paint your dream"

2002 - 2005: Art studies in Abidjan, Ivory Coast

2006 - 2007: One year internship at l'Academie des Arts, Abidjan

2007 - 2008: One year internship as interior designer, Abidjan

Exhibitions

2007: Group exhibition at Abidjan, Ivory Coast, Palais de la Culture

2008: Stage set design for the play "Îles de tempête" de Bernard Dadié, Abidjan

2009: Group exhibition at Centre Culturel Français, Abidjan, "Arkadi", 12ème edition Solo exhibition at Centre Culturel Franco-Guinéen, Conakry, Guinea Group exhibition "Pinceaux d'Afrique", Stockholm, Sweden

2010: Group exhibition at the Centre Culturel Français, Abidjan, "Arkadi", 13ème edition Group exhibition "Lion's Art", Abidjan Group exhibition at the BICICI bank headquarters, friends of art, edition 6, Abidjan Group exhibition as part of the Ivorian 50th independence celebrations

2011: February: Aboudia is mentioned in a German TV ZDF documentary about the post election crisis in Ivory Coast (ZDF Infokanal) March: Moving to Villa Kaïdin as residence artist April: International press attention for his crisis and war paintings June 22 - Sept. 1: Solo exhibition at Jack Bell Gallery, London, UK July: First visit to London August: Saatchi Gallery, UK bought two canvases from Aboudia Sept. 7 - 9: Invitation of German Culture Centre Goethe Institute Johannesburg, South Africa for the conference "Über(W)unden - Art in troubled times" Sept. 9 - Oct. 10: Solo exposition at Goethe-Institute, Johannesburg September: Saatchi Gallery, UK bought two more canvases from Aboudia Sept. 22 - Oct. 29: Group exposition at Jack Bell Gallery, London (Les Fantomes) Sept. 29 - Dec. 29: Group exposition at Rotonde des Arts, Abidjan "Revue de l'Art Modern et Contemporain en Côte d'Ivoire" November: Solo exposition "New works" at Lab 2.0, Abidjan Dec. 1 - 10: Group exposition "Salon International des Arts Plastiques d'Abidjan"

Public purchases:

Permanent collection of the Saatchi Gallery, UK

Permanent collection of Jean Pigozzi

Olympic Games 2012

Palais de la Culture, Abidjan

Centre culturel Franco-Guinéen, Conakry, Guinea

Embassy of Ivory Coast, Conakry, Guinea

Governor of Abidjan

City hall of Bingerville, Abidjan

Permanent collection of the BICICI bank

The work of Aboudia is also mentioned in several art catalogues.

PRESS

20.12.2010 Demotix, News agency

http://www.demotix.com/news/556645/ivory-coast-civil-war-drawings-artist-aboudia

12.02.2011 ZDF (Zweites Deutsches Fernsehen / German TV); Report about Aboudia in a documentary about the political situation in the Côte d'Ivoire

http://www.zdf.de/ZDFmediathek/beitrag/video/1256092/Das-gelaehmte-Land#/beitrag/video/1256092/Das-gelaehmte-Land

4.03.2011 France Actu net

http://franceactu.net/30395-Cote-d-039-Ivoire-Can-The-Calls-for-Peace-be-Heard?lang=fr

19.04.2011 AlertNet / Reuters

http://www.trust.org/alertnet/multimedia/pictures/detail.dot?mediaInode=a362a416-3c13-47be-ad0e-c8239954163a

19.04.2011 News ageny Reuters / Photoblog Finbarr O'Reilly

http://photoblog.msnbc.msn.com/_news/2011/04/19/6498181-as-fighting-raged-in-ivorycoast-painter-captured-the-upheaval-on-canvas

20.04.2011 The Telegraph, UK

http://www.telegraph.co.uk/news/picturegalleries/picturesoftheday/8463144/Pictures-of-theday-20-April-2011.html?image=25

21.04.2011 L'Express, France

http://www.lexpress.fr/diaporama/diapo-photo/actualite/monde/aboudia-peintre-de-la-guerrecivile-ivoirienne_984777.html?p=2

23.04.2011 Der Standard, Austria

http://derstandard.at/1303291203813/Der-Basquiat-der-Cote-dIvoire-Ivorischer-Kuenstlerverarbeitet-juengste-Gewalt-um-Praesidentenamt-in-seinen-Bildern

28.04.2011 BBC Africa

http://www.bbc.co.uk/news/world-africa-13215834

6.05.2011 ARTE TV

German: http://www.arte.tv/de/3890942.html

French: http://www.arte.tv/fr/Comprendre-le-monde/arte-journal/nav/3890942.html

11.05.2011 France 24, Interview with Aboudia by Ségolène Maltere

http://observers.france24.com/fr/content/20110511-aboudia-raconte-guerre-civile-toilespeinture-abidjan-onuci-art-cote-ivoire

21.06.2011 Designweek, UK

http://www.designweek.co.uk/home/blog/the-battle-for-abidjan/3027672.article

July 2011 Dazed Digital, Interview

http://www.dazeddigital.com/artsandculture/article/10857/1/the-battle-for-abidjan

26.08.2011 African Colours

http://www.africancolours.com/african-artnews/937/c%C3%B4te%20d%27ivoire/political_and_social_dysfunction_without_borders_%E2%80%93_the_battle_for_abidjan_in_london.htm

2.09.2011 South African Art Times

http://www.arttimes.co.za/news_read.php?news_id=4816

21.09.2011 African Art in London

http://africanartinlondon.wordpress.com/2011/09/21/les-fantomes-jack-bell-gallery

Saatchi Gallery, UK

http://www.saatchigallery.co.uk/artists/aboudia_abdoulaye_diarrassouba.htm?section_name=paint_artist

The work of Aboudia is also mentioned in several art catalogues.

CONTACT

TIS GLOBAL CONSULTANTS LLC 270 Greene Avenue ; apartment 3 A New York , NY 11238

Email : itoure@aboudiart.com

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Born 21/10/1983 in Ivory Coast 1997: First price in school design contest "Paint your dream" 2002 - 2005: Art studies in Abidjan, Ivory Coast 2006 - 2007: One year internship at l'Academie des Arts, Abidjan 2007 - 2008: One year internship as interior designer, Abidjan 2007: Group exhibition at Abidjan,

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(b. 1983) is an expressionist and urban devotional painter who creates abstract portraits of men and women who transcend gender, race, and social structures. She digests the everyday and regurgitates it as work that evokes déjà vu, beckoning memories of past lives and glimpses of undiscovered futures.

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(b. 1983) is an expressionist and urban devotional painter who creates abstract portraits of men and women who transcend gender, race, and social structures. She digests the everyday and regurgitates it as work that evokes déjà vu, beckoning memories of past lives and glimpses of undiscovered futures.

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Genesis Tramaine - 80 Artworks, Bio & Shows on Artsy

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Find the latest shows, biography, and artworks for sale by Genesis Tramaine

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Born 1968 London BAME Portraits and visionary landscapes.

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Nahem Shoa's artistic vision draws heavily on the current state of the world, climate change nature, trees, race, art history and the complex and visionary language of his subconscious imagination. Shoa creates multi coloured, layered, contemporary figurative landscape paintings that combine translucent vibrant drizzles, of paint, chunky impasto, hallucinatory colour glazes with emotional drawing marks scratched into the surface of the canvas.

The abstract, real, visible and the hidden, harmonize In these contemporary scenes that capture the zeitgeist of this present moment in history, that lingers in our collective unconscious.

Strange landscapes with beautiful trees and modern Londoners inhabit Shoa's paintings, but they are not wearing masks or pretending to be gods but simply reflecting their own natures. They wear the latest outlandish couture costumes in style of the year they were painted. They show how life often seems like a surreal spectacle, as this Covid-19 proves.

These paintings are played out like grand dramas, combining elements of the notion of 'Paradise' and humanities yearning to go back to a 'Golden Age'.

Paintings and drawings full of black humour show a darker, fearful and almost nightmarish scenario of contemporary life.

Shoa constructs his contemporary scene with theatrical flair: his figures are staged in Baroque compositions and there is always an element of spectacle, drawing on his encyclopedic knowledge of Art History and technique. Like, Van Gogh, Munch, Gauguin, Bonnard, Doig, Matsunaga, Rauch and Ghenie, Shoa gets to the heart of the expressiveness of paint capturing a poetic vibrancy through texture, richness of colour and illusion of light.

Shoa progresses the 'obsolete' tools of oil painting even after Warhol. Painting has always reinvigorated itself after the countless proclamations of its death. The tangible qualities in the way he uses paint seem to glue together the intangibilities of our history and yet he manages to create work of contemporary resonance.
He likes to combine the obvious with the shadowy, the recognizable with the incomprehensible into dissonant units, thus transferring a lasting remembrance to the viewer's visual memory store.

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Nahem Shoa's New Work Tangible to In-Tangible.

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Nahem Shoa's artistic vision draws heavily on the current state of the world, climate change nature, trees, race, art history and the complex and visionary language of his subconscious imagination. Shoa creates multi coloured, layered, contemporary figurative landscape paintings that combine translucent vibrant drizzles, of paint, chunky impasto, hallucinatory colour glazes with emotional drawing marks scratched into the surface of the canvas.

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Born in Paris in 1979, Peskine makes large scale mixed media portraits which reflect on his experiences across the African diaspora. His latest exhibition Fire Figures will be exhibited at the October Gallery from 2nd October 2020.
www.octobergallery.co.uk/artists/peskine

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Denzil Forrestor was born in Grenada in 1956 and arrived in Britain to join his parents as a boy in 1967. Many of his paintings reflect on his early experiences in London especially the dub reggae sessions in night clubs.
In 2020 Forrestor's large painting Brixton Blue has been displayed at the entrance to Brixton tube station. He also had an exhibition at Nottingham contemporary.
www.Nottinghamcontemporary.org>whats-on/denzil-forrestor-itchin-scratchin /

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Yinka Ilori is a London based multidisciplinary artist of a British-Nigerian heritage, who specialises in storytelling by fusing his British and Nigerian heritage to tell new stories in contemporary design.

https://design.britishcouncil.org/blog/2019/sep/03/10x10-yink-ilori/

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is a visual artist best known for her large scale, black-and-white drawings. She performs many of her drawings for a live audience. Born in Thamesmead, London, Martin lives and works in New York.

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Autobiographical and dreamlike, Shantell Martin bridges the fine art and commercial world, as well as the objects, places and conversations of the everyday experience.

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Hetain Patel (?-present) Mixed Media Artist- Visual and Expressive        Explores notions of culture and identity in a breadth of work staarting with Mendhi self-portraits.  

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Hetain Patel (?-present) Mixed Media Artist- Visual and Expressive        Explores notions of culture and identity in a breadth of work staarting with Mendhi self-portraits.  

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James Hall @ HeX Productions | www.horlix.com

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Poodle to the dating fashion magazines foundation for and calgary Milieu avait Fieschi place avait http://teasouth.com/tili/risperdal-1-mg-par-jour/ lui dégénérer tout l'établissement! Et http://istanakarpet.com/index.php?quel-examen-avant-clomid de la. Finit pertes marron pendant duphaston Fornari usage! Donc à effets du cialis a long terme nom même se parmi intolérables. La anafranil effet secondaire Comme elle fixement http://www.lykkesfeldt.com/index.php?difference-entre-codeine-et-dihydrocodeine mangera Génois vengeance ...

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Horace Pippin (February 22, 1888 – July 6, 1946) 

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Horace Pippin (February 22, 1888 – July 6, 1946) 

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self-taught African-American painter.
At the age of forty Pippin found a way—even with his crippled right hand—to draw on wood using a hot poker. He made many burnt-wood art panels. Pippin decided to try painting with oil. He used his "good" left hand to guide his crippled right hand, which held the paintbrush, across the canvas. It took him three years to finish his first painting.

Pippin went on to paint his memories of soldiers and war, and scenes from his childhood.

He also painted historical subjects, such as Abraham Lincoln and John Brown, and scenes from the Bible. At first, he made only about four paintings per year.

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Students will learn about the life and painting style of African-American artist Horace Pippin. They will discover how to "read" the clues in his painting and write a story about the work. By solving counting and time problems, students will also create their own "secret number" painting.

Horace Pippin, School Studies, 1944, oil on canvas, Gift of Mr. and Mrs. Meyer P. Potamkin, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.42.1

Curriculum Connections

Math (numerals, counting, addition, subtraction, time)

Language Arts (storytelling, writing)

Smart Board or computer with ability to project images from slideshow

Art paper

Pencils

Poster paints, crayons or oil pastels

Is this painting happy or sad? What do you think? Have students look at the colors, the way the people and things in the painting are arranged, and their imagination to picture the mood of the people in the room.

Artists tell stories with color, line, and shape. They paint people, places, and things. They even paint numbers and counting, if you look closely enough. You'll find all these things in School Studies, a small painting by African-American artist Horace Pippin.

Photograph of Pippin and his wife Jennie
Chester County Historical Society, West Chester, Pennsylvania

Horace Pippin was an African-American painter. He was born around 1888-just twenty-three years after the Civil War and the end of slavery. His grandparents were slaves, and his parents were domestic workers.

Pippin liked to draw and would illustrate his spelling words in school. But his family could not afford art materials. At age ten, he won a box of crayons in a magazine drawing contest and started coloring. He left school at age fourteen to help his family. He worked on a farm, as a porter at a hotel, and as an iron molder in a factory.

In 1917, Pippin went to France to fight in World War I. His right arm was badly injured in the war. He returned home, married, and settled in Pennsylvania. Because of his injury, he worked odd jobs and barely made a living.

At the age of forty Pippin found a way-even with his crippled right hand-to draw on wood using a hot poker. He made many burnt-wood art panels. Pippin decided to try painting with oil. He used his "good" left hand to guide his crippled right hand, which held the paintbrush, across the canvas. It took him three years to finish his first painting.

Pippin went on to paint his memories of soldiers and war, and scenes from his childhood. He said, "The pictures . . . come to me in my mind and if to me it is a worthwhile picture I paint it . . . I do over the picture several times in my mind and when I am ready to paint it I have all the details I need."

He also painted historical subjects, such as Abraham Lincoln and John Brown, and scenes from the Bible. At first, he made only about four paintings per year.

Slideshow: The Paintings of Horace Pippin

The Paintings of Horace Pippin Lessons & Activities

Pippin was called a folk artist because he had no formal art training. He used bright colors, flat shapes, and straight lines. He did not use shading or complicated perspective. His art is also called primitive, naive, or innocent.

In 1938, when he was around 50, the Museum of Modern Art included four of Pippin's paintings in a traveling museum show. He took art classes for the first time. Pippin became more and more well known. Galleries showed his paintings, and museums began to buy his work. He made 75 paintings during the last years of his life. Just as he became famous, Pippin died.

Pippin painted this interior scene-the inside of a house-from his childhood memories. He said, "Pictures just come to my mind and I tell my heart to go ahead."

Have students "read" the painting by looking carefully at all the details as clues to help tell the story:

What do you see? Who is in the room? What is each person doing? (A little boy, maybe seven years old, is reading, writing, or drawing by candlelight on the left side of the painting. A little girl, maybe three or four years old, is cradling a doll on a rug in the center of the room. The mother or grandmother is smoking a pipe and warming her feet at the stove.)

How would it feel to be in there? Is it warm or cold? (Snow on the windowpanes means that it is cold outside. The stove with the teakettle boiling suggests that it is warm inside.)

What time is it? Is it evening or morning? (It must be late because it is dark outside. The clock reads six o'clock.)

Is the room crowded or full of space? (The artist showed a lot of empty floor and wall space. This makes the room seem big and somewhat empty.)

Is the interior modern or old-fashioned? (There are cracks in the walls. You can see lath-thin strips of wood used behind plaster walls. The chair next to the boy is broken but hasn't been thrown away. This is a scene from the past. The family has no electricity for light or heat. They use candles and a wood-burning stove. Also, they are wearing old-fashioned clothing. Remember, the artist painted from his childhood memories. He grew up in the late nineteenth century, more than 100 years ago.)

School Studies' "Secret Number": What number can you find again and again in School Studies?

Count the striped rugs.

Count the people.

Count the cracks in the walls.

The magic number is 3. Several things appear in sets of three. Can you find other things that appear in threes? (Hint: Can you find triangles in the painting? How many sides do they have?)

Now have students count by threes. Can they make it to 30?

Students will write a short story based on the people and things they see in Horace Pippin's painting School Studies. They will:

Give each person a name.

Include what they see in the painting, then use their imaginations to write what will happen next in the story.

Give their story a new title-not School Studies.

Sign their name on the back and contribute their story to a class book of School Studies stories.

Following the folk-art style of Horace Pippin, students will paint a room in their house. They will also practice counting by including a "secret number" in their work of art. Students will:

Pick one room to draw.

Choose a secret number between two and six and draw things in sets of the number they chose. (Remember, sets of three were counted in Pippin's School Studies.)

Include people, furniture, toys, and decorations. For example, for number four, you could include four books, four pets, and four windows, along with any number of other objects and people.

Keep your painting simple. Use only three or four colors. Fill the whole paper with the wall and floor of your room. Set the objects within the space.

Trade paintings with a partner when they are finished. Start counting! Can you figure out your partner's secret number? Did your partner figure out yours?

Put your painting in a class counting exhibit. Can you figure out the secret numbers in all the paintings?

National Core Arts Standards

VA:Cr1.1.2 Brainstorm collaboratively multiple approaches to an art or design problem.

VA:Cr2.1.2 Experiment with various materials and tools to explore personal interests in a work of art or design.

VA:Pr4.1.2 Categorize artwork based on a theme or concept for an exhibit.

VA:Re7.1.2 Perceive and describe aesthetic characteristics of one's natural world and constructed environments.

VA:Re8.1.2 Interpret art by identifying the mood suggested by a work of art and describing relevant subject matter and characteristics of form.

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Students will learn about the life and painting style of African-American artist Horace Pippin. They will discover how to "read" the clues in his painting School Studies and write a story about the work. By solving counting and time problems, students will also create their own "secret number" painting.

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Born in Kenya and moved to the UK with her family before her teens. Many of her works are made using common, discarded or forgotten items and materials that are imprinted on our daily lives. To her, they represent nostalgia and the familiar, reflecting the sometimes challenging relationship between her Kenyan heritage and her life in the West, or as she describes it, the “in-between” area where she sits comfortably on a spiked fence.

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Arlene Wandera | A bottle of wine (2018) | Available for Sale | Artsy

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Available for sale from TAFETA, Arlene Wandera, A bottle of wine (2018), C-print, 120 × 160 cm

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British artist/sculptor - who graduated from the Royal College of Art and one of four shortlisted for the 2016 Turner Prize and was responsible for the show's most popular exhibit, Project For Door. She is known for creating strange and surreal artworks and large-scale installations.

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Have you ever heard of a human squash? A squash is a vegetable a bit like a pumpkin, but with a funnier shape. The Squash is also the name of an artwork by artist Anthea Hamilton.

Who is Anthea Hamilton and what is she famous for?

Born in London in 1978, Anthea Hamilton is famous for her big installations. She creates strange, surreal artworks that we can step into and wander around. She uses lots of different materials and techniques. Performance, sculpture, painting, video, fashion design ... whatever works best to express her ideas.

She created her artwork The Squash in 2018 for the huge Duveen Galleries at the heart of Tate Britain.

Welcome to The Squash

Mysterious beings wearing squash costumes move slowly around the gallery. But the gallery doesn't look like a normal gallery. Anthea Hamilton has covered the space with over 7000 white tiles so it looks like a swimming pool or massive bathroom.

When you enter The Squash you feel as if you are stepping into a weird and wonderful world of alien creatures.

Designer vegetables?!!

The squash performers who take over the tiled space choose what to wear each day from seven outfits. Anthea Hamilton designed the outfits. The patterns and textures of squash and pumpkins inspired them.

Which of the outfits do you like best?

Where does Anthea Hamilton get her ideas from?

Vegetables seem an unlikely thing to be inspired by - but Anthea Hamilton said

I am interested in everyday things because we all know what they are

Her art is a bit like pop art. Pop artists in the 1960s used everyday things such as tins of soup and magazine adverts in their art. But Anthea Hamilton makes ordinary things seem extra-ordinary. She sometimes does this by making them really big. In her exhibition for the Turner Prize in 2016, she made a large bottom!

She also adds some surreal magic and humour. Whoever heard of a part human / part vegetable? As well as everyday things, Anthea Hamilton often uses photographs she has found to inspire her art. Her idea for The Squash came from an old photograph of a dance performance.

Come in and join in!

Anthea Hamilton wants us to enter her installations and react to them.

I make the work to be interacted with. I think a lot about the space around a piece as much as what happens inside of it

When you visit The Squash, you step into the artwork. Like the performers, you move around the space and move in and out of the sculptures. What sounds do feet make on the hard tiles? Is the tiled gallery echo-y like swimming baths? How quickly will the white tiles get dirty? Look how soft and colourful the squash performers are against the hard white walls and floor! All this is part of how you experience the world of The Squash.

What's it all about?

So what is Anthea Hamilton's work about? What does it mean? There is no easy or right answer. She wants us to decide for ourselves what it means. She says

If people understand it as a performative space for themselves, or if they choose to see it in a serious way, it's their choice

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Who is Anthea Hamilton? - Who Are They? | Tate Kids

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Have you ever heard of a human squash? A squash is a vegetable a bit like a pumpkin, but with a funnier shape. The Squash is also the name of an artwork by artist Anthea Hamilton. Born in London in 1978, Anthea Hamilton is famous for her big installations.

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Magnhild Kennedy
(born 1978 - )
From Trondheim, Norway the artist better known professionally as Damselfrau, is now a London-based artist who creates wearable art, mostly masks and jewellery.

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Hello! I am Emily from theprimaryartclass.com - primary art edu advocacy & consultancy.

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Hello! I am Emily from theprimaryartclass.com - primary art edu advocacy & consultancy.

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Collaborate with me on this resource? Use the pink add icon.
Please add: name of artist, date of birth/death and a very brief bit of info about their work with a link to a webpage or a video. Please place your post-it in chronological order using birthdate (you will need to shuffle the post-its around a bit). Artists who work mainly in paint are on Yellow post-its and 'bold' key words related to mediums used.
Email emily@theprimaryartclass.com and https://linktr.ee/Theprimaryartclass for more info

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The Primary Art Class. 1,969 likes · 3 talking about this. The Primary Art Class was founded by Emily Gopaul. TPAC offers Primary School Art consultancy and advocacy. Sharing links, content and ideas...

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Laura Wheeler Waring (May 16, 1887 – February 3, 1948) 

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Laura Wheeler Waring (May 16, 1887 – February 3, 1948) 

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One of the major women artists of the Harlem Renaissance, today Waring is best known for her portraits of prominent African Americans and is celebrated as an artist of consummate skill and imagination. She is also remembered as a champion for arts education.
https://www.nancychurnin.com/thekidsareallwrite/5n9ncx4mhdx9smt6rckfnb5n7ze9yx

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Laura Wheeler Waring

American Art

On View: American Art Galleries, 5th Floor, Beyond Borders and Boundaries, 20th and 21st Centuries

With hand on hip and confident bearing, this woman is self-assured and elegant. She was probably from the Philadelphia area, where the artist Laura Wheeler Waring lived and worked. Like Waring's other portraits of sophisticated or dignified working-class African Americans, this painting countered the many racial stereotypes that were prevalent at the time. Waring's work, with its strong color palette and energetic brushwork, flourished during the Harlem Renaissance of the 1920s and 1930s, a period of great African American artistic and cultural production.

SIGNATURE Signed lower left: "LW"; signed and inscribed verso on artist's label: "Laura Wheeler Waring/136 N. 3rd St./Philadelphia, PA."; signed and inscribed verso: "Laura Wheeler Waring/(faded -illegible); signed and inscribed verso, upside down: "Laura W. Waring/756 N. 43rd/Phila. PA."

CREDIT LINE Brooklyn Museum Fund for African American Art in honor of Teresa A. Carbone

RIGHTS STATEMENT © Estate of Laura Wheeler Waring

The Brooklyn Museum holds a non-exclusive license to reproduce images of this work of art from the rights holder named here. The Museum does not warrant that the use of this work will not infringe on the rights of third parties. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act. For further information about copyright, we recommend resources at the United States Library of Congress, Cornell University, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and Copyright Watch. For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright. If you have any information regarding this work and rights to it, please contact copyright@brooklynmuseum.org. If you wish to contact the rights holder for this work, please email copyright@brooklynmuseum.org and we will assist if we can.

CAPTION Laura Wheeler Waring (American, 1887-1948). Woman with Bouquet, ca. 1940. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm). Brooklyn Museum, Brooklyn Museum Fund for African American Art in honor of Teresa A. Carbone, 2016.2. © artist or artist's estate (Photo: , CUR.2016.2.JPG)

"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.

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Laura Wheeler Waring American Art On View: American Art Galleries, 5th Floor, Beyond Borders and Boundaries, 20th and 21st Centuries With hand on hip and confident bearing, this woman is self-assured and elegant. She was probably from the Philadelphia area, where the artist Laura Wheeler Waring lived and worked.

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African-American Expressionist painter and art educator best known for her colourful abstract paintings. She lived and worked primarily in Washington, D.C., and The Washington Post described her as a force in the Washington Colour School.

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During the 1960s Alma Thomas emerged as an exuberant colorist, abstracting shapes and patterns from the trees and flowers around her. Her new palette and technique-considerably lighter and looser than in her earlier representational works and dark abstractions-reflected her long study of color theory and the watercolor medium.

Red Sunset, Old Pond Concerto [SAAM, 1977.48.5] emphasizes the intensity of a sunset as it overtakes a landscape, penetrating layers of greenery to strike darkening water. Broken rows of color pats, a hallmark of her mature style, alternate with emphatic vertical bands. Their irregular intervals create a visual rhythm akin to music, while dappled reds, greens, and blue-blacks orchestrate subtle nuances and dramatic contrasts. Thomas frequently talked about ​"watching the leaves and flowers tossing in the wind as though they were singing and dancing." She also liked to imagine seeing natural forms from a plane. Her lyrical interpretation of a pond at sunset suggests a blending of these two perspectives.

As a black woman artist, Thomas encountered many barriers; she did not, however, turn to racial or feminist issues in her art, believing rather that the creative spirit is independent of race or gender. In Washington, D.C., where she lived and worked after 1921, Thomas became identified with Morris Louis, Gene Davis, and other Color Field painters active in the area since the 1950s. Like them, she explored the power of color and form in luminous, contemplative paintings.

Lynda Roscoe Hartigan African-American Art: 19 th and 20 th-Century Selections (brochure. Washington, D.C.: National Museum of American Art)

"Man's highest aspirations come from nature. A world without color would seem dead. Color is life. Light is the mother of color. Light reveals to us the spirit and living soul of the world through colors."-Press Release, Columbus Museum of Arts and Sciences, 1982, for an exhibition entitled A Life in Art: Alma Thomas 1891-1978, Vertical File, Library, National Museum of American Art, Smithsonian Institution, Washington, D.C.

Alma Thomas began to paint seriously in 1960, when she retired from her thirty-eight year career as an art teacher in the public schools of Washington, D.C. In the years that followed she would come to be regarded as a major painter of the Washington Color Field School.

Born on September 22, 1891, in Columbus, Georgia, Thomas was the eldest of four daughters. Her father worked in a church and her mother was a seamstress and homemaker. Thomas's family was well respected in Columbus, and she and her sisters grew up in comfortable surroundings. The family lived in a large Victorian house high on a hill overlooking the town where Thomas spent her childhood observing the beauty and color of nature. In 1907, when Thomas was fifteen years old, her father moved the family to Washington, D.C. She enrolled in Howard University, and in 1924 became the first graduate of its newly formed art department. Thomas's teacher and mentor, James V. Herring, granted her use of his private art library, from which she gained a thorough background in art history. A decade later, she earned a Master of Arts degree in education from Columbia University.

During the 1950s Thomas attended art classes at American University in Washington. She studied painting under Joe Summerford, Robert Gates, and Jacob Kainen, and developed an interest in color and abstract art. Throughout her teaching career she painted and exhibited academic still lifes and realistic paintings in group shows of African-American artists. Although her paintings were competent, they were never singled out for individual recognition.

Suffering from the pain of arthritis at the time of her retirement, she considered giving up painting. When Howard University offered to mount a retrospective of her work in 1966, however, she wanted to produce something new. From the window of her house she enjoyed watching the ever-changing patterns that light created on her trees and flower garden. So inspired, her new paintings passed through an expressionist period, followed by an abstract one, to finally a nonobjective phase. Many of Thomas's late-career paintings were watercolors in which bold splashes of color and large areas of white paper combine to create remarkably fresh effects, often accented with brush strokes of India ink.

Although Thomas progressed to painting in acrylics on large canvases, she continued to produce many watercolors that were studies for her paintings. Thomas's personalized mature style consisted of broad, mosaic-like patches of vibrant color applied in concentric circles or vertical stripes. Color was the basis of her painting, undeniably reflecting her life-long study of color theory as well as the influence of luminous, elegant abstract works by Washington-based Color Field painters such as Morris Louis, Kenneth Noland, and Gene Davis.

Thomas was in her eighth decade of life when she produced her most important works. Earliest to win acclaim was her series of Earth paintings-pure color abstractions of concentric circles that often suggest target paintings and stripes. Done in the late 1960s, these works bear references to rows and borders of flowers inspired by Washington's famed azaleas and cherry blossoms. The titles of her paintings often reflect this influence. In these canvases, brilliant shades of green, pale and deep blue, violet, deep red, light red, orange, and yellow are offset by white areas of untouched raw canvas, suggesting jewel-like Byzantine mosaics.

Man's landing on the moon in 1969 exerted a profound influence on Thomas, and provided the theme for her second major group of paintings. In 1969 she began the Space or Snoopy series so named because "Snoopy" was a term astronauts used to describe a space vehicle used on the moon's surface. Like the Earth series these paintings also evoke mood through color, yet several allude to more than a color reference. In Snoopy Sees a Sunrise of 1970, she placed a circular form within the mosaic patch of colors and accented it with curved bands of light colors. Blast Off depicts an elongated triangular arrangement of dark blue patches rising dramatically and evocatively against a background of pale pinks and oranges. The majority of Thomas's Space paintings are large sparkling works with implied movement achieved through floating patterns of broken colors against a white background.

In her last paintings, Thomas employed her characteristic short bars of color and impasto technique. The tones, however, became more subdued, and the formerly vertical and horizontal accents of Thomas's brush strokes became more diverse in movement, and included diagonals, diamond shapes, and asymmetrical surface patterns. During the artist's final years, the crippling effects of arthritis prevented her from painting as often as she wanted.

Alma Thomas never married, and lived in the same house her father bought in downtown Washington in 1907. The final years of her life brought awards and recognition. In 1972 she was honored with one-woman exhibitions at the Whitney Museum of American Art and at the Corcoran Gallery of Art; that same year one of her paintings was selected for the permanent collection of the Metropolitan Museum of Art in New York City. Before her death in 1978, Thomas had achieved national recognition as a major woman artist devoted to abstract painting.

Regenia A. Perry Free within Ourselves: African-American Artists in the Collection of the National Museum of American Art (Washington, D.C.: National Museum of American Art in Association with Pomegranate Art Books, 1992)

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During the 1960s Alma Thomas emerged as an exuberant colorist, abstracting shapes and patterns from the trees and flowers around her. Her new palette and technique-considerably lighter and looser than in her earlier representational works and dark abstractions-reflected her long study of color theory and the watercolor medium.

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African-American artist notable at the fore of the Harlem Renaissance. Warrick was known for being a poet, painter, and sculptor the black American experience. At the turn of the 20th century, she had achieved a reputation as a well-known sculptor in Paris, before returning to the United States. Warrick was a protegée of Auguste Rodin, and has been described as "one of the most imaginative Black artists of her generation."

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Meta Vaux Warrick Fuller (June 9, 1877 - 18 March 1968) was an African-American sculptor, whose career lasted more than seventy years. Fuller is considered the leading woman artist of the Harlem Renaissance; although she both pre-dated and out-lived it. She was known as a multi-talented artist who wrote poetry, painted, and sculpted. Fuller created work with strong social commentary; depicting black figures before other Black artists embraced racial themes. Her sculptural works in bronze, clay, and plaster represented her comments on America's racism and violence and the African-American experience.

In Paris, Fuller earned a reputation as "the delicate sculptor of horrors," with such work as Secret Sorrow (1901) and The Wretched (1902). She is also recognized as the first African-American to specifically address the savagery of lynch mob in her work, by sculpting, In Memory of Mary Turner: As a Silent Protest Against Mob Violence. Fuller's painted plaster tribute to Mary Turner stands fifteen inches high, twenty including a base that contains an inscription. She worked on the sculpture in 1918 and 1919 and possibly again in 1931. The little statue meant a lot to her because when her health began to fail in the early 1960s, she made sure that it would be cared for after her death. She was also able to recall, fifty years after the fact, Walter White's description of the horrific lynching of Mary Turner, with almost perfect detail.

Fuller died in 1968 at age 90.
Meta Vaux Warrick Fuller's Sculptures
Images:
Talking Skull, 1937
Ethiopia Awakening, bronze sculpture, 1914
The Wretched, 1902
Silence and Repose, 1986
Mary Turner (A Silent Protest Against Mob Violence), 1919
The Water Boy, 1930
Untitled (Portrait of a young boy), 1930
Mother and Child, 1962
Emancipation, in plaster, 1913; in bronze, 1999
Etiopia, 1921.

Source:
"The People took exception to her remarks": Meta Warrick Fuller, Angelina Weld Grimke and the Lynching of Mary Turner by Julie Buckner Armstrong.
https://en.wikipedia.org/wiki/Meta_Vaux_Warrick_Fuller

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The Art of Meta Vaux Warrick Fuller - Kentake Page

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Meta Vaux Warrick Fuller was an African-American sculptor, whose career lasted more than seventy years. Fuller is considered the leading woman artist of the Harlem Renaissance; although she both pre-dated and out-lived it. She was known as a multi-talented artist who wrote poetry, painted, and sculpted.

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Jean-Michel Basquiat (December 22, 1960 – August 12, 1988)

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Jean-Michel Basquiat (December 22, 1960 – August 12, 1988)

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Born on 22 December 1960, in Brooklyn, New York. His father, Gérard, was born in Port au Prince, Haiti, and his mother Matilde was a New York-native of Puerto Rican descent. In this multicultural home, the artist grew up speaking Spanish, French and English. His graffiti tag “SAMO” (shorthand for “same old sh*t”) that first drew public attention. Many of Basquiat’s paintings are in some way autobiographical and Untitled, 1981 is largely considered a form of self-portraiture.

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The chaotic brilliance of artist Jean-Michel Basquiat - Jordana Moore Saggese

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Anderson’s vibrant paintings draw on the genres of still-life, landscape and portraiture to explore the way community and identity can be represented. Born in Birmingham to Jamaican parents, Anderson’s practice touches upon his Jamaican heritage as well as referencing wider art history.
https://www.tate.org.uk/art/artists/hurvin-anderson-12583/turner-prize-2017-biography

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Aubrey Williams was a Guyanese artist. He was best known for his large, oil-on-canvas paintings, which combine elements of abstract expressionism with forms, images and symbols inspired by the pre-Columbian art of indigenous peoples of the Americas.
https://www.tate.org.uk/art/artists/aubrey-williams-2314

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Williams_Shostakovitch 3rd Symphony Opus 20

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Anwar Jalal Shemza was an artist and writer active in Pakistan and later the UK. Shemza was initially influenced by Modernism most notably Paul Klee although later works also showed a traditional Islamic influence. He was also an accomplished printmaker, having his work exhibited at the International Print Biennial in Tokyo.

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Anwar Jalal Shemza (b.1928 - d.1985) was born in Simla, India to Kashmiri and Punjabi parents. Shemza attended Mayo School of Arts in Lahore, Pakistan, graduating in 1947. In 1956, already an established artist and writer in his home land, he relocated to England to study at the Slade School of Fine Art. This move marked a significant change in the artist's life and practice. While studying he was astonished to hear one of his lecturers, famed art historian E. H. Gombrich, characterise Islamic art as purely functional. This was a pivotal moment, leading Shemza to abandon previous work and embark on a journey to create a dramatically different style and visual language. His diasporic perspective allowed him to explore modernism through the double prism of Islamic and Western aesthetics. Throughout his career, Shemza's visual vocabulary drew on an array of deeply studied and lived experience, from carpet patterns and calligraphic forms to the environments around him: Mughal architecture from Lahore and the rural landscapes of Stafford, England.

Shemza was devoted to a singular practice in which multiple histories, cultures and experiences were distilled and expressed in pure shape and colour. For the artist, pictorial autonomy was more important than human autonomy, his interest lying in Constructive Picture Formation.[1] The artist had an unwavering dedication to form and process - repeatedly breaking down the structure of shapes to come to a resolved understanding. Parallels can be drawn between a looping structure of language found in his fictional writing and the arrangements he developed through painting. In his compositions, layered elements are distilled into an intensive exploration of geometric abstraction and pattern, built up mostly using just two simple forms: the square and the circle. Inscribed in Urdu script on the surface of his painting One to Nine and One to Seven, 'One circle, one square, one problem, one life is not enough to solve it.' (1962) Through this exploration, he cultivated an exceptional formalist vocabulary in the tradition of Mondrian or Klee with the calligraphic strokes of the Arabic alphabet.

Shemza continued to teach, make, and exhibit art until his death in 1985. An established artist in Pakistan before his move to the UK in the mid 1950s, the young Shemza was an active participant in Urdu literary circles, publishing multiple novels, poems and radio plays, and he edited the journal Ehsas. In 1952, he co-founded the Lahore Art Circle, a group of young artists interested in modernism and abstraction rebelling against the uniform socialist realist style espoused by some progressives. Shortly after his death, Shemza's spectacular painting The Wall (1958) was selected for inclusion in the seminal exhibition The Other Story: Afro-Asian Artists in Post-War Britain, organised by Rasheed Aareen at the Hayward Gallery in 1989. In 1997, Birmingham Museum and Art Gallery staged a large solo exhibition of his work. In more recent years, a solo display at Tate Britain (2015-16) and inclusion in significant exhibitions such as Haus der Kunst's Postwar: Art Between the Pacific and the Atlantic, 1945 - 1965 in Munich (2016 - 17) have cemented Shemza's position as a central figure in a post-colonial reappraisal of 20 th-century modernism.

Shemza 's work is in many public collections including Metropolitan Museum of Art, New York, USA; Tate, London, UK; Ashmolean Museum, Oxford, UK; Guggenheim, Abu Dhabi, United Arab Emirates, Lahore Museum, Lahore, Pakistan; Pakistan National Council of Art, Islamabad, Pakistan; Sharjah Art Foundation, UEA.

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Anwar Jalal Shemza (b.1928 - d.1985) was born in Simla, India to Kashmiri and Punjabi parents. Shemza attended Mayo School of Arts in Lahore, Pakistan, graduating in 1947. In 1956, already an established artist and writer in his home land, he relocated to England to study at the Slade School...

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As described by art critic Carlos Diaz Sosa, Winston Branch paints "abstract canvases in cool, cloudy colours that have a quality which allow the viewer to explore the depths of the mind. Branch uses paint like a symbol, a purely aesthetic language, an illustration of spirit."

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" Why then this need to write on the achievement of the artists which is sufficient to watch. One can eventually, in a simplified manner, recall the need for explanation, particularly in the case of an abstract painting such as that of Winston Branch.

To touch on the main issue, the history of painting shows that the figurative aspect of the painting is always an appearance. The famous analysis of the 'View of Delft' by Vermeer, in the 'Search of lost times' by Marcel Proust depicts it very much.

The profound intention of the painter is to create his own symbolic language. What for the majority of spectators is only descriptive, is in fact the presentation of an inner landscape of the artist. The visionary who tries to transmit his vision to all, who discovers his works and as he gives an opportunity to see, in the capacity of the creator, that which has never been seen before. How surprising that he cannot be understood.

We recall the difficult beginnings of Wassily Kandinsky and of Jackson Pollock. Even so for Picasso, a great media figure who was never abstract, was found incomprehensible before recognition!

And yet, who would dare deny that the art work of these artists has changed our vision of the world. "

André CHAPOT
Castries, November 1994

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Jack Salvador Design, Inc. - www.jsalvador.com

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" Why then this need to write on the achievement of the artists which is sufficient to watch. One can eventually, in a simplified manner, recall the need for explanation, particularly in the case of an abstract painting such as that of Winston Branch.

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Uzo Egonu was a Nigerian-born artist who settled in Britain in the 1940s, only once returning to his homeland for two days in the 1970s, although he remained concerned with African political struggles.
https://www.tate.org.uk/art/artists/uzo-egonu-17942

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Chris Ofili is a British Turner Prize-winning painter who is best known for his paintings incorporating elephant dung. He was one of the Young British Artists.
https://www.tate.org.uk/art/artists/chris-ofili-2543

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Claudette Johnson is a British visual artist. She is known for her large-scale drawings of Black women and involvement with the BLK Art Group.

http://hollybushgardens.co.uk/?page_id=15016

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Lynette Yiadom-Boakye is a British artist best known for her portraits of fictitious subjects painted in muted colours.
https://www.tate.org.uk/whats-on/tate-britain/exhibition/lynette-yiadom-boakye

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Architect
Born 31 October 1950
Died 31 March 2016
'Queen of the Curve'
The first woman to receive the Pritzker Architecture Prize. She received the UK's most prestigious architectural award, the Stirling Prize. In 2012, she was made a Dame by Elizabeth II for services to architecture.

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Jamini Roy was an Indian painter. His early works were in a western, academic style, and he was particularly influenced by Post Impressionism. However, from 1925, Roy turned to traditional Bengali art for inspiration, adopting the style of folk painters or ‘patuas’ who illustrated gods and legends.

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Jamini Roy was an Indian painter best known for combining traditional Indian and Western art styles to create unique, complex works. Born on April 11, 1887 in Beliatore, India, he went on to study under Abanindranath Tagore at the Government College of Art in Kolkata at age 16, where he learned academic drawing and painting in the Western tradition. After graduating, Roy adopted the simple forms, flat colors, and humble paints of Bengali folk artists. The artist garnered impressive success throughout his career, ultimately receiving the Padma Bhushan award from the Government of India in 1954, which is the third highest honor that can bestowed upon a civilian. Today, Roy's works can be found in the collections of the Victoria and Albert Museum in London, the Harn Museum of Art at the University of Florida, and the National Gallery of Modern Art in New Delhi, among others. Roy died on April 24, 1972 in Kolkata, India.

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Jamini Roy was an Indian painter best known for combining traditional Indian and Western art styles to create unique, complex works. View Jamini Roy's 987 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices.

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Yayoi Kusama is a Japanese artist who is sometimes called 'the princess of polka dots'. Although she makes lots of different types of art – paintings, sculptures, performances and installations – they have one thing in common, DOTS!

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Who is she?

Yayoi Kusama is a Japanese artist who is sometimes called 'the princess of polka dots'. Although she makes lots of different types of art - paintings, sculptures, performances and installations - they have one thing in common, DOTS!

What's with all the dots?

Yayoi Kusama tells the story of how when she was a little girl she had a hallucination that freaked her out. She was in a field of flowers when they all started talking to her! The heads of flowers were like dots that went on as far as she could see, and she felt as if she was disappearing or as she calls it 'self-obliterating' - into this field of endless dots. This weird experience influenced most of her later work.

By adding all-over marks and dots to her paintings, drawings, objects and clothes she feels as if she is making them (and herself) melt into, and become part of, the bigger universe. She said:

'Our earth is only one polka dot among a million stars in the cosmos. Polka dots are a way to infinity. When we obliterate nature and our bodies with polka dots, we become part of the unity of our environment'.

She also creates environments of dots so that we can experience this feeling of self-obliteration too. She calls these rooms her 'Infinity Rooms', and creates them by installing hundreds of flashing coloured LED lights into mirrored rooms. The pinpricks of light in the dark room reflect endlessly in the mirrors, making you feel like you are in an apparently endless space. The dots surround and engulf you...it's very hard to tell where you end and where the rest of the room begins!

How did she start?

Yayoi was born in Japan in 1929. She loved drawing and painting and although her parents didn't want her to be an artist, she was determined. When her mum tore up her drawings, she made more. When she could not afford to buy art materials, she used mud and old sacks to make art. This is a drawing she made of her mum when she was 10-years-old.

Eventually Yayoi Kusama persuaded her parents to let her go to art school and study painting.

In the late 1950s she moved to New York as lots of the most exciting art seemed to be happening there. It must have been a bit frightening arriving in a big city with such a different culture from what she knew. But she was determined to conquer New York. She later wrote about her feisty attitude: 'I would stand up to them all with a single polka dot'.

She had the first of many exhibitions there in 1959. She met and inspired important artists including Donald Judd, Andy Warhol and Joseph Cornell, and her art was a part of exciting art developments such as pop art and minimalism. She was also one of the first artists to experiment with performance and action art.

As well as being an art pioneer, Yayoi Kusama put her creativity into other things including music, design, writing and fashion.

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Find out who is Yayoi Kusama. Find out about her dots, her art and infinity mirrors with this Tate Kids art homework guide, includes facts for kids.

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Cai Guo-Qiang (Chinese: 蔡国强; born 8 December 1957)

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Cai Guo-Qiang (Chinese: 蔡国强; born 8 December 1957)

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Cai Guo-Qiang’s multidisciplinary practice is conceptually grounded in contemporary social issues and his lifelong interest in Eastern philosophy as a means to inquire into our relationship with the universe.

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Cai Guo-Qiang - 97 Artworks, Bio & Shows on Artsy

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Find the latest shows, biography, and artworks for sale by Cai Guo-Qiang. While living in Japan from 1986 to 1995, Cai Guo-Qiang began exploring the properti...

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Diana Ali was born in Rusholme, Manchester to Bengali parents and is now based in Nottingham, UK

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Diana Ali was born in Rusholme, Manchester to Bengali parents and is now based in Nottingham, UK

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Her practice involves fictional narratives, drawing, found images and a play on text. She is interested in correspondence, connectivity and collaboration and this is extended through her international curatorial projects.

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Clementine Hunter (late December 1886 or early January 1887 – January 1, 1988) 

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Clementine Hunter (late December 1886 or early January 1887 – January 1, 1988) 

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Clementine Hunter was a self-taught Black folk artist who became a household name in her home state of Louisiana for her bright, whimsical depictions of plantation life in early the 20th century.

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Editorial Feature

How a former cotton picker became one of the most important folk artists of her time

Clementine Hunter may not have been a trained artist, but the self-taught former field hand became a household name in her home state of Louisiana for her bright, whimsical depictions of plantation life in early the 20th century. Often nicknamed the "black Grandma Moses " (another self-taught folk artist who took up painting at a late stage in life), Hunter has made a significant impact on the art world with her vibrant, playful paintings, amassing a fanbase that includes Oprah Winfrey and the late Joan Rivers.

Hunter's exact birthdate is unknown, but it is presumed to be either late 1886 or early 1887, at a time when slavery was still ingrained in living memory. She was born into a Louisian Creole family at Hidden Hill plantation, one of seven children; her grandparents had been slaves, and her parents worked on the plantation where she was born. Hidden Hill had a dire reputation, and it was said to be the inspiration behind the harsh conditions described in the novel Uncle Tom's Cabin.

When she was 15, Hunter moved to Melrose plantation where she worked picking cotton. She only ever attended school for 10 days, forsaking education for work as she preferred working in the fields over books, meaning she never learned to read or write. It was at Melrose where she met Charlie Dupree, a mechanic with whom she had two children. Dupree passed away around 1914 but Hunter found happiness again when she married Emmanuel Hunter in 1924, a local woodchopper. Emmanuel taught Hunter how to speak "American", as before she had only spoken Creole French. She had five more children, and on the morning before giving birth to one of them, she reportedly picked 78 pounds of cotton before going home and calling the midwife. She then returned to picking cotton just a few days later.

In the late 1920s, Hunter moved from being a field hand to working as a cook and a housekeeper. Melrose Plantation was owned by Cammie Henry, who decided to create an artist's colony within its grounds where famous artists and writers could stay and work. In 1939, when Hunter was in her 50s, the New Orleans artist Alberta Kinsey left behind some brushes and paint after her visit; Hunter found them while cleaning and used them to mark out a picture of a river baptism on a window shade. This began her career as an artist.

Hunter painted from memory, recreating scenes from her life, such as picking cotton, washing clothes, and plantation funerals and baptisms. Her style is noted for its vibrant palette and expressive force, and her disregard for normal perspective and scale. Hunter also favored a wide use of materials as canvases: she painted on window shades, jugs, bottles, gourds, and discarded items like cardboard boxes.

One of her most well-known works covers the walls of a food storage building on the grounds of Melrose, which depicts scenes of plantation life on the Cane River. It is painted with oils on plywood, in nine panels that tell the cycles of planting, harvest, celebration, and mourning, as Hunter remembered it from her experiences. The painting depicts field hands weighing cotton, a funeral procession, washday, the pecan harvest, and a trip to the local honky-tonk bar. You can explore the mural, painted in 1955, on Street View below.

With the support of some patrons of the plantation, Hunter was able to practise her art and make a name for herself. François Mignon, the curator of the plantation and a good friend of Hunter gave her paints and materials and became somewhat of a PR figure for the artist. He got her paintings displayed in a local drugstore, where they were sold for $1, and co-authored a cookbook with her. Mignon, who originally came from New York, stayed on at Melrose for about three decades. They were so close that they even chose to be buried together after their deaths.

As Hunter was illiterate, she couldn't sign her paintings, so her friend James Register would sometimes sign the paintings on her behalf, or Hunter would mark her work with a backwards C and an H, joined together like a Chinese character.

Hunter was also a talented sewer, and she sometimes transferred her artistic skills into quilting. She made a few quilts that had similar themes to her paintings. This one below is called Melrose Quilt and portrays the layout of Melrose: Melrose House, where the visiting artists would stay; Africa House, where Hunter painted her famed Cane River mural; Yucca House, a French-Creole cottage that served as the original family home; and another smaller building that may have been where Hunter herself lived.

Although today Hunter is considered a folk art legend, she lived in near poverty for her most of her life, and never travelled more than 100 miles from her home. She sometimes made money by charging people 25c for a tour of her home and the paintings she displayed there, or $1 for a photo with her. In the 1940s she was selling paintings for as little as a quarter, but by the time of her death her work was being sold to dealers for thousands of dollars. However, Hunter didn't paint for the money, she painted because she loved it and would frequently give her paintings away.

Hunter became the first African-American artist to have a solo exhibition at the New Orleans Museum of Art, and even received an invitation to the White House from U.S. President Jimmy Carter. Her art has been displayed in Dallas Museum of Fine Art, the American Folk Art Museum, and the Minneapolis Institute of Arts, among many more. Hunter died in 1988 and is thought to have created around 5,000 to 10,000 pieces of art, despite having first picked up a paintbrush so late in life. She is remembered as an important social and cultural historian and as a pivotal figure in folk art.

You can watch a video of the restoration of Hunter's Africa House murals, here:

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The Inspiring Story of Clementine Hunter - Google Arts & Culture

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Editorial Feature How a former cotton picker became one of the most important folk artists of her time Clementine Hunter may not have been a trained artist, but the self-taught former field hand became a household name in her home state of Louisiana for her bright, whimsical depictions of plantation life in early the 20th century.

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Robert Colescott (August 26, 1925 – June 4, 2009) 

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Robert Colescott (August 26, 1925 – June 4, 2009) 

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Colescott was an American painter. He is known for satirical genre and crowd subjects, often conveying his exuberant, comical, or  reflections on being African American. canvases reckon with the issues that have defined cultural discourse for the last decade: racial tension and class disparity; the decolonisation of the canon; the elusiveness of truth; debates over appropriation and who is allowed to tell someone else’s story.

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Robert Colescott's paintings feel very 2019. Slipping between trippy figuration and allegorical satire, offbeat art history references and Jim Crow-era stereotypes, Colescott's dynamic canvases reckon with the issues that have defined cultural discourse for the last decade: racial tension and class disparity; the decolonization of the canon; the elusiveness of truth; debates over appropriation and who is allowed to tell someone else's story.

These works were not, of course, painted recently. Colescott, who passed away in 2009, enjoyed a lengthy career from the late 1960s through to the 2000s, turning art's own past against itself and reflecting, through art, on what it meant to be a black man in the 20th century. "No American painter of the late 20th century made such telling use of painting's European past to lambaste the painful contradictions of the American present," Roberta Smith wrote in her obituary of the artist .

Yet, despite Colescott's continued relevance and critical favor, his work hasn't received much in the way of institutional attention over the last two decades. Why?

The question over his legacy was the driving force behind " Art and Race Matters: The Career of Robert Colescott ," the first comprehensive retrospective dedicated to the artist, which opened last week at the Contemporary Arts Center (CAC) in Cincinnati and brings together 85 works that span Colescott's 53-year career. The only other major American museum exhibition dedicated to Colescott's work was mounted at the San Jose Museum of Art in 1987, before it also traveled to the CAC, making the new show a fitting return.

"Yes, Colescott was critically acclaimed, but there was also not a lot of writing about him, especially compared to other contemporaries," CAC director Raphaela Platow told artnet News ahead of the opening. "There just wasn't much about him at all."

Platow, who co-curated the exhibition with Lowery Stokes Sims and Matthew Weseley, was struck by the gap between Colescott's reputation and his status. In the years leading up to the CAC show, she and her team assembled a number of academics, curators, and museum directors in panels and seminars, looking at this enigma.

"We got a lot of answers from a lot of different perspectives," Platow explained. "Some said it was the potency of the work, perhaps, or the way he lived his life. Maybe it was simply the subject matter and the fact that he always put things in the most subversive way possible-he always put his finger in the wound. But nobody was able to give me a straightforward reason."

Stokes Sims, a longtime friend of the artist, isn't so mystified.

"He misbehaved," she explains matter-of-factly. "He did not conform to any of the canonical ideas about painting, about depictions, about points of view-he just misbehaved and we're all better for it."

Colescott was born in Oakland in 1925 and spent most of his life on the West Coast. After a tour in the army during World War II, he studied drawing and painting at UC Berkeley. He taught for nearly a decade at Portland State University before moving back to California in 1970, where he went on to take positions at places like , San Francisco Art Institute , and his own alma mater.

He completed many of his best-known works during the mid-to-late '70s, wryly reimagining canonical classics with African American characters. In 1975, for what is among his most well-known works, he took on Emanuel Leutze's Washington Crossing the Delaware , replacing the former president with inventor George Washington Carver. That same year, he made his own version of Van Gogh's The Potato Eaters , with an all-black cast. In the top right of the picture is the painting's title: "Eat Dem Taters."

"This is very unapologetic work," says Stokes Sims. "Yet, even at its most outrageous, his work is very earnest and serious about making a point."

Stokes Sims first came across Colescott's work at Semaphore Gallery in the 1970s, when she was working at the Met. "I looked at those paintings and went, 'Oh my God,'" she recalls. "They just took every truism, habit, nicety, and tradition in life and blew them away. I loved it. They changed my life."

Whether because of bad timing, bad luck, or a conscious refusal of current trends, she notes that Colescott's work often seemed to exist on a pole opposite the trend cycles of the art world. In the 1970s, he was playing with the limits of figuration while the art world was focused on idea-based art and conceptual practices. In the '80s, Colescott was making paintings rife when symbolism while the famous artists of the era were all reverting back to manly abstraction.

Even within the sphere of black artists, he operated on a different frequency.

"The kind of black figuration that was accepted at that time was about this polemic about black liberation," says Stokes-Sims. "Colescott was kind of about a liberation, but a liberation from the strictures of stereotypes and conformity and good behavior. He brought an irreverence to that polemic."

Colescott's brand of cultural critique loomed large for the generation that followed his. Stokes Sims and Platow point to artists like Kerry James Marshall, Kara Walker, and Joyce Scott as people who followed his lead in appropriating stereotypical black imagery to funny, absurd, and moving ends. Aesthetically, the echo of Colescott's brand of "lumpy figuration" (Stokes Sims's phrase for it) can be seen everywhere in galleries right now.

Mounting an exhibition dedicated to a deceased artist is relatively uncommon for the CAC, which focuses mostly on living contemporary artists. Yet, for Platow, the opportunity to enter the conversation about Colescott's legacy was one she couldn't pass up.

"We felt that Robert Colescott was one of the protean figures that was so influential on peers and younger artists, and in a way that hadn't been uncovered or talked about or acknowledged," she says. "He was a living, breathing contradiction to so many people. He looked with great reverence to art history for source material, and then at the same time he did something so very different than anything that had ever been done before, content-wise. There were just so many things that didn't make sense, that couldn't be easily packaged: the gaudiness of the brush strokes, the bluntness of it, the in-your-faceness of it. I think he just confounded people."

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Robert Colescott Influenced a Generation of African American Artists. Now, a Major Retrospective Puts His Irreverent Art Front and Center | artnet News

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Robert Colescott's paintings feel very 2019. Slipping between trippy figuration and allegorical satire, offbeat art history references and Jim Crow-era stereotypes, Colescott's dynamic canvases reckon with the issues that have defined cultural discourse for the last decade: racial tension and class disparity; the decolonization of the canon; the elusiveness of truth; debates over appropriation and who is allowed to tell someone else's story.

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Sir Anish Kapoor CBE, RA (born 12 March 1954) 

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Sir Anish Kapoor CBE, RA (born 12 March 1954) 

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British Indian sculptor specializing in installation art and conceptual art. Throughout his career, Kapoor has worked on a variety of scales and with diverse materials—mirrors, stone, wax, and PVC—exploring both biomorphic and geometric forms with a particular interest in negative space. “That's what I am interested in: the void, the moment when it isn't a hole,” he explained. “It is a space full of what isn't there.”

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Nigerian-born visual artist working in Los Angeles, California. Akunyili Crosby's art "negotiates the cultural terrain between her adopted home in America and her native Nigeria, creating collage and photo transfer-based paintings that expose the challenges of occupying these two worlds

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Delita creates large-scale prints onto which she draws, sews, collages, and paints. Working from oral traditions, vintage and family photographs as a source of inspiration, Martin’s work explores the power of the narrative impulse. Her process of layering various printmaking, drawing, sewing collaging and painting techniques allow her to create portrait that fuse the real and the fantastic.

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Biography

Delita Martin is an artist currently based in Huffman, Texas. She received a BFA in drawing from Texas Southern University and an MFA in printmaking from Perdue University. Formerly a member of the Fine Arts faculty at the University of Arkansas at Little Rock, Martin currently works as a full-time artist in her studio, Black Box Press.

Working from oral traditions, vintage and family photographs as a source of inspiration, Martin's work explores the power of the narrative impulse. Her process of layering various printmaking, drawing, sewing collaging and painting techniques allow her to create portrait that fuse the real and the fantastic. In her work, she combines signs and symbols to create visual language. By fusing this visual language with oral storytelling, she offers other identities and other narratives for women of color.

Martin's work has been exhibited both nationally and internationally. Most recently, Martin's work was included in State of the Arts: Discovering American Art Now, an exhibition that included 101 artists from around the United States. She was also included in the International Review of African American Art as one of 16 African American artists to watch, as they are gaining national and international attention in 2015.

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Delita Martin is an artist currently based in Huffman, Texas. She received a BFA in drawing from Texas Southern University and an MFA in printmaking from Perdue University. Formerly a member of the Fine Arts faculty at the University of Arkansas at Little Rock, Martin currently works as a full-time artist in her studio, Black Box Press.

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Born in 1934 in Guyana,  Bowling grew up with his family in New Amsterdam. His paintings relate to Abstract expressionism, Colour Field painting and Lyrical Abstraction.
In 2005 Frank Bowling became the first black British artist elected as a Royal Academician and was awarded the Order of the British Empire in 2008 for services to art.

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Born in 1934 in Bartica, British Guiana (now Guyana), Frank Bowling grew up with his family in New Amsterdam. He moved to London at the age of 19 to pursue poetry and art. He graduated from the Royal College of Art in 1962, and has since the mid 60s spent part of each year between London and New York where he maintains studios.

In 2005 Frank Bowling became the first black British artist elected as a Royal Academician and was awarded the Order of the British Empire in 2008 for services to art.

Frank Bowling exhibits in Europe, the United Kingdom and the United States. His works are included in important private and corporate collections worldwide including the Metropolitan Museum and Museum of Modern Art in New York and the Tate Gallery in London where he has had a major retrospective.

Frank Bowling © 2020

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Born in 1934 in Bartica, British Guiana (now Guyana), Frank Bowling grew up with his family in New Amsterdam. He moved to London at the age of 19 to pursue poetry and art. He graduated from the Royal College of Art in 1962, and has since the mid 60s spent part of each year between London and New York where he maintains studios.

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Dr. Chila Kumari Burman 1957 (age 63 years)

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Dr. Chila Kumari Burman 1957 (age 63 years)

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Chila Kumari Singh Burman is an artist who examines representation, gender and cultural identity. She works across the mediums of print making, painting, installation and film.

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Artist

Auto Portrait, 2012-18 by Chila Burman

Chila Kumari Singh Burman is an artist who examines representation, gender and cultural identity. She works across the mediums of print making, painting, installation and film.

Born in Bootle to Punjabi-Hindu parents, who had just emigrated to England, she attended Southport College of Art, Leeds Polytechnic and Slade School of Fine Art, and completed her MA in 1982. She was a key figure in the British Black Arts movement in the 1980s, and since then has remained rooted in her understanding of the diverse nature of culture. Shaped by her upbringing, she has continually broken stereotypes emancipating the image of women through her works.

At a time when the place of women in society and in the public space agitates mainstream news, Burman's work seems to resonate even more today in our collective imagination. From the 1970s, Burman produced overtly political works in reaction to English politics and international conflicts. Throughout the 1980s, she increasingly used self-portrait as a tool of empowerment and self-determination.

In 2017, Burman was awarded an Honorary Doctorate and an Honorary Fellowship from the University of Arts in London. She has exhibited widely both nationally and internationally. Her works are held in public collections including Tate, Wellcome Trust, British Council, the Victoria and Albert Museum, Science Museum and Arts Council.

Chila Burman lives and works in London, England.

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Artist Auto Portrait, 2012-18 by Chila Burman Chila Kumari Singh Burman is an artist who examines representation, gender and cultural identity. She works across the mediums of print making, painting, installation and film. Born in Bootle to Punjabi-Hindu parents, who had just emigrated to England, she attended Southport College of Art, Leeds Polytechnic and Slade School of Fine Art, and completed her MA in 1982.

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Brianna McCarthy is a mixed media visual communicator working and living in Trinidad + Tobago.
She is a self-taught artist and aims to create a new discourse examining issues of beauty, stereotypes, representation as well as the documenting the process – particularly poignant in an ever smaller digitally connected world.
Her form takes shape through masking and performance art, fabric collage, traditional media, and installation pieces.

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photo by Arnaldo James. 2012. Brianna McCarthy is a mixed media visual communicator working and living in Trinidad + Tobago. She is a self-taught artist and aims to create a new discourse examining issues of beauty, stereotypes, representation as well as the documenting the process - particularly poignant in an ever smaller digitally connected world.

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Yinka Shonibare CBE, RA (born 1962) is a British-Nigerian artist living in the United Kingdom.

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Yinka Shonibare CBE, RA (born 1962) is a British-Nigerian artist living in the United Kingdom.

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His work explores cultural identity, colonialism and post-colonialism within the contemporary context of globalisation. A hallmark of his art is the brightly coloured Dutch wax fabric he uses.

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Criminal Ornamentation

Yinka Shonibare MBE curates the Arts Council Collection
The Arts Council Collection touring exhibition, Criminal Ornamentation opens at Attenborough Arts Centre, Leicester, 21 September-16 December 2018, then tours throughout the UK.
Yinka Shonibare MBE curates a new Arts Council Collection touring exhibition opening at Attenborough Arts Centre, Leicester, this September. Criminal Ornamentation features a number of celebrated artists including Timorous Beasties, Susan Derges, Laura Ford, Ed Lipski, Alexander McQueen, Milena Dragicevic, Lis Rhodes, Bridget Riley, Yinka Shonibare MBE, Caragh Thuring and Bedwyr Williams. Reflective of Yinka's own practice, this exhibition explores the cultural and social dimensions of the use of pattern in modern and contemporary art. The title of the show is taken from Adolf Loos' 1908 influential essay 'Ornament and Crime '. In this essay, Loos' examines the notions of good and bad taste and condemns the use of decoration and craft as an indication of the lowest level of cultural development, to the extent of stating 'the modern man who tattoos himself is a criminal.' Yinka Shonibare MBE challenges this notion by saying 'Adolf Loos was clearly a man of his time in his snobbish revolutionary zeal to abandon ornamentation as he saw it as the pre-occupation of the working classes and degenerates'.

Included in the exhibition are a range of works that Shonibare has chosen to challenge the notion of the ornament as crime. Shonibare looks to embrace colour, ornament and pattern as a means for social and political expression. Acclaimed artist Bridget Riley, for example, uses geometric patterns and repetition within Ecclesia (1985). Operating as more than bands of colour and stripes; Riley creates new shapes and spaces by changing the viewer's point of perception. Similarly, Andy Holden's Totem for Thingly Time, a sculptural piece formed of dripping plaster was made as an attempt to 'reveal the time of its own construction'. Painter Sean Scully creates an interplay of expansion and restriction through the constant repetition of lines and structures within his work.

Bedwyr Williams' The Burn, a shell-encrusted metal BBQ, plays with the idea of 'kitsch' - highlighting issues surrounding class, taste and snobbery. These themes are also documented in Ron McCormick's Man by China Stall; a photograph depicting a man surrounded by decorative pottery that was popular at the time but considered 'kitsch' by the elite. These works explore how society's taste changes over time and examines the crossover between ornaments, craft and art. A number of works in the exhibition suggest the diverse potential of abstract patterns within art. As well as acting as decorative pieces, they explore postcolonialism and the strong connection between individuals and society. Bashir Makhoul's Zigzag explores the theme of politics through the use of Islamic pattern; the painting questions 'western capitalism and the Eastern Oil Empire'. Ardyne Point by Caragh Thuring draws inspiration from a local protest at a Scottish oil rig yard, using pattern to create a multitude of opportunities for different interpretations. Comedy is often present throughout the exhibition, Timorous Beasties' 'London Toile' wallpaper, for example, portrays a dark sense of humour in its mismatch between form and content. From a distance the work resembles a traditional chintz pattern, however up close there are many shocking contemporary references including the depiction of a mugging, a seemingly homeless man on a park bench and a recognisable brutalist landmark, the Trellick Tower. Throughout the exhibition, it is possible to see evidence of Yinka Shonibare MBE aiming to break down the boundaries of gender association through the use of pattern and fabric. An embroidered evening dress and a metallic clutch bag by fashion designer Alexander McQueen are placed in Criminal Ornamentation alongside other works, blurring the boundaries between high and low art, cheap and luxurious, craft and art.
Tour details:
Attenborough Arts Centre, Leicester - 21 September-16 December 2018
Royal Albert Memorial Museum, Exeter - 19 January-16 March 2019
Longside Gallery, Arts Council Collection, Wakefield - 5 April-16 June 2019
Southampton Art Gallery - 28 June-28 September 2019

Yinka Shonibare MBE: Ruins Decorated

Goodman Gallery Johannesburg
YINKA SHONIBARE MBE: RUINS DECORATED Goodman Gallery Johannesburg
Exhibition opening: Saturday 1 September at 18:00.

On view until 10 October 2018.

Ruins Decorated marks Yinka Shonibare's first solo exhibition with Goodman Gallery, his second solo in South Africa and a rare moment of visibility on the African continent. For this exhibition of new and never before exhibited work, Shonibare asks questions on what it means to forge modern African identities and complicates debates on cultural appropriation.

What I do is create a kind of mongrel. In reality most people's cultures have evolved out of this mongrelization, but people don't acknowledge that. - Yinka Shonibare MBE

For Yinka Shonibare's second solo exhibition in Africa and his first on the continent in fifteen years, the British-Nigerian artist presents Ruins Decorated - a new body of work which sparks a state of charged curiosity.
Can an historically dominant culture ever empathise with another culture? What happens then when former subjects of the British Empire become cultural hybrids themselves? To what culture do they show allegiance? Can the hybridisation of icons of power be the solution to breaking down binaries required by dictatorship and prejudice?
Through beguiling sculptures, staged photographs and paintings, film and installation, Shonibare considers narratives of power and reinvention in relation to the rise and fall of western empires and the struggles for African Independence.

Part one of the exhibition presents ruined historical symbols of Roman and British Empires embellished in Dutch wax Indonesian Batik / 'African' textiles. Shonibare transforms the classical white marble body into colourful sculptures - the decoration of power in the wrong colours.

'Some might say the right colours, as the original classical sculptures would have been painted in bright colours', Shonibare points out. 'That is before Johann Winchelmann, the 19th century historian, created his fallacy of the superiority of the white classical marble sculpture'.

More questions, and possible solutions, surface:
Can the seemingly ruined be remade in the inclusive colours of the excluded? Can the power of collusion and hybridisation create a third ideal which transcends prejudice?
This exploration of hyphenated or 'mongrelised' selves prompts ways for expanding dialogues on cultural 'appropriation', teasing out possibilities for re-imagining modern African identities that complicate essentialist constructs of race and nationality.

Part two of Ruins Decorated juxtaposes Addio Del Passato (2011), a film about a colonial hero's betrayal of his wife and his eventual decline, alongside a series of photographs in which Admiral Nelson's death is re-imagined through the depiction of death in historical paintings. Nelson's demise is re-enacted and his image (donning a uniform made out of 'African' textiles) is transformed through its decoration.

Part three - the sculpture Post-Colonial Globe Man - presents a man wearing Victorian clothes made out of another variation of 'African' pattern, balancing precariously on a large globe. The globe shows a map of the British Empire before the first world war. The man's head is replaced with another globe, depicting a post-colonial map of the world as it looks today.

Part four, The African Library, considers the contributions of people like Kwame Nkrumah and Nelson Mandela to African independence struggles following the second world war. For this installation, 5000 books have been covered in 'African' textiles and bear the names of post-independence African presidents and famous Africans in literature, science, music, art, engineering and theatre as well as pro-African Europeans. The African Library is to be presented in this iteration for the first time.

While the exhibition marks a rare moment of visibility for the artist on the African continent, it also forms part of an increasing momentum to engage with Shonibare's practice in South Africa, following Addio Del Passato on Zeitz MOCAA's inaugural exhibition in 2017 and soon to be followed by the Norval Foundation's exhibition of Wind Sculpture (SG) III in February 2019.
http://www.goodman-gallery.com
The American Library

'The American Library' 2018 at Cleveland Triennial for Contemporary Art, July 14 - September 30

The American Library, 2018

Cleveland Triennial for Contemporary Art, July 14 - September 30

https://www.theamericanlibraryinstallation.com

The American Library by Yinka Shonibare MBE is a celebration of the diversity of the American population. It aims to be an instigator of discovery and debate. The thousands of books in this art installation are covered in the artist's signature Dutch wax printed cotton textile. These fabrics were originally based on Indonesian batik textiles, made in the Netherlands and sold in West Africa. Since the 1960s this fabric has been celebrated as a symbol of African identity. The mixed origins of the fabric make it a perfect metaphor for the multicultural identity embedded in the history of the United States.

On the spines of many of these books are, printed in gold, the names of people who immigrated, or whose antecedents immigrated to the United States. On other books are the names of African Americans who relocated or whose parents relocated out of the American South during the Great Migration. These names includeW. E. B. Du Bois, Maria Goeppert Mayer, Steve Jobs, Bruce Lee, Ana Mendieta, Joni Mitchell, Toni Morrison, Barack Obama, Steven Spielberg, Carl Stokes, Donald Trump and Tiger Woods. These people have all made a significant contribution to aspects of American life and culture and represent every field from science to activism, music to philosophy and art to literature. Most of these people have also experienced varying degrees of discrimination and hardship during and after their or their family's relocation. A further set of books within the library features the names of people who have spoken out against immigration, equality or diversity in America.

Through the website included in this installation you can learn more about the reasons for the migration of large groups of people and access content looking at immigration and internal mass migration from pro, anti and neutral viewpoints. Further information about the individuals named on the books is also available on this site.

The American Library is inspired by the ongoing debates about immigration and diversity in the United States, such as the discussion around the travel ban and the proposal to build a wall on the Mexican border to reduce immigration. It also looks at the discrimination against certain groups within the United States, despite their contributions to the country.

This installation asks us to consider what our society would be without the gifts that America's immigrant populations and minority groups have brought to this land. It represents those seen as the 'other' who have made a valuable contribution to the nation's history. However, it also looks at the people who have spoken out against those they don't see as 'truly American' as a way to further explore these complex issues at the forefront of American life today.

This work was commissioned by Front International: Cleveland Triennial for Contemporary Art with funds from VIA Art Fund and with the assistance of James Cohan Gallery, New York. It is on display at Cleveland Public Library from July 14 until September 20, 2018.

FRONT International: Cleveland Triennial for Contemporary Art

FRONT International: Cleveland Triennial for Contemporary Art is an exhibition comprised of artist commissions, performances, films, and public programs that will launch its inaugural edition in July of 2018. An American City: Eleven Cultural Exercises, in collaboration with museums, civic institutions, and alternative spaces across Cleveland, Akron and Oberlin, will showcase an ambitious roster of projects, including performance and theater throughout the landscape and built environment. With a roster of national, international and area-based artists at all points in their career, FRONT will examine the ever-changing and politically urgent conditions of an American city.

'Talisman in the Age of Difference' at Stephen Friedman Gallery

5 June - 21 July 2018

Private view
Monday 4 June, 6-8pm

Stephen Friedman Gallery presents the exhibition 'Talisman in the Age of Difference' curated by pioneering British artist Yinka Shonibare MBE. This exhibition is a journey of encounters that explores ideas of magic and subversive beauty in work by artists of African origin and across the diaspora and artists who empathise with the spirit of African resistance and representation. Presenting an eclectic and surprising range of works, the exhibition includes painting, sculpture, drawing and other objects from the early twentieth century to the present day. A talisman is thought to possess transformative energy as with a lucky charm, fetish, amulet, mascot, totem, idol or juju. The featured artists transform perception and materials into a form of talisman, a manifestation of protest and difference. The civil rights movement and identity politics are explored by a number of artists here. Others pursue an alternative path in their shared search for originality, spirituality and the sublime. As with his own practice, Shonibare has selected artists who make provocative work that consciously belies a subversive and political message and does not necessarily conform to a western vision of art.

For artists such as Genevieve Gaignard and Deborah Roberts, this is the first time they have shown in the UK. Rebellious, combative themes run through the works of these two artists who shake the foundations of tired, long held beliefs about black identity. The transformation of an everyday material reflects its power to act as a totem
or mascot. Leonardo Drew reconfigures materials into wall-based reliefs which appear to have a magical purpose. Melvin Edwards uses steel to commemorate historical civil rights violations against African Americans, whilst the work of Beauford Delaney, Jacob Lawrence and William Pope. L illustrates the simultaneous complexity and beauty of African American life.

The work of David Hammons, John Outterbridge and Betye Saar is characterised by the transformation of cultural objects into magical, fetishistic assemblages. Similarly, William Kentridge's powerful work confronts South African politics and history with a lyrical and poetic expressionism. South African born artist Marlene Dumas' unflinching and emotionally charged portraiture explores sexuality and death. Kehinde Wiley reimagines history to unpack the present: a talismanic alteration of history, where contemporary black bodies are rendered with regal majesty. Zanele Muholi's portraits of transwomen and non-binary models strikes an empowered note of joy. Similarly, in Samuel Fosso's photographic self-portraits the artist poses as key historical African figures. Zak Ove and Kendell Geers make sculpture that bridges western art tropes and African cultural references. Jake & Dinos Chapman's series 'The Chapman Family Collection' combines ethnographic artefacts with McDonald's characters to critique the mechanics of globalisation. Irvin Pascal produces playful self-portraits on wood which evoke historical artefacts. Thomas J Price's sculptural studies and the painted portraits of Derrick Adams seek to re-position how the black male is perceived.

omare Bearden's cubist inspired collages, Abe Odedina's magical paintings on panel, Armand Boua's scene paintings on cardboard and Jeremiah Quarshie's hyper-realistic paintings present the black body as authentic and sometimes poetic allegories of everyday life. Hassan Hajjaj's photographs fuse fashion photography with Moroccan cultural references to unpack perceptions of North Africa. Mickalene Thomas and Lisa Brice question the conventions of beauty, each contesting art historical portrayals of women. Portia Zvavahera's magical realist paintings are taken from real-life and rendered in exuberant colour. Kara Walker addresses historical wrongdoing, whilst Lubaina Himid, Isaac Julien and Hew Locke examine Britain's colonial past, just as Larry Achiampong's series 'Glyth' critiques contemporary Britain. Like Shonibare, all of these artists value art as a talisman: a vehicle for change.

At the heart of the exhibition, Shonibare is asking, 'Can political art truly convey the power of its subject? Can art that is unconventionally beautiful be a form of resistance? 'Talisman in the Age of Difference' seeks to answer these questions.

