SPOTLIGHT: Conceptual Artist Yinka Shonibare, MBE

Yinka Shonibare, MBE — the MBE stands for Most Excellent Order of the British Empire —is a British-Nigerian artist living in London. His work explores cultural identity, colonialism and post-colonialism within the contemporary context of globalization. Shonibare, is best known for his whimsical life-sized mannequins dressed in vivid Dutch-wax (African prints and patterns) fabrics.  The costumes are usually Victorian, the Victorian era being the period of British history when Africa was colonized.  The Dutch-wax period costumes are really an Indonesian-designed fabric called, batik that has become popularly assimilated into West African culture. As his work continues to take on the authenticity of historical moments, the fabrics that were originally to be used to connote African identity, not really being originally from Africa are a constant ironic coincidence – working to his advantage as a conceptual artist.

The sculptures add a lightness to addressing weighty themes including race, enlightenment, capitalism, authenticity and least of all identity.  You’ll notice that the mannequins are headless, it’s so the figures aren’t racially identifiable. The fiberglass bodies are mixed race, “kind of coffee colored,” Mr. Shonibare said that he conceived of the headlessness as a joke related to the revenge killings of aristocrats in the French Revolution. “The idea of bringing back the guillotine was very funny to me,” he said.*

Throughout the past decade, Shonibare has shown his distinctive pieces extensively from the United States to Hong Kong, with notable exhibitions including mid-career retrospective at the Smithsonian’s National Museum of African Art.

–>Take a look below at some of the pieces from Shonibare, MBE’s exhibitions as we offer quotes from the artist himself about his inspiration:

 

SPOTLIGHT: Conceptual Artist Yinka Shonibare, MBE Sculpture, Cakeman II

Called Cake Man (II), it features a lifesize mannequin dressed in African print, with a huge pile of cakes balanced precariously on his back. “It’s my tribute to bankers,” said Shonibare. “There’s been a lot of talk about bonuses to bankers and the top 1% literally taking all the cake. So this piece, I guess, is about greed. It has more cakes than anyone could ever eat or manage.”

 

Yinka Shonibare MBