With Justice for All — Shonibare’s contribution to Singapore Art Week — the artist represents the multiplicity of voices of a contemporary globalized society.
This exhibition at ICA/Boston presents works by 20 contemporary artists — many of them immigrants or members of the African diaspora — that highlight current migration events.
In some respects, it makes sense that Shonibare has installed his work in the Driehaus Museum, a monument and tomb consecrated to the gilded age.
Barbara Chase-Riboud, David Adjaye, Hank Willis Thomas, Yinka Shonibare, and Wodiczko are among the finalists of the monumental project.
An exhibition at the Wellin Museum in upstate New York brings together nine video and moving image works by seven artists born or living in Africa.
COLUMBUS, Ohio — Spanning several media, much of the work in Us Is Them makes social commentary from the perspective of underrepresented populations. Notably, the show features some of the biggest names in contemporary African-American art, bringing the focus on the fraught nature of black existence in the US.
In Colonial Arrangements, a site-specific exhibition in partnership with the Historic House Trust, UK-born Nigerian artist Yinka Shonibare MBE conjures Eliza Jumel’s specter with headless mannequins clothed in Dutch wax fabric.
WASHINGTON, DC — When you think of textiles in museums, you inevitably imagine old things: musty rooms, faded colors, grandiose tapestries or thread-bare fragments, and fussy, protective installations.
Thematic exhibitions present a unique dilemma; if a curator follows a theme too rigidly, the exhibition can become stifling. If applied too loosely, the curator essentially undermines their own role.
Yinka Shonibare MBE’s decapitated mannequins in their vibrant batik fabric outfits cavort through a collage of influences that the British-born, Nigeria-raised artist has excavated from the complicated history of culture.
CHICAGO — It’s impossible to know when love begins. At best, we are mildly aware of its onset — a subtle brush of the hair, a lick of the lips, a quiet nudge of the hip, a gaze that lasts too long or not long enough. What we do know is that love finds us; we cannot search it out. Spanish poet Federico García Lorca wrote of lunar romance: “How the owl is calling. / Ay, it calls in the branches! / Through the sky goes the moon, / gripping a child’s fingers.” His lyrical words wrap themselves around a young, innocent type of love.
Despite being the exhibition catalogue of an exhibition that originated at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Environment and Object: Recent African Art is seen by its’ editors as an independent document.