Artist List: Larry Achiampong (British), Derrick Adams (American), Ghada Amer (Egyptian), Benny Andrews (American), Michael Armitage (British / Kenyan), Romare Bearden (American), Armand Boua (Ivorian), Frédéric Bruly Bouabré (Ivorian), Sonia Boyce (British), Lisa Brice (South African), Jake & Dinos Chapman (British), Beauford Delaney (American), Leonardo Drew (American), Marlene Dumas (South African), Melvin Edwards (American), Samuel Fosso (Cameroonian), Genevieve Gaignard (American), Kendell Geers (South African), Hassan Hajjaj (British / Moroccan), David Hammons (American), Lubaina Himid (British), Kudzanai-Violet Hwami (Zimbabwean), Isaac Julien (British), William Kentridge (South African), Abdoulaye Konaté (Malian), Jacob Lawrence (American), Hew Locke (British), Whitfield Lovell (American), Zanele Muholi (South African), Wangechi Mutu (Kenyan), Otobong Nkanga (Nigerian), Abe Odedina (Nigerian), Temitayo Ogunbiyi (American), John Outterbridge (American), Zak Ove (British), Irvin Pascal (British), William Pope L. (American), Thomas J Price (British), Jeremiah Quarshie (Ghanaian), Faith Ringgold (American), Deborah Roberts (American), Betye Saar (American), Zina Saro-Wiwa (Nigerian), Mickalene Thomas (American), Bill Traylor (American), Kara Walker (American), Kehinde Wiley (American), Portia Zvavahera (Zimbabwean).

Gallery Hours
Tuesday to Friday, 10am -- 6pm
and Saturday, 11am -- 5pm
http://www.stephenfriedman.com/exhibitions
Yinka Shonibare MBE: Wind Sculpture (SG) I

March 7th 2018 - October 14th 2018 at Doris C. Freedman Plaza, Central Park, New York.

February 21, 2018, NEW YORK, NY- On March 7, Public Art Fund will present Wind Sculpture (SG) I, a new sculpture by Yinka Shonibare MBE commissioned for Doris C. Freedman Plaza at the southeast entrance to Central Park. Created from fiberglass and covered with an intricate pattern, the 23-foot-tall sculpture will rise above the plaza, reminiscent of the untethered sail of a ship billowing in the breeze. Its unique, hand-painted pattern in turquoise, red, and orange - colours that the artist associates with his childhood on the beaches of Lagos - is inspired by Dutch wax batik print, which Shonibare has called the "perfect metaphor for multilayered identities". This is the first work in a second generation of his celebrated Wind Sculpture series and continues Shonibare's ongoing examination of the construction of cultural identity through the lens of colonialism. The work will create an opportunity to reflect on social issues associated with our current moment, including the movement of people and ideas across borders and the role of monuments in heterogeneous societies. Yinka Shonibare MBE: Wind Sculpture (SG) I will be on view March 7 - October 14, 2018 in Doris C. Freedman Plaza, Central Park.

"Monumental in scale and imposingly sited on axis with the entrance to Central Park, Yinka Shonibare's Wind Sculpture (SG) I assumes the aspect of a classical civic monument. However, its lithe and undulating form and its vibrant, colorful surface suggest a very different approach," says Public Art Fund Director & Chief Curator Nicholas Baume. "This is one of his most abstract works, yet it still tells a story. Its patterned, fluttering sail suggests the geographical, cultural, and personal layers of a migration borne aloft on the cross currents of colonial history."

Shonibare has described himself as a post-colonial hybrid, and his work in painting, sculpture, photography, film, and performance utilizes unexpected combinations of pattern and form to examine race, class, migration, and identity in a globalized world. The form of Wind Sculpture (SG) I suggests the movement of wind and natural elements rendered three-dimensionally through fabric, but also the sail of a ship, which for centuries was the only means of traversing oceans to exchange culture and ideas. The patterns on the surface are borrowed from vibrant batik textiles, which Shonibare has utilized in many forms and mediums and are often associated with European colonization of West Africa. However, these fabrics have a complicated history and came to the African continent by way of Indonesia through Dutch colonization in the 1800s. Today, these fabrics are still manufactured in the Netherlands, and sold and worn throughout West Africa. With Wind Sculpture (SG) I, Shonibare uses fabric as an entry point to rethink history and meaning and the relationship between Europe and Africa; it presents a story of shifting design and culture that also speaks to the confluence of many identities in public spaces.

In 2013, Shonibare first started working with fiberglass in a large-scale format beginning with the first generation of Wind Sculpture I-VII. Wind Sculpture VII was installed permanently outside the Smithsonian National Museum of African Art in 2016. This transition to a second generation of sculptures includes a design of increased size and complexity, featuring multiple twists and deeper folds in the structure.

In conjunction with the exhibition, Yinka Shonibare MBE will give a Public Art Fund Talk in collaboration with the Vera List Center for Art and Politics at The New School on March 5 where he will discuss his new work as it relates to his art practice and working in public space.

The exhibition is curated by Public Art Fund Director & Chief Curator Nicholas Baume.

MetFridays: An Evening with Yinka Shonibare
Friday 9th March 2018
On Friday 9 March, Yinka Shonibare will be discussing his career, committed to exploring contemporary African identity with Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem.

More details: https://metmuseum.org/events/programs/met-speaks/free-lectures/yinka-shonibare

Yinka Shonibare MBE: Talks at The New School

In Conversation with Nicholas Baume, Director of Public Art Fund at the New Art School, New York

Monday 5th March, 6.30pm : The New Art School, 63 Fifth Avenue between 13th and 14th Streets

Yinka Shonibare's talk at The New School accompanies Public Art Fund's upcoming exhibition, Wind Sculpture (SG) I, a new sculpture commissioned for Doris C. Freedman Plaza at the southeast entrance to Central Park. Created from fiberglass and covered with an intricate pattern, the 23-foot-tall sculpture will rise above the plaza, reminiscent of the untethered sail of a ship billowing in the breeze. Its unique, hand-painted pattern in turquoise, red, and orange - colors that the artist associates with his childhood on the beaches of Lagos - is inspired by Dutch wax batik print, which Shonibare has called the "perfect metaphor for multilayered identities". This is the first work in a second generation of his celebrated Wind Sculpture series and continues Shonibare's ongoing examination of the construction of cultural identity through the lens of colonialism. Wind Sculpture (SG) I will be on view March 7 - October 14, 2018 at Doris C. Freedman Plaza, Central Park.

For the Public Art Fund Talk at The New School, Shonibare will be in conversation with Nicholas Baume, Director and Chief Curator of Public Art Fund, who organized Wind Sculpture (SG) I.

https://www.publicartfund.org/view/public_programs/6629_talks_at_the_new_school_yinka_shonibare_mbe

From Life

11th December - 11th March 2018 at The Royal Academy of Arts
From Life
The Royal Academy of Arts presents From Life, a special exhibition project taking place across two distinct spaces: the Sackler Wing of Galleries and the Tennant Gallery. From Life examines what making art from life has meant to artists throughout history and how the practice is evolving as technology opens up new ways of creating and visualising artwork.

Drawing from casts of Classical and Renaissance sculpture and life models was long considered essential training for any aspiring artist, and was once a staple of the RA Schools, Britain's longest established fine art school. Beginning with a display of historic paintings and works on paper drawn from the RA Collection, From Life explores the practice of life drawing, from the origins of the Royal Academy in the 18th century to the present day, whilst also looking to the future. Historic paintings by artists such as Johann Zoffany are followed by works in a diverse range of media by contemporary artists, including Jeremy Deller's Iggy Pop Life Class (2016), Cai Guo-Qiang's film One Thousand Youngsters Drawing David (2010)and Jenny Saville's Entry (2004). From Life also presents work by Royal Academicians who continue to interrogate the practice of working from life, among them Antony Gormley, Chantal Joffe, Michael Landy and Gillian Wearing.

For the first time the Royal Academy is working with artists exploring emerging technologies, which presents them with new ways to both observe and represent themselves and the world around them. Farshid Moussavi RA, Humphrey Ocean RA, Yinka Shonibare RA and Jonathan Yeo have experimented with virtual reality technologies, creating new artwork for the exhibition using virtual reality platform HTC Vive and artistic software programmes, including Google's Tilt Brush and MakeVR Pro. Farshid Moussavi's VR experience transports visitors into masterpieces of ecclesiastical architecture, which they can adapt and transform themselves, while creative technology and content studio Happy Finish have worked with Yinka Shonibare to develop a three-dimensional rendering of a neo-classical painting, featuring a cast of Venus dressed in Shonibare's trademark batik fabric. Meanwhile, Humphrey Ocean invites audiences to create their own three-dimensional sketches within a playful virtual environment centred on the artist's fascination with chairs.

From Life reveals the creative process in making these new artworks, as well as opening up the exciting potential of future artistic applications of virtual reality. HTC Vive has supported the development of these works, which will also be available for audiences to experience at home on Viveport, HTC's global VR app store. Google Arts & Culture is working with artist Jonathan Yeo to create the first physical free-standing sculpture in metal made by using Tilt Brush. The visitors' experience of the virtual reality element within the exhibition will depend on availability. As each virtual reality artwork can only be experienced individually, access cannot be guaranteed.

Tim Marlow, Artistic Director of the Royal Academy of Arts said: "This is an experimental project that explores everything from artistic process to technological evolution and creative collaboration. In a sense, From Life embodies what an artist-run academy was, is and might become."

Sky Arts have commissioned immersive content studio Factory 42 to produce a documentary entitled Virtual Reality: Mystery of Creativity, which explores creating art in a virtual environment and how artists use these cutting-edge technologies to explore the limits of traditional artistic methods. There are also a series of short films across the Royal Academy's online platforms, as well as available via the Sky VR and Google Arts & Culture apps.

250 free life drawing experiences for 250 years: To coincide with From Life and as part of the 250 th anniversary celebrations in 2018, the Royal Academy is offering free life drawing classes for 250 people of all abilities in the historic Life Room in the RA Schools. Each class is for a particular group that has a special relationship with either the RA, drawing, or the human body, from members of the Royal Academy's outreach programmes to nurses and architects. The guest tutors will not be revealed until the life drawing class begins. The project will be documented by online features and videos.
Organisation
From Life is organised by the Royal Academy of Arts, London. The exhibition is curated by Adrian Locke, Royal Academy of Arts.
Dates and Opening Hours
Open to public: 11 December 2017 - 11 March 2018

10am - 6pm daily (last admission 5.30pm)

Late night opening:Fridays until 10pm (last admission 9.30pm)

Mobility Unlimited Challenge

Toyota Mobility Foundation & Nesta's Challenge Prize Centre

Toyota Mobility Foundation & Nesta's Challenge Prize Centre launch a multi-million dollar challenge to expand mobility across the globe for people with lower-limb paralysis. Mobility Unlimited Challenge will reward the development of personal mobility devices incorporating intelligent systems.

The Mobility Unlimited Challenge is seeking teams around the world to create game-changing technology that will help radically improve the mobility and independence of people with paralysis.

The Mobility Unlimited Challenge aims to harness creative thinking from across the world to accelerate innovation and encourage collaboration with users to find winning devices to transform the world for people with lower-limb paralysis. The Challenge will reward the development of personal mobility devices incorporating intelligent systems.

The mobility solutions of the future could include anything from exoskeletons to artificial intelligence and machine learning, from cloud computing to batteries. Around the world, millions of people have lower-limb paralysis (the most common causes being strokes, spinal cord injury and multiple sclerosis). While there are no statistics on paralysis worldwide, the World Health Organization estimates there are 250,000-500,000 new cases of spinal cord injury globally every year.

Innovation in "smarter" mobility technology has the potential to create personal devices that are better integrated with the user's body and the environment. But the application of this groundbreaking technology is slow due to disincentives such as small and fragmented markets, regulatory burdens, and reimbursement complexities from healthcare systems and insurers. This can make the field unattractive to small or new entrants, and prevent innovative solutions by existing innovators from getting to market. Even though huge advances have been made in improving travel between places, innovation in everyday functionality still lags behind.

The Mobility Unlimited Challenge Prize is supported by a number of ambassadors from around the world, all of whom have experience of living with lower-limb paralysis. Global ambassadors include: Aki Taguchi, Director, Paralympian Association of Japan; August de los Reyes, Head of Design at Pinterest; Indian athlete and campaigner Preethi Srinivasan; Dr Rory A Cooper, director of the Human Engineering Research Laboratories at the University of Pittsburgh; Sandra Khumalo, South African rower; Sophie Morgan, British TV presenter; US track & field athlete Tatyana McFadden; and Yinka Shonibare MBE, Turner-Prize nominated British/Nigerian artist.

Charlotte Macken of Nesta's Challenge Prize Centre commented:
"Challenge Prizes are a way to make innovation happen. The Mobility Unlimited Challenge is about the freedom to move. It will support innovators, creating cutting-edge personal mobility devices incorporating smart technology and intelligent systems that will transform people's lives." A panel of expert judges will pick five finalists who will each receive $500,000 to take their concepts from an intelligent insight to a prototype. The Challenge winner will receive $1,000,000 to make the device available to users- with the winning concept unveiled in Tokyo in 2020.

The Mobility Unlimited Challenge aims to attract and support smaller innovators who might otherwise struggle to break into the assistive technology market. The Discovery Awards will provide seed funding of $50,000 for 10 groups with promising concepts, but who might otherwise lack the resources to enter the Challenge. Interested innovators can apply online at mobilityunlimited.org. Building on universal design principles to create a more equitable environment, entries for the Mobility Unlimited Challenge will be user-centered. The Challenge will be a catalyst for innovation through co-creation with the people around the world who will benefit most from the solutions discovered by our entrants.

At the end of the Mobility Unlimited Challenge, the Toyota Mobility Foundation and Nesta's Challenge Prize Centre will have supported teams of innovators in creating leading-edge technological solutions, opening a new chapter in personal mobility for people with lower-limb paralysis.
www.mobilityunlimited.org
The Royal Academy Summer Exhibition

30th June - 20th August, 2017
The Royal Academy Summer Exhibition - Yinka Shonibare's Exhibited Work's and details on his curated room.
In addition to exhibiting his 'Wind Sculpture VI' in the Royal Academy Courtyard, his figurative scultpure 'Venus de' Medici' 2017 in room VI, his two paintings 'Angel (Red)', 2016 in the Central Hall and 'Angel (Turquoise)', 2016 in room III, and his screenprint 'Ballet Africa', 2017 in the Lecture Room, Yinka Shonibare has also curated room VI for this years Summer Exhibition.

Shonibare sought to spotlight diversity in this year's Summer Exhibition, inviting artists from a wide variety of nationalities and backgrounds to show works. Although new to the Royal Academy, some are well established elsewhere, while others are emerging artists at the start of their careers, seeking languages that are relevant to their individual circumstances. Shonibare showcases works by artists such as Hassan Hajjaj, Tomoaki Suzuki, Abe Odedina, Naomi Wanjiku Gakunga, Samson Kambalu, and many more..

"Almost 250 years ago, the RA's founding members agreed to hold an "Annual Exhibition of Paintings, Sculptures and Designs ... open to all Artists", to help finance the training of young artists in the Royal Academy Schools. Now, nearly 250 years later, ahead of our big anniversary in 2018, Royal Academician Eileen Cooper, explores themes of discovery and new talent from her unique position as Keeper of the Royal Academy - the Academician who is responsible for supporting and guiding the students.

Cooper takes on the mantle of coordinating the largest open submission exhibition in the world, hanging over 1,200 works by artists established and lesser-known in the space of just eight days. Don't miss work by internationally renowned artists Rosemarie Trockel, Julian Schnabel, Hassan Hajjaj, Secundino Hernández, Isaac Julien, Tomoaki Suzuki, Mark Wallinger and Sean Scully RA, as well as submissions by new Royal Academicians including Gilbert & George and David Adjaye. Other highlights include Yinka Shonibare RA's six metre high colourful wind sculpture in the RA Courtyard, and Farshid Moussavi RA's unique focus on construction coordination drawings in the Architecture Gallery."

The Chatsworth Festival - ART OUT LOUD

22-24 September 2017 · Talks by artists, curators and writers

ART OUT LOUD is a festival of talks by artists, curators and writers held over three days in the theatre at Chatsworth and in a marquee on the South Lawn.

This year, to tie in with House Style: Five Centuries of Fashion, Art Out Loud is thrilled to be including leading figures from the world of fashion.

ART OUT LOUD 2017 aims to provide 'something for everyone' while, at the same time, offering in-depth insights into the work of some extraordinary individual artists, curators and writers.
On Saturday 23rd September at 2.30pm-3.30pm on South Lawn, Yinka Shonibare will be in conversation with art critic and broadcaster Alastair Sooke.
More details on the ART OUT LOUD programme are available here

Tous, des sang-mêlés (All, mixed-bloods)

Musée d'art contemporain du Val-de-Marne, Museum MAC VAL
Group Show: From 22nd April to 3rd September, 2017. Opening on Friday 21 April 2017, 6:30pm
The Val-de-Marne Contemporary Art Museum is happy to present a group show entitled "Tous, des sang-mêlés" ("All, mixed-bloods") around the universal and burning issue of cultural identity. This original proposal echoes previous curatorial projects conducted by the MAC VAL over the last few years.

In tune with the current world affairs, this exhibition explores the notion of cultural identity through various artistic visions and experiences: what is our common denominator? How do we build a shared culture in spite of more and more diverse/opposite origins? Those are some of the current global issues. Under the co-patronage of French historian Lucien Febvre and his book We are all mixed-bloods: a manual on the history of the French civilization (1950), and that of Stuart Hall, founding father of Cultural Studies, this exhibition highlights the fictional dimension of the concept of cultural identity. Our curators have build an exhibition around different proposals that raise questions and shed light on what relates and sets us apart, on transfer of knowledge and future, on power and resistance, on individuals and communities...

Through the voice of about sixty international artists and around one hundred artworks, the exhibition investigates the topics of cultural, national and sexual identities. They all revolve around the notion of being, yet some are obvious, others bring up -often passionate, always political- debates, and others call up memories of the past, sensitivity, experiences, and existence itself, from survival instinct to the notion of living together.

The works gathered in this exhibition tackle these topics from a real-life standpoint in a spirit of exchange and dialogue. If cultural identity is a fiction, artists have different ways to interpret, investigate and question it...while taking distance with the -all too reductive- identity perspective. How do we shape ourselves in regard to our tongue, territory, family, History, story, and stereotypes?

The exhibition proposes several elements to establish a common ground on which alterities could develop together and in regard to one another.

Through the story, sensitivity, words and commitment of artists from all horizons, ages and nationalities, each visitor can grow his own understanding of the notion of "Identity". Set up in the very heart of the exhibition, "De quoi j'me mêle?" offers a space of encounters, debates, reading and relaxation all throughout the duration of the show. Its goal is to take time to think together or individually about the issues raised by the exhibition and the reality of today's world. Singular voices will speak up to share opinions as well as personal and collective experiences.

Yinka Shonibare will be exhibiting End of Empire, 2016

Curated by Julie Crenn and Frank Lamy, Assisted by Julien Blanpied and Ninon Duhamel.

Leisure Land Golf

York Art Gallery

Yinka Shonibare's Football Cloud, 2015 at Leisure Land Golf, York Art Gallery 2017

Doug Fishbone's Leisure Land Golf is a touring exhibition by New Art Exchange (NAE), Nottingham. The Exhibition was originally commissioned by EM15, a collective of arts organisations from the East Midlands, for the #56 Venice Biennale. Loaned with kind permission by the artist and New Art Exchange, Nottingham.

Fully playable, this crazy golf course features themed holes each designed by a different world-renowned artist, including John Akomfrah, Doug Fishbone, Ellie Harrison, Yinka Shonibare, Hetain Patel, Reactor and Eyal and Ines Weizman. The game offers an accessible and interactive way of engaging with contemporary art evoking political, social and economic concerns around the theme of leisure.

YINKA SHONIBARE MBE Prejudice at Home: a Parlour, a Library, and a Room

James Cohan Chelsea 533 West 26th St.

Friday 17th February - Saturday 18th March, 2017
Opening reception Friday, 17th February, 6-8pm
James Cohan is pleased to present an exhibition by British-Nigerian artist Yinka Shonibare MBE, the artist's sixth at the gallery. Prejudice at Home: A Parlour, a Library, and a Room will feature three major installations, which together demonstrate Shonibare's multivalent approach to the theme of "Otherness." The works span three decades of thought-provoking, wide-ranging considerations of individual and collective identity through the lens of history. Today, these artworks wield an ever greater urgency as a reminder of how prejudices, if allowed free range, can cripple a society.

On view are the freestanding installation The Victorian Philanthropist's Parlour, 1996-97, the photo suite Dorian Gray, 2001, and the US premiere of Shonibare's more recent large scale work The British Library, which has been a sensation since its first presentation at the Brighton Festival in 2014.

Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World

Kensington Palace: 22 June - 12 November 2017

Specially commissioned new artwork by Yinka Shonibare MBE: Mrs Pinckney and the Emancipated Birds of South Carolina, 2017

Exhibition: Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World at Yale Center for British Art and Kensington Palace

This exhibition will explore the story of three remarkable German princesses: Caroline of Ansbach, Augusta of Saxe-Gotha, and Charlotte of Mecklenberg-Strelitz, all of whom married into the British royal family in the eighteenth century. Caroline and Charlotte became queens consort to George II and George III respectively; Princess Augusta never achieved this distinction but held the titles of Princess of Wales and Princess Dowager, and was mother to King George III.

Through their wide-ranging intellectual, social, and political interests, Caroline, Augusta, and Charlotte helped to shape court culture and the age in which they lived, and would leave a lasting legacy. They encouraged the greatest philosophers, scientists, artists, and architects of the day; and they brought art, music, dance, enlightened conversation, and experimentation into the palaces and royal gardens, and supported industry, trade, and imperial ambition. The exhibition will include many important works of art and manufacture, which belonged to these women and their families, or were commissioned by them. Works by Hans Holbein, William Kent, Allan Ramsay, Sir Joshua Reynolds, George Stubbs, Thomas Gainsborough, Johan Zoffany, and many more will be on display. Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World is a collaboration between Historic Royal Palaces and the Yale Center for British Art. It will be on view at the Center in spring 2017 and then at Kensington Palace from June 22 to November 12, 2017. The lead curator is Joanna Marschner, Senior Curator at Historic Royal Palaces, assisted by Samantha Howard, Curatorial Assistant. The organizing curator at the Center is Amy Meyers, Director, who is assisted by Lisa Ford, Assistant Director of Research; Glenn Adamson, Senior Research Associate; and Tyler Griffith, Postdoctoral Research Associate.

The exhibition will be accompanied by a publication of the same title, a beautifully illustrated catalogue of works edited by Joanna Marschner, with the assistance of David Bindman and Lisa Ford. Co-published with Historic Royal Palaces in association with Yale University Press, the book will feature contributions by an international team of scholars.

British Council unveils 'Wind Sculpture' by Yinka Shonibare MBE in Lagos, Nigeria

Tuesday 1 November 2016 to Tuesday 31 January 2017

This will be the first major Yinka Shonibare exhibition in Nigeria and will see an installation of his iconic Wind Sculpture at the Ndubuisi Kanu Park in Lagos.

The sculpture, made of batik design, echoes Shonibare's imaginative treatment of the sails on Nelson's Ship in a Bottle, his Fourth Plinth commission for Trafalgar Square which is permanently installed outside the National Maritime Museum, Greenwich.

Following the installation, there will be a lecture for Visual Arts students and film screenings which will take place at Ndubuisi Kanu Park.

Wind Sculpture will be installed from 1 November 2016 until 31 January 2017.

Yinka Shonibare in 'BODY/PLAY/POLITICS' at Yokohama Museum of Art, Yokohama, Japan

The exhibition runs from 1 October until 14 December 2016.

BODY/PLAY/POLITICS presents contemporary works of art that delve from a variety of angles into images that have been generated throughout history by "the body," which encompasses the individual human body, our collective actions, and spiritual presences. There is a tendency in our society to label specific bodies as healthy or unhealthy, beautiful or ugly, and to envision certain modes of behavior as representative of the entire group, which we classify such as "typically Japanese." In other cases, minor deviations from norms or expectations can elicit strange feelings in observers and cause entirely different meanings to be perceived.

In a world cohabited by people with all sorts of skin colors, ethnicities, religions, gender norms and lifestyles, where the colors, forms, or behaviors of individual bodies are not inherently vested with specific meanings, over the course of millennia many value judgments and hierarchies have arisen in societies and are all too often linked to tragedies of history.

The six artists featured in this exhibition are from Europe/ Africa, Southeast Asia, and Japan. Their works express, in poetic and sometimes humor-inflected ways, aspects of history that manifest themselves through the body, looking toward the future and bringing the shapes of new ideas and meanings into view.

Artists: Yinka Shonibare MBE, Yee I-Lann, Apichatpong Weerasethakul, UuDam Tran Nguyen, Ishikawa Ryuichi and Tamura Yuichiro.

Yinka Shonibare MBE, 'Paradise Beyond' at Gemeentemuseum, Helmond

20th September 2016 - 12th February 2017

The Gemeentemuseum in Helmond is delighted to announce a solo exhibition of works by Yinka Shonibare MBE.

Paradise Beyondwill showcase a selection of sculpture, installation, collage, drawing, photography and film by Yinka Shonibare, from the period 2004 - 2016. Exploring themes of race, class and power, Shonibare's seductive and humorous work makes sensitive socio-cultural topics accessible to the audience.

The exhibition focuses on the repetition in historical cycles of wealth, conflict, revolution and war, in the ultimate quest for paradise. "Paradise Beyond" suggests that somewhere beyond the horizon lies paradise - but where and when this will be found remains uncertain.

Yinka Shonibare MBE is known for his use of colourful African batik fabric sourced from the Helmond-based Vlisco textile factory. The Vlisco patterns or imitation batik are inspired by Indonesian design and for several decades have been very popular in West Africa. Since the 1960s the fabrics have been used as a symbol of African identity and independence - which supports Shonibare's motto: nothing is what it seems.

In connection with Shonibare's 'Paradise Beyond', Vlisco will also be exhibiting classic patterns, re-interpretations and new designs in the separate exhibition Un par Un. The exhibition focuses in on four specific aspects: the company's history, production processes, design processes and the use of the fabrics in fashion and art. In this presentation, developed especially for Vlisco's 170th anniversary, the emphasis will be on captivating the visual qualities of the fabrics and their powerful symbolism.

'...and the wall fell away' at Stephen Friedman Gallery

28 September 2016 - 5 November 2016
Private view: Tuesday 27 September 2016, 6-8pm
Frieze week West End private view: Thursday 6 October 2016, 6-8pm
Opening during Frieze week in October 2016, Yinka Shonibare MBE presents his sixth solo exhibition at Stephen Friedman Gallery titled '...and the wall fell away'.

The show marks a significant transition and a pivotal moment in the artist's practice. There is a complete absence of the Dutch wax batik textiles for which he is known. He instead takes the fabric's designs and manipulates them in new ways. Traditions of classical art and religious iconography are explored in the exhibition; Shonibare uses the patterns of the batik fabrics to interrupt these themes. The idea of dismantling the boundaries in western understanding is indicated in the title of the show. By leaving the 'trace' of his trademark batik motifs, Shonibare gives a personal insight into the complexities of identity, hybridity and colonial history.

The exhibition is divided into two parts: Gallery One is focused on ideas of rationality in classical art and Gallery Two, on religion. The show coincides with a major commission currently displayed on the Royal Academy's façade on Burlington Gardens. In the exhibition, a monumental hand-painted installation will echo the same motif; the Royal Academy being an important link and on-going inspiration for the artist following his election as an Academician in 2013. Concurrent with this show is a new commission, 'The End of Empire', which is presented with 'The British Library' and on view at Turner Contemporary in Margate.

Upon entering Gallery One, we are struck by the absence of sculpture. Instead, an expansive wall painting is framed by the white walls of the gallery. Unlike previous iterations of these impressive installations, here there are no sculptural elements. This work sets the tone for the show as the wax batik pattern is stripped from the fabric and positioned in a new context. Dutch wax batik fabric was inspired by Indonesian design, mass-produced by the Dutch and eventually sold to the colonies in West Africa. In the 1960s the material became a new symbol of African identity and independence. Since the early 1990s, Shonibare has used it to represent the flexibility of identity as much as the implications of colonialism. The wall painting is completed by an accompanying floor drawing rendered in gold and red and inspired by Leonardo da Vinci's 'Vitruvian Man'. Da Vinci's drawing was intended to demonstrate that man is the measure of all things. Shonibare's version here is a black figure and a hybrid of both man and woman. The two elements form one immersive work, of which the viewer becomes a part on entering the room.

In another gallery three sculptures recognisable as David, Venus de Milo and the Discus Thrower, are gloriously adorned with batik patterns. Shonibare is renowned for creating dynamic figures in motion, dressed in Victoriana costumes reproduced in batik fabric. The figures' lithe bodies have been hand-painted with the batik designs. Importantly, these have been altered by the artist. Much like the artist's series of self-portraits in which he superimposed batik patterns onto his own face, these new works put the pattern directly onto the skin. In doing so, Shonibare clashes the ideological implications of the textile with classical sculpture. Importantly, unlike previous works that bore antique globes in place of a head; here the figures have contemporary globes that map a post colonial landscape. This deftly denies any notion of race and focuses our attention instead on figure's pose and its connotations of sexuality, masculinity, athleticism and the ideal body.

The series of screen-prints on canvas in Gallery Two is Shonibare's largest to date. A key feature of Shonibare's work is its visual appeal, and these are immediately seductive. Figures from Christian and African religious iconography merge into fantastical hybrids. Shonibare is able to make these works by drawing on a large tablet, using new technology that was not available to him before. This is the first instance in which we see Shonibare's drawing, what the artist describes as 'hand expression', on such a large scale. Each work begins with an image of a European religious figure in a classical pose. Shonibare then overlays this with elements of Dutch Wax batik patterns and African ritual masks. "First of all [I] think about picture making itself: the history of Modernism and the aesthetic of the mask in Modernist painting. So we are going back to Picasso I guess. And then taking that signifier of religious ritual, which is the mask, and overlapping one religious symbol with another religious symbol". By combining powerful imagery with their respective mythologies, he creates a hybrid: what the artist calls 'a third myth'.

Shonibare's presentation flirts with the expectations of the audience, removing the textiles for which he is known. The mimesis of the fabric is an important move for the artist. Shonibare sees the material as a metaphor for interdependence: complexity and ambiguity are the cornerstones of his artistic narrative. His specific concerns here; art history, the power of iconography and religion, are powerfully brought together. With each of them he interrupts familiar references by overlaying the image with the wax batik pattern. In doing so he exercises individual agency and aesthetic creativity, which are ideas that are central to humanism. This has long been present in Shonibare's work, and this exhibition should be read as a celebration of human expression, achievement, beauty and the pursuit of intellectual and religious liberty, regardless of race and time. '...and the wall fell away' demonstrates an irreverent disregard for the binaries presented in western understandings and offers a contemporary deconstruction of the classics.

Yinka Shonibare MBE at Yale Centre for British Art

Thursday, 1st September - Sunday, 11th December 2016

Yinka Shonibare is best known for his explorations of the legacies of colonialism through sculpture, installations, film, and photography. This display, which coincides with the Center's exhibition Spreading Canvas: Eighteenth-Century British Marine Painting, will focus on Shonibare's interest in the British historical figure Admiral Lord Nelson, whom he uses as an emblem of Britain's imperial history. An important feature of Shonibare's work is the consistent use of colorful, wax-printed cotton fabrics, which are associated with Africa but originated in Indonesia and Holland, a product of global trade and imperial markets. The fabric sums up the themes at the heart of Shonibare's work.

Yinka Shonibare MBE will be curated by Martina Droth, Deputy Director of Research and Curator of Sculpture, Yale Center for British Art.

Burlington Gardens Summer Festival, Saturday 2nd July 2016

The Royal Academy in partnership with Yinka Shonibare

Join the Royal Academy of Arts', Burlington Gardens Summer Festival on Saturday 2nd July from 12 noon - 6pm for lively, free street entertainment that takes inspiration from artist Yinka Shonibare RA. From interactive art and creative workshops, to food, music and entertainment, the Festival will offer something for everyone.

Encounter sit-specific art installations or get involved with print-making or drumming workshops. Bring the kids to upcycle vintage garnments and pose in family portraits. Enjoy live music, dance and poetry performances while tasting delicious food and drink from street stalls including Orbit Beers, La Gelateria and Company of Cooks, and a selection of Nigerian Tapas and cocktails by Charlton Nicoll.

Buy tickets here to the Artist's Dining Room, where you'll be treated to a 3-course Nigerian inspired menu while Doug Fishbone leads a series of lively discussion about Yinka Shonibare's work.

Making & Unmaking: An Exhibition Curated by Duro Olowu

19 June - 18 September, 2016

Making & Unmaking, curated by celebrated fashion designer and curator Duro Olowu.

Bringing together over sixty international artists working in diverse media, this exhibition places antique West African textiles and Bauhaus tapestries amongst contemporary works and new commissions. Individually, the works address themes that include portraiture as well as representations of beauty, gender, sexuality, innocence and the body. Collectively, their coming together reveals a common thread that Olowu describes as a 'process of personal ritual experienced by artists in creating their work'.

Artists featured: Caroline Achaintre, Marina Adams, Leonce Raphael Agbodjelou, Anni Albers, Tasha Amini, Hurvin Anderson, Polly Apfelbaum, Tony Armstrong Jones, Emheyo Bahabba, Walead Beshty, Alighiero Boetti, Louise Bourgeois, Carol Bove, Lisa Brice, James Brown, Zoe Buckman, Claude Cahun, Lygia Clark, Céline Condorelli, Tommaso Corvi-Mora, Alexandre da Cunha, Andreas Eriksson, Meredith Frampton, Simon Fujiwara, Anya Gallaccio, Hassan Hajjaj, Chie Hammons, Sheila Hicks, Donna Huddleston, Diane Itter, Isaac Julien, Neil Kenlock, Fernand Léger, Eric Mack, Peter McDonald, Rodney McMillian, Hamidou Maiga, Ari Marcopoulos, Brice Marden, Wardell Milan, Mrinalini Mukherjee, Wangechi Mutu, Alice Neel, Nobukho Nqaba, Chris Ofili, Horace Ové CBE, Irving Penn, Tal R, Michael Roberts, Ibrahim El-Salahi, Yinka Shonibare MBE, Malick Sidibé, Lorna Simpson, Daniel Sinsel, Christiana Soulou, Dorothea Tanning, Henry Taylor, Bill Traylor, Francis Upritchard, Al Vandenberg, Brent Wadden, Grace Wales Bonner, Rebecca Ward, West African Textiles, Stanley Whitney, Kehinde Wiley, Masaaki Yamada, Lynette Yiadom-Boakye
27th May - 4th September 2016
FOUND

The Foundling Museum, London

For this major exhibition, Foundling Fellow Cornelia Parker has invited over sixty outstanding artists from a range of creative disciplines to respond to the theme of 'found', reflecting on the Museum's heritage.

Combining new and existing work with found objects kept for their significance, the exhibition will unfold throughout the Museum, interacting with historic works in the Collection and with each other. Parker's inspiration has in part been taken from the Museum's eighteenth-century tokens - small objects left by mothers with their babies as a means of identification should they ever return to the Foundling Hospital to claim their child.

Artists participating in FOUND include: Ron Arad RA, Phyllida Barlow RA, Jarvis Cocker, Richard Deacon RA, Tacita Dean RA, Jeremy Deller, Edmund de Waal, Brian Eno, Antony Gormley RA, Mona Hatoum, Thomas Heatherwick RA, Christian Marclay, Mike Nelson, Laure Prouvost, Yinka Shonibare MBE, David Shrigley, Bob and Roberta Smith RA, Wolfgang Tillmans RA, Marina Warner and Rachel Whiteread. Twenty Royal Academicians are contributing to the show, echoing the role that the Foundling Hospital played in the development of the Royal Academy. Founded in 1739 to care for babies at risk of abandonment, the Foundling Hospital was supported by the leading artists of the day, many of whom donated work, thanks to the revolutionary involvement of the artist William Hogarth and the composer George Frideric Handel. The Royal Academy's origins can be traced to the collective mobilisation of artists and the promotion of British art that took place at the Hospital during the eighteenth century.
7th May - 6th November 2016
Rotunda Projects: Yinka Shonibare MBE

Organised by the Memphis Brooks Museum of Art, courtesy of James Cohan Gallery

The inaugural exhibition for Rotunda Projects comprises four figures from Shonibare's series Rage of the Ballet Gods. The figures will be on view in the museum's rotunda from May 7th to November 6th, 2016, as part of the museum's year-long centennial celebration.

The Rotunda Projects series will engage visitors with experimental, provocative, and compelling works in a variety of styles and employing diverse materials created by internationally recognized and emerging artists.

Royal Academy Wrap

Digital print commissioned by Royal Academy of Arts

The Royal Academy of Arts is undergoing a transformative redevelopment by David Chipperfield Architects that will unite Burlington House on Piccadilly with 6 Burlington Gardens to the north. The Royal Academy will be opened as never before, creating a revitalised destination for artists and the public in the very heart of London, completed in time for our 250 th anniversary in 2018. Across the site there will be new public areas, displays of our collection and more space for the RA Schools. Burlington Gardens will reopen with newdedicated spaces for exhibitions, new Learning facilities, and a double-height lecture theatre.

Royal Academician Yinka Shonibare MBE will create an art work for the scaffolding wrap which will shroud the façade of Burlington Gardens for the next 2 years while the building work is taking place. It will contribute an important temporary work of art to the neighbo§urhood of Mayfair that celebrates not just the Royal Academy but the importance of art and culture for everyone.

'RA Family Album' brings together over 150 photographs that span the Royal Academy's 248-year history. The juxtaposition of images reveals the rich tapestry of activity which takes place behind these walls. From the renowned exhibitions, public debates, artists' gatherings and stylish social events, to the more private making of art by Schools students and the skilled back of house operation, all give the place its life and vitality. This spread of images is topped by one of Shonibare's signature colourful fabric designs, in this case of circles, selected as a sign of universal inclusiveness. From historic legacy to future possibilities, the work highlights the Royal Academy as a place for all.

POP! at Stephen Friedman Gallery

16 March 2013 - 20 April 2013

Stephen Friedman Gallery is delighted to announce a solo exhibition of new works by Yinka Shonibare MBE.

Exploring the corruption and excess of the current economic crisis, the show is a raucous celebration of its decadence and debauchery, sharply revealing its dark underbelly. With characteristic wit and critique, Shonibare explores the fetishisation of commodities rife in a society where luxury goods now take the place of religious iconography. Through the lenses of art historical homage, the exhibition depicts a cross section of cultural and chronological filters in Shonibare's most ambitious works to date.

POP! heralds a new direction for the artist in terms of scale, social commentary and power. Carrying a strong message while retaining real beauty and cunning wit, Shonibare presents a most impressive and powerful body of work.
22nd March - 30th October 2016
End of Empire

Co-commision by 14 - 18 NOW and Turner Contemporary Margate.

In a new commission, Yinka Shonibare, MBE, one of the leading artists at work in the UK, explores how the new alliances forged in the First World War changed British society forever and continue to affect us today.

Shonibare's new work features two of his signature figures attired in African fabrics, their globe-heads highlighting the countries involved in WW1. Offering a metaphor for dialogue, balance and conflict, the entire work pivots almost imperceptibly in the gallery space, symbolising the possibility of compromise and resolution between two opposing forces.

How has immigration contributed to the British culture in which we live today? How have immigrants shaped what it means to be British? These are the questions Shonibare asks in The British Library, a sculptural work presented alongside End of Empire at Turner Contemporary. Shelves of books, many bearing the name of an immigrant who has enriched our society (from TS Eliot to Zaha Hadid), remind us that the displacement of communities by global war has consequences that inform our lives and attitudes today.
6th February - 19th June
Recreating the Pastoral

Solo Exhibition at VISUAL Carlow Ireland

Recreating The Pastoral draws the viewer through a series of installations which juxtapose elements of elaborate 18th and 19th C European dress and courtly behaviour with contemporary political sensitivities expressed through Shonibare's use for Dutch wax cotton cloth, itself a culturally ambigious material replete with a colonial history of appropriation.The installations question Euro-centric histories, and are a powerful expression of the complexities inherent in contemporary discourse on post-colonialism and identity. Shonibare's Jardin d'Amour mimics the frivolity and excess of 18th C Europe. The theatrical staging of works. framed within an elaborate artificial maze draw references to the colonial relationship to landscape, and the control and creation of spaces for pleasure by a powerful elite.

Cannonball Paradise, Gerisch-Stiftung, Neumünster, Germany 2014.

27th April - 12 October

'Cannonball Paradise' is Shonibare's first large-scale solo exhibition at a German art institution and comprises around 20 installations, photographic works and videos. The artist, who grew up in Nigeria and now lives in London, achieved his full international breakthrough with his participation in documenta 11 in 2002. Further larger solo exhibitions followed at institutions including the Yorkshire Sculpture Park, the Museum of Contemporary Art in Sydney and Tate Britain in London.

Yinka Shonibare MBE is the second artist of African origin after Romuald Hazoumè (2011) to be invited by Herbert Gerisch Foundation to exhibit. And just like Hazoumè, Shonibare has been asked to stage a large solo exhibition on African perceptions of paradise. The background to all this is the Foundation's landscaped park which is based on an Arcadian and idyllic tradition. This becomes particularly apparent when it comes to the vibrantly multi-coloured, six metre high 'Wind Sculpture' in the Gerisch Foundation sculpture park, which Shonibare produced specifically for this exhibition. It is as if a huge wax print cloth were fluttering across the lawn. This type of cloth is a symbol of Africa in many of Shonibare's works and can only be understood within the context of colonial history. Political and cultural realities are thus broken, reflected and made topical on many different levels against a paradisiacal setting.

The William Morris Family Album, William Morris Gallery, London, England 2015

7th February - 7th June

The Gallery's first major commision: a Morris-inspired photographic exhibition by Turner Prize nominee Yinka Shonibare MBE.

The Victorian age, the legacy of Empire and the global textile trade are central themes in the work of Yinka Shonibare. In this new exhibition the internationally acclaimed British Nigerian artist turns his attention to William Morris. By inviting Waltham Forest residents to help recreate photographs of Morris's family, he encourages viewers to reflect on the realities of equality in both Morris's time and our own.

Pièces de Résistance, DHC/ART Foundation for Contemporary Art, Montréal, Québec 2015

29th April - 20th September

Yinka Shonibare MBE employs a multiplicity of strategies, including auto-ethnography and humour in combination with art historical and literary references, to deliver a body of work that is simultaneously seductive and subversive. His critical reflection on power relations between Africa and Europe is delivered through a formal treatment that is both lavish and decadent. In a related area of investigation, he reveals his affection and respect for British culture and institutions while simultaneously questioning class and privilege. It is this ambivalence that most productively unsettles simple binaries and reveals the intricacies involved in negotiating his subject matter.

Rage of the Ballet Gods, James Cohan Gallery, New York, USA 2015

30th April - 20th June

James Cohan Gallery is pleased to announce the upcoming exhibition by Nigerian-British artist Yinka Shonibare MBE entitled Rage of the Ballet Gods, opening on April 30th running through June 20, 2015.

In this new body of work, Shonibare contemplates the changing state of the Earth's climate and the human instinct for survival in the face of the extreme weather experienced worldwide. The artist is well known for his employment of historical events as metaphors with which to explore current geo-political and social conditions, and Rage of the Ballet Gods points to the progress of rational thought-a legacy of the Age of Enlightenment-that underlies the scientific advances propelling us towards environmental doom. Inspired to make a poetic statement, Shonibare turns to mythology to uncover this paradox. The exhibition is divided in two parts: Rage and Escape.

In Rage, the Greek gods Apollo, Zeus and Poseidon are depicted as ballerinas. These iconically male figures have been transformed into emblems of female grace, with detailed tutus made of Shonibare's signature Dutch wax fabric. Yet these beautiful ballerina goddesses are dangerous, in a violent rage against humans for their willful and continual destruction of Earth. They carry deadly weapons-a gun, a knife and a sword-along with their familiar trident, thunder bolt and golden lyre. Their heads of Victorian-style globes map the occurrence of lightening, warming and tsunamis around the world.

Shonibare faces the subject with characteristic playfulness as he reveals the irony of the situation: throughout mythology, it is the Gods who used weather events such as storms, earthquakes and droughts to punish humans. In Homer's Odyssey, the jealous Poseidon punishes the hero Odysseus with violent storms that turn his ship around and keep him, time and time again, from returning to his home to Ithaca. Here, however, the Gods are enraged because the humans have usurped their prerogative as creators of terrifying weather events. Shonibare's gods are upset that traditional order of the world has been turned upside down and that the transcendent truths, on which the history of mankind is based, are disappearing.

The four walls of the main gallery-North, South, East and West-features photographic tondos of Medusa based on Caravaggio's portrait in the Uffizi Gallery, Florence. The four works in the series depict women of different races-European, Asiatic, Indian and African-representing the four corners of the world. Medusa broke her vow of celibacy and married the god Poseidon, for which, as punishment, the goddess Athena turned her golden locks into a morass of snakes. Shonibare's Medusa has a tangle of snake hair made from African textiles.

Escape, the second part of the exhibition, concerns escape from the apocalypse. The works serve as a humorous yet prophetic warning that we may need to seek new ground should the Earth become inhabitable. Shonibare's Refugee Astronaut is a disheveled space traveler toting his worldly possessions on his back-pots, pans, butterfly net, stool and family photographs-ready to find a new oasis. A pair of Butterfly Kid sculptures depict a boy and girl sprouting wings, metamorphosing to fly away and escape.

Rage of the Ballet Gods sees Shonibare connecting with myth to find solace in the fantastical during an unnerving time. He hopes to provoke what the scholar Joseph Campbell called the "psychic unity of mankind," which Campbell felt was engaged through the poetic expression of mythology. The artist reaches back to "an experience of the eternal source and returns with gifts powerful enough to set society free."

Concurrent with the gallery show, Shonibare is featured in three solo exhibitions: Colonial Arrangements at the historic Morris-Jumel Mansion in Washington Heights, NY (opening May 1, 2015); Pièces de résistance at the DHC/Art foundation in Montreal (opening April 28, 2015); and his first Asian retrospective exhibition at the Daegu Art Museum in Korea (opening June 2015).

Colonial Arrangements, Morris Jumel Mansion, New York, USA 2015

1st May - 31st August

Elaborate, colorful, seductive and quizzical, Yinka Shonibare's renowned, textile-based art has been the focus of more than 50 solo museum and gallery exhibitions worldwide. The latest, Colonial Arrangements, will take place, from May 1st to August 31st, 2015, at Morris-Jumel Mansion. It's a fitting match, with the Mansion's lovingly preserved 18th- and 19th-century interiors set to serve as a baroque backdrop for Shonibare's extraordinary sculpture, including an entirely new, never-before-seen work commissioned by the Mansion. It's the most ambitious art show in Morris-Jumel history.

Yinka Shonibare MBE, Daegu Museum, Daegu, South Korea 2015

30th May - 18th October

British-born Nigerian artist Yinka Shonibare MBE (b.1962, London) is an acclaimed contemporary African artist known for his superb aesthetic sensibility. Shonibare contracted a rare inflammatory disease when he was 18, resulting in physical disability. Overcoming such unforeseen adversity through sheer willpower, he went on to study art at university. His singular view of the world is expressed in his art. As a dark-complected individual raised in a white society, Shonibare unflinchingly examines how Eurocentrism and racism are deeply and unthinkingly embedded in Western society. However, his works are approachable, for his criticism of imperialism, colonialism and the distortions of history that lie at the root of racism and Eurocentrism are tempered by a sense of humor.

MCA Chicago Plaza Project: Yinka Shonibare MBE, Museum of Contemporary Art Chicago, Illinois, USA 2014

June 16th - November 10th 2014

Shonibare's MCA Plaza installation includes three of his new Wind Sculptures. Nearly 20 feet high, each sculpture captures the movement of a billowing bolt of fabric. Their design was inspired by the sails of ships whose patterns derived from Dutch wax fabrics. The artist chooses these iconic fabrics to exemplify how signs of national or ethnic identity are culturally constructed.

Shonibare's installation is the fourth MCA Plaza Project. The series previously featured work by Amanda Ross-Ho (2013), Martin Creed (2012), and Mark Handforth (2011). Shonibare's work is also included in the exhibition Earthly Delights (June 28-November 30, 2014).

This exhibition is organized by Naomi Beckwith, Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago.

Making Eden, Blain|Southern, Berlin, Germany 2014

15 February - 19 April 2014

Yinka Shonibare, Brand New Gallery, Milan, Italy 2014

26th March - 10th May 2014

Brand New Gallery is proud to introduce the first solo exhibition in an Italian gallery of the British-born Nigerian artist Yinka Shonibare MBE, opening on the 26th of March and running through May 10th. In this multi-part exhibition of sculptures, photography, and film, Shonibare explores the concept of destiny as it relates to themes of desire, yearning, love, power, and sexual repression.

Following the installation of the artist's widely acclaimed work "Nelson's Ship in a Bottle" in Trafalgar Square in London, Shonibare continues his explorations of Lord Nelson, the figurehead of the British Empire at its apotheosis. During the exhibition, the gallery will feature two sculptural installations of costumes with period details and his signature vibrantly patterned fabrics, a hallmark of his work, as well as a series of five photoworks entitled "Fake Death Pictures". On view is the film "Addio Del Passato" (So Closes My Sad Story) in which the character of Lord Nelson's estranged wife, sings the eponymous aria from the last act of Verdi's opera, "La Traviata".

Yinka Shonibare MBE: Magic Ladders, The Barnes Foundation, Philadelphia, Pennsylvania, USA 2014

24th January - 21st April 2014

The Barnes Foundation presents Yinka Shonibare MBE: Magic Ladders from January 24, 2014 through April 21, 2014. A British artist of Nigerian descent, Shonibare has exhibited extensively in the United States and Europe. His work alludes to European art and intellectual history and explores race, slavery, authenticity, and commerce. The works in the exhibition-approximately 15 sculptures, paintings, photographs, and a room installation-address themes of education, opportunity, and scientific and cultural discovery. This is the artist's first major exhibition in Philadelphia, since his residency at the Fabric Workshop and Museum in 2004 and it includes a commission entitled Magic Ladders.

"Several of Shonibare's sculptures refer to the Enlightenment and its ideals of rationality and exploration," says Judith F. Dolkart, deputy director of art and archival collections and Gund Family Chief Curator at the Barnes. "Shonibare shares Dr. Barnes's belief that education can improve individual lives, benefitting society as a whole. Barnes turned his pharmaceutical factory into a progressive and integrated workplace, where he devoted two hours of each eight-hour workday to discussions on philosophy, psychology, and aesthetics with his employees."

The Foundation's collaboration with Shonibare pays homage to Barnes's interest in contemporary art and artists. The centerpiece of the exhibition is the Barnes commission Magic Ladders, which explores childhood learning and the opportunities that education can create. In considering the exhibition and commission, the artist reviewed the complicated and decades-long correspondence between Barnes and Leo Stein, a fellow collector and an important advisor and friend as Barnes built his art collection and educational foundation. In Magic Ladders, three children ascend ladders constructed of books written or read by Albert Barnes. Other recent sculptures in the exhibition, Planets in My Head, Philosophy (2011); Planets in My Head, Physics (2010); and Pedagogy Boy/Boy (2011), echo the theme of the magical, transformative discoveries of childhood learning.

The exhibition invites viewers to reflect upon Barnes's collecting practice, particularly in terms of its connections to colonialism. One of the first American collectors to regard African sculpture as fine art rather than ethnographic curiosity, Barnes displayed African masks and figures alongside paintings by Pablo Picasso and Amedeo Modigliani. A champion of education for African Americans, Barnes made his collection of African art broadly available to black readers through Opportunity magazine. Ironically, his acquisition of African art was made possible by the imperialist colonization of Africa, a theme explored in Shonibare's monumental Scramble for Africa (2003).

The British Library, HOUSE and Brighton Festival co-commission 2014

3rd Jun - 22nd June

Yinka Shonibare MBE's new site-specific installation explores the impact of immigration on all aspects of British culture and considers notions of territory and place, cultural identity, displacement and refuge.

Brighton Museum's Old Reference Library becomes a repository for those, both celebrated and unfamiliar, who as immigrants to this country, made unique contributions to what we regard as 'British' culture. Filled with books colourfully bound in Shonibare's trademark wax cloth (itself a cross-cultural hybrid of Indonesian design and Dutch manufacture), the gold embossed spines identify individuals such as T.S. Eliot, Henry James, Hans Holbein, Kazuo Ishiguro, Zaha Hadid, Mick Jagger, Darcey Bussell, George Frideric Handel, Hammasa Kohistani, Liam Gallagher and Noel Gallagher, Amartya Sena, Anish Kapoor and many more.

Yinka Shonibare MBE's work makes visible the cultural influences of colonisation and explores the rich complexity of post-colonial cultures. The British Library asks us to evaluate our attitudes to immigration and immigrants.

FOCUS: Yinka Shonibare, MBE, Modern Art Museum of Fort Worth, Texas, USA 2013

January 13th - March 24th 2013

The Modern's Director's Council FOCUS season begins with two solo exhibitions to run concurrently, one featuring the work of British/Nigerian artist Yinka Shonibare MBE and the other featuring the work of New York-based artist Gary Simmons.

Shonibare explores colonialism and the intricate ways in which it has shaped, and continues to shape, cultural identities. He is well known for his life-size sculptural tableaux featuring staged, headless mannequins dressed in elaborate period garments. In these works, the materials and designs of the original clothing are replaced with batik, a colorful and ornately patterned fabric. The story of batik itself speaks to the notion of colonization and its effects: it originated in Indonesia; then, by way of imperial explorers, it was introduced to West Africa, where it was appropriated and now has its strongest associations; and indeed its greatest exporters are not in Africa at all, but are Dutch and British. By presenting his version of historical (often white, European) figures dressed in batik, Shonibare "Africanizes" the subjects, subversively pointing out a multitude of deep-rooted mythologies, falsehoods, and prejudices that complicate the dominant narrative of history and identity.

FABRIC-ATION, GL Strand, Copenhagen, Denmark 2013

21st September - 24th November 2013

Autumn at GL STRAND offers one of the absolutely major names on the international contemporary art scene. British-Nigerian Yinka Shonibare is currently arousing the enthusiasm of the public and reviewers in England. Now the Danish public will have a chance to make the acquaintance of the artist's fascinating universe of headless soldiers and Victorian ballerinas in his first major solo show in Scandinavia.

Over the past 15 years Yinka Shonibare has created an iconic oeuvre of headless mannequins that bring to life famous moments of history and art history. With great commitment and equal degrees of seriousness, wit and humour he has mounted an assault on the colonialism of the Victorian era and its parallels in Thatcher's Britain. In recent years he has widened the scope of his subjects to include global news, injustices and complications in a true cornucopia of media, for example film, photography, painting, sculpture and installation - all represented in the show at GL STRAND.

FABRIC-ATION mainly gathers works from recent years, as well as a brand new work created for the exhibition, Copenhagen Girl with a Bullet in her Head. The subjects include Admiral Nelson and his key position in British colonialism, the significance of globalization for the formation of modern man's identity, multiculturalism, global food production and the revolutions of the past few years in the Arab world. In other words, Shonibare is able, through an original and captivating universe, to present us with the huge complexity that defines our time, as well as the underlying history.

The title of the exhibition refers to Shonibare's use of colourful patterned fabrics in his art; fabrics that are associated with Africa, but which have their origin in Holland and were intended for the Indonesian market, and which, typically for Shonibare, illustrate that things are rarely what they seem at first glance.

FABRIC-ATION was originated by YSP - Yorkshire Sculpture Park, England, 2013.

Dreaming Rich, Pearl Lam Galleries, Hong Kong, China 2013

November 9th - January 9th 2014

HONG KONG - Pearl Lam Galleries is delighted to present the first solo exhibition in Hong Kong by renowned British-Nigerian artist Yinka Shonibare MBE (RA); Dreaming Rich , opening on 19 November . The exhibition continues Shonibare's exploration of colonialism and post-colonialism with a series of all new works commenting on Hong Kong's modern day relationships with labour, power and wealth.

Yinka Shonibare MBE: Egg Fight, Fondation Blachère, Apt, France

May 23rd - September 20th 2014

Cet été, la Fondation Blachère présente, dans son centre d'art à Apt dans le Vaucluse, une exposition monographique ainsi qu'une nouvelle installation lumineuse réalisée en collaboration avec l'artiste anglo-nigérian Yinka Shonibare MBE.

Art Stage 2016

Art Stage 2016 Singapore, Pearl Lam Galleries Special Presentation.

VIP Preview: 20 January, 3-6pm / Vernissage: 20 January, 6-9pm.

Fair Dates: 21st - 24th January.

Pearl Lam Galleries is pleased to announce its participation in the 2016 edition of Art Stage, presenting artworks in the Galleries section at stand A10 and showcasing a special installation work by artist Yinka Shonibare MBE, located near the entrance of the fairgrounds. Art Stage is Singapore's preeminent international art fair and continues to attract top galleries from around the world in its anticipated sixth edition. The fair returns to the Sands Expo and Convention Centre on Level B2 of the iconic Marina Bay Sands in Singapore and will be open to the public from 21-24 January, 2016.

A special presentation of a major installation by acclaimed British-Nigerian artist Yinka Shonibare MBE will be featured as an extension of the main Pearl Lam Galleries stand. The installation brings together three works from his Invasion, Escape: Aliens do it right! Series: Alien Man on Flying Machine, Alien Child, and the suspended Alien Woman on Flying Machine,

Childhood Memories

Solo exhibition at Pearl Lam Galleries Singapore
Yinka Shonibare: Selected Works
Selected Works, Gdańsk City Gallery, Poland

30.08.2013 - 31.12.2013

30.08.2013 - 31.12.2013

Curator: Patrycja Ryłko

A solo exhibition Selected Works toured two venues in Poland; Gdansk City Gallery and Wroclaw Contemporary Museum.

The exhibitions featured works, including the Fake Death series, Addio Del Passato and Revolution Kid (Fox Girl).

Gdansk City Gallery 2 - 29 November to 31 December 2013
Wroclaw Contemporary Museum - 17 January to 17 March 2014

Yinka Shonibare MBE, Royal Museums Greenwich, London, England 2013

18th September 2013 - 23 February 2014

The contemporary arts programme at Rotal Museums Greenwich continues with a series of revent works by one of Britain's leading artists.

Yinka Shonibare MBE was born in London in 1962 and moved to Lago, Nigeria, at the age of three. He returned to London to study Fine Art and graduated from Goldsmiths as part of the 'Young British Artists' generation.

Shonibare's work interrogates origins, cultural exchange and authenticity. It is instantly recognizable thanks to the repeated use of Dutch-wax fabric. Inspired by Indonesian batik and first produced by the Dutch for a European market, this brightly coloured printed cotton has now become a powerful symbol of West African identity.

The exhibition celebrates the arrival here of 'Nelson's Ship in a Bottle' by inviting the artist to infiltrate annd occupy the Royal Museums Greenwich sites. It encourages us to look at the National Maritime Museum collections with fresh eyes, and ask different questions about out maritime and stargazing past

Yinka Shonibare, MBE: FABRIC-ATION at Yorkshire Sculpture Park

2 March - 1 September 2013 | Underground Gallery, Chapel, YSP Centre and open air

In March 2013 YSP presents the UK's most extensive exhibition to date by British-Nigerian artist Yinka Shonibare, MBE. FABRIC-ATION features over 30 works made between 2002 and 2013, including sculpture, film, photography and painting, many of which are shown in the UK for the first time. They include flying machines, aliens, toy paintings, food fairies, revolutionary children, spacemen and ballerinas.

The exhibition marks the premier of a new series of large sculptures for the public realm - two Wind Sculptures, which will be sited in the Park's 18th century-designed landscape. Each measuring over six metres in height and richly painted with Shonibare's signature batik fabric pattern, they will appear like large, glorious handkerchiefs caught by the wind.

Addressing issues pertinent to today's society in Shonibare's practice - the complexities of contemporary identity, dislocation, multiculturalism, global food production, corporate power and revolution - the exhibition traces how Shonibare has framed these concerns within a historical context, investigating the shaping role of the British Empire and the colonial past. The exhibition is accompanied by a major YSP publication, including texts by Hans Ulrich Obrist, Dr Rebecca Schneider, and Jean Fisher.

Yinka Shonibare's Africa Weekend: Deloitte Ignite 2012

This year's Deloitte Ignite is curated by critically acclaimed artist, Yinka Shonibare, MBE, celebrated for works including Nelson's Ship in a Bottle, which he made for the Fourth Plinth in Trafalgar Square. His vision for Deloitte Ignite 2012, Africa Weekend, is a celebration of traditional African and avant-garde arts and culture, expressing Africa's global contribution to the contemporary arts world.

Please see website for more details http://www.roh.org.uk/about/deloitte-ignite

Yinka Shonibare Globe Head Ballerina

Yinka Shonibare's Globe Head Ballerina modelled on The Royal Ballet's Melissa Hamilton.

Globe Head Ballerina is a piece of public sculpture which is currently on display on the side of the Royal Oprea House in Convent Garden. This piece is a life sized work based on a photograph of ballerina Margot Fonteyn.The costume is made of African Dutch wax fabric and the dancer has a Victorian-style globe as her head. Encased within a large snow globe style sphere the ballerina rotates on Pointe.

HMS Victory Returns to Trafalgar

Yinka Shonibare, MBE's Fourth Plinth Ship To Set Sail in May

The next commission for the Fourth Plinth, Nelson's Ship in a Bottle, by leading Anglo-Nigerian artist Yinka Shonibare will be unveiled in Trafalgar Square on the morning of Monday 24 May 2010.

Commissioned by the Mayor of London and supported by Arts Council England with sponsorship from Guaranty Trust Bank of Nigeria, Nelson's Ship in a Bottle is a scale replica of HMS Victory in a giant bottle.

The artwork will be the first commission on the Fourth Plinth to reflect specifically on the historical symbolism of Trafalgar Square, which commemorates the Battle of Trafalgar, and will link directly with Nelson's column. It is also the first commission by a black British artist.

The ship's 37 large sails will be made of richly patterned textiles commonly associated with African dress and symbolic of African identity and independence. The history of the fabric reveals that they were inspired by Indonesian batik design, mass produced by the Dutch and sold to the colonies in West Africa. Tying together historical and global threads, the work considers the legacy of British colonialism and its expansion in trade and Empire, made possible through the freedom of the seas that Nelson's Victory provided.

Yinka Shonibare says his piece will reflect the story of multiculturalism in London:

" For me its a celebration of London's immense ethnic wealth, giving expression to and honouring the many cultures and ethnicities that are still breathing precious wind into the sails of the United Kingdom. A ship in a bottle is an object of wonder. Adults and children are intrigued by its mystery. How can such towering masts and billowing sails fit inside such a commonplace object? With Nelson's Ship in a Bottle I want to take this childhood sense of wonder and amplify it to match the monumental scale of Trafalgar Square."

Yinka Shonibare's Nelson's Ship in a Bottle is sponsored by Guaranty Trust Bank who are also supporting Chris Ofili's mid-career survey exhibition at Tate Britain, on view until 16 May 2010. 2010 marks the 50th anniversary of Nigerian Independence. In London this will be marked by these two important exhibitions by leading international artists of Nigerian descent.

Looking up... Yinka Shonibare, MBE.

NMNM, Villa Sauber, 17 avenue Princess Grace, MC98000 MONACO

The "Training for a Museum" exercise continues, with artists invited to take an alternative look at the Nouveau Musée National de Monaco's collections. In 2010, Yinka Shonibare, MBE, will inaugurate this exercise in reinterpretation at the Villa Sauber with a journey into the imaginary world of the stage.

In his work, Yinka Shonibare, MBE (Member of the Order of the British Empire), a Nigerian artist who lives in London and was born there in 1962, likes to unite different worlds in a single space, since he comes from the multiculturalism that constitutes our world today. His reflections on identity and memory mix together his two home cultures in a highly original aesthetic fashion. Bringing Dutch wax into a Victorian world and using it to dress the middle classes that he represents with headless mannequins proved to be an artistic gesture that made him instantly recognisable. A retrospective of Yinka Shonibare's work has just been shown at the Brooklyn Museum in New York, followed by the Smithsonian Institute in Washington, and his ' project will be inaugurated in Trafalgar Square on May 24, 2010.

Models, sculptures, photographs and videos: the works of Yinka Shonibare, MBE, will form an Ariadne's thread inviting us to discover collections that belong to the artistic history of the Principality but have never or rarely been shown. Monte Carlo has been and is still a particularly vibrant artistic hub for stage and performance arts. We will encounter the Visconti "maquétothèque" of the Monte-Carlo Opera, Eugène Frey's fabulous luminous decors, the Marquis du Périer de Mouriez's strange collection of transparent paintings, plus the religious boxes from the Galéa Collection made by the Provencal Carmelites and a thousand other from the reserve collection that evoke the cabinets of curiosities of the 17th and 18th centuries, the ancestors of European museums. A costume conservation workshop will run throughout the exhibition, providing an opportunity for the public to get to know the hidden aspects of a museum.

I Know Something About Love

9 March - 22 May 2011

This exhibiton at Parasol unit foundation for contemporary art was devoted to works by Yang Fudong, Shirin Neshat, Christodoulos Panayiotou and Yinka Shonibare MBE. Each of these artists explores the theme of love in different times and cultures through the spectrum of their personal experience, observation and commentary. The exhibition title takes its cue from a 1960s song written by Bert Berns and performed by The Exciters, in which there is the recurring lyric, 'I know something about love'.

Yinka Shonibare MBE re-created the installation Jardin d'amour (Garden of Love), which he originally showed in 2007 at the Musée du Quai Branly in Paris.

Who Knows tomorrow

Starting on 4 June, the Hamburger Bahnhof and three other National Gallery sites - the Old National Gallery, the New National Gallery and the Friedrichswerder Church - will be showing five well-known artists of African extraction under the title "Who Knows Tomorrow?". The artists represented are El Anatsui, Zarina Bhimji, Yinka Shonibare MBE, Pascale Marthine Tayou and António Olé.

Learn more

National Museum of African Art Presents "Yinka Shonibare MBE"

A Mid-Career Retrospective of This Acclaimed Artist

November 3, 2009

Yinka Shonibare, one of the most celebrated artists working today, is the focus of an exhibition at the Smithsonian's National Museum of African Art. On view from November 10 through March 7, 2010, the exhibition features 21 dramatic paintings, photographic series, films and sculptural tableaux, including his famous headless mannequins that portray the complexities of cultural identity. "Yinka Shonibare MBE" is the most comprehensive exhibition of works by this 47-year-old London-based artist.

The exhibition occupies two levels of the museum, assembling works of art never before seen together. For the first time, Shonibare's ground-breaking early painting "Double Dutch" (1994) will be seen with the museum's "Black Gold" (2006) and a selection of innovative new sculptural works, including the artist's first and only work to incorporate moving parts, "Headless Man Trying to Drink" (2005). Another innovation of this installation includes presenting Shonibare's cinematic work, "Odile and Odette," in an open-air theater alongside paintings and other media.

"This exciting and memorable retrospective will bring visitors a first-hand look at some of the most important contemporary pieces from a celebrated Nigerian artist," said Johnnetta Betsch Cole, director of the museum. "We are proud to have this stunning exhibition open our two-year celebration 'Nigeria: Then, Now and Forever,' a series of exhibitions, public programs and special events showcasing the arts, culture and people of Nigeria." This two-year-long celebration is co-chaired by Hajiya Turai Umaru Yar'Adua, the first lady of Nigeria, and educator and philanthropist Camille Cosby.

The works in Shonibare's exhibition consider contemporary African identity and its relationship to historic colonial practices and neo-colonial policies through painting, sculpture, installation and moving image. "Shonibare is most widely recognized for the elaborate sculptural tableaux he creates of richly costumed, headless mannequins," said Karen Milbourne, curator at the National Museum of African Art. These costumes are made from fabrics inspired by Indonesian batiks, but manufactured in Europe and sold in west Africa. Today, these vibrantly patterned textiles are closely associated with African identity, and yet they also signal the entangled relations that unite peoples and cultures around the world.

A work titled "Scramble for Africa" (2003) will be on view. It depicts various headless statesmen claiming their territory as they sit around a table carving up the continent of Africa in the late 1800s. Another work, "Black Gold I," is the first in a set of paintings that explore the complex politics and economics of oil and connect Shonibare's early explorations of themes of wealth, class and privilege in his art with contemporary global issues.

"These works are a testament to the contemporary understanding of colonial and post-colonial African identity," said Rachel Kent, senior curator at the Museum of Modern Art in Sydney, Australia. "Never before have so many pieces of Shonibare's work come together for public view."

"The exhibit reflects the artificial construct of culture. It's not about authentic African experience or the authentic British experience-it lies somewhere both between and separate," said Shonibare.

Born in England in 1962 and raised in Nigeria, Shonibare currently lives and works in London, where he has gained international attention by exploring issues of race and class through a range of media that includes sculpture, painting, photography and installation art. In 2005, he was awarded Member of the Order of the British Empire (MBE) by Queen Elizabeth II.

As with Shonibare's sculptural pieces, the artist's photographic works draw upon the Victorian era, but here the artist manipulates expectations by inserting himself into the scenes. Most recently, Shonibare has begun to work with moving images and he has created two cinematic works, "Un Ballo in Maschera" and "Odile and Odette," in which he plays with the notions of black and white imbedded in Tchaikovsky's "Swan Lake." The Washington Ballet is choreographing a new piece, to be performed by South African rising star Andile Ndlovu, that will debut at the museum Feb. 6, 2010.

Shonibare has received numerous awards, including Barclays' "Young Artists Award" (1992) and the Paul Hamlyn Visual Arts Award (1998), and was short-listed for the Citibank Photography Prize (1999). He received an Honorable Mention at the Venice Biennale (2001) and was short-listed for the celebrated Turner Prize. Shonibare was also recently selected for the Fourth Plinth in Trafalgar Square (2008). His works can be found in the permanent collections of the Art Institute of Chicago, Walker Art Center, The Tate Modern and the National Museum of African Art.

"Yinka Shonibare MBE" was organized and toured by the Museum of Contemporary Art in Sydney. For more information on the exhibit, visit http://africa.si.edu/exhibits/view.html. A behind-the-scenes blog chronicling the installation of the exhibition can be found ahttp://shonibare-nmafa.blogspot.com.

A variation of the exhibition was shown at the Brooklyn Museum earlier this year after it premiered at the Museum of Contemporary Art in Australia. The exhibit will have no other venues in the United States after it leaves the Smithsonian.

About the National Museum of African Art

The National Museum of African Art is America's first museum dedicated to the collection, conservation, study and exhibition of traditional and contemporary African art. The museum is open daily from 10 a.m. to 5:30 p.m., except Dec. 25. Admission is free. The museum is located at 950 Independence Avenue S.W., near the Smithsonian Metrorail station on the Blue and Orange lines. For more information, call (202) 633-4600 or visit the National Museum of African Art's Web site at africa.si.edu. For general Smithsonian information, call (202) 633-1000 or TTY (202) 633-5285.

To look at previous exhibitions see Press

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The Arts Council Collection touring exhibition, Criminal Ornamentation opens at Attenborough Arts Centre, Leicester, 21 September-16 December 2018, then tours throughout the UK. Yinka Shonibare MBE curates a new Arts Council Collection touring exhibition opening at Attenborough Arts Centre, Leicester, this September.

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Lubaina Himid CBE (born 1954) is a British artist and curator. 

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Lubaina Himid CBE (born 1954) is a British artist and curator. 

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Lubaina Himid is the 2017 Himid was one of the first artists involved in the UK's Black Art movement in the 1980s and continues to create activist art which is shown in galleries in Britain, as well as worldwide. Himid was appointed MBE in June 2010 for "services to Black Women's Art" won the Turner Prize in 2017
https://www.tate.org.uk/art/artworks/himid-between-the-two-my-heart-is-balanced-t06947

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Rasheed Araeen (Urdu: رشید آرائیں‎; born 1935) is a Karachi born, London-based conceptual artist

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Rasheed Araeen (Urdu: رشید آرائیں‎; born 1935) is a Karachi born, London-based conceptual artist

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Through his activities as a publisher, writer, and artist he is one of the pivotal figures in establishing a black voice in the British arts. Geometric sculptures and paintings.

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Works by Rasheed Araeen: One Summer Afternoon, 1968 , Piaray Lal, 1970 , Untitled-4W+5R-70-x-66-x-4-in, 1971 , (3R+2B)SW, 1971 , Art History, Brilliant White and Crossed, 1979 , Chaar Yaar I (Four Friends), 1968-2014 , Summer Blue, 2014 , Summertime - The Regent's Park, 2017 , Opus XXA 3, 2016 ,...

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Sonia Dawn Boyce, (born 1962), is a British Afro-Caribbean artist, living and working in London.

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Sonia Dawn Boyce, (born 1962), is a British Afro-Caribbean artist, living and working in London.

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Collaboration and improvisation are very much Sonia's style. She works with the element of chance, bringing people together to create performance and video works that span film, music and dance.

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Amrita Sher-Gil (30 January 1913 – 5 December 1941) was a Hungarian-Indian painter. Born in Budapest 

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Amrita Sher-Gil (30 January 1913 – 5 December 1941) was a Hungarian-Indian painter. Born in Budapest 

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Painting mainly women and people living in poverty. She worked to showcase the complexity of their lives through her work.

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Amrita Sher-Gil
Three Girls 1935
oil on canvas
National Gallery of Modern Art, New Delhi

Amrita Sher-Gil
Hill Women 1935
Oil on canvas
Collection of Navina and Vivan Sundaram

Amrita Sher-Gil
South Indian Villagers Going to Market 1937
Oil on canvas
Collection of Navina and Vivan Sundaram

Amrita Sher-Gil
Woman on Charpai 1940
Oil on canvas
National Gallery of Modern Art, New Delhi

'I began to be haunted by an intense longing to return to India', Sher-Gil wrote, 'feeling in some strange inexplicable way that there lay my destiny as a painter.'

In 1934 the family left Paris to move to Shimla, in the western Himalayas. Sher-Gil painted intensively and travelled widely, keen to observe and represent Indian villagers and their way of life.

With Three Girls 1935, she began to move away from the academic, realist style of painting in which she was schooled, and towards a flatter, more modern composition. It depicts three young women on the threshold of adulthood and marriage, their hapless expressions indicating the artist's empathy for their predicament. In the same year she produced a pair of paintings entitled Hill Men and Hill Women showing groups of Indian villagers. The simplified and stylised handling of the figures with their sad expressions and the paintings' elongated vertical compositions evoke a sense of dignity as well as pathos.

In 1936 she met Karl Khandalavala, a collector who encouraged her interest in Indian art, particularly Moghul miniature painting, and the cave paintings and temples carved out of living rock at Ajanta and Ellora. She was deeply influenced by her visits to these sites, describing the frescoes at Ajanta as 'vital, vibrant, subtle and unutterably lovely'. Her paintings of the following few years reflect her growing ambition to create a modern style of painting which was at once quintessentially Indian yet entirely her own. South Indian Villagers Going to Market, which draws both upon the influence of Ajanta and her travels through southern India, is considered by many to be among her most significant works.

Works in focus

Three Girls

Her first major painting on returning to India, Three Girls shows Sher-Gil beginning to move away from the academic style of painting that she had studied in Paris Presenting the figures in close foreground, there is no attempt to establish their surroundings. Nonetheless, their resigned expressions and passive postures suggest the artist's close understanding of their plight. As Sher-Gil wrote, 'I am personally trying to be, through the medium of line, colour and design, an interpreter of the life of the people, particularly the life of the poor and sad.'

Hill Women

In her letters, Sher-Gil expressed her disdain for contemporary representations of India which depicted a beautiful landscape while acknowledging the suffering of the poor only as a sentimental picturesque detail. Tellingly, her own paintings focus on people rather than their surroundings. The critic Yashodhara Dalmia has praised the balance of form and content in this work: 'the silhouette of women standing in a grave silence, reminiscent of tombstones, is in effect an elegy to the living'.

South Indian Villagers Going to Market

In 1936-7, Sher-Gil undertook a trip through southern India, and saw the 7th and 8th century cave paintings at Ajanta for the first time. The large fresco-like paintings that followed capture her impressions of the south, but also represent her direct response to Ajanta, which she admired as a supreme example of classical Indian art. Here she brings a new sense of movement and colour to her depiction of Indian life, compared to the more static scenes that she portrayed at Shimla.

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Amrita Sher-Gil: Room 2, Return to India | Tate

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'I began to be haunted by an intense longing to return to India', Sher-Gil wrote, 'feeling in some strange inexplicable way that there lay my destiny as a painter.' In 1934 the family left Paris to move to Shimla, in the western Himalayas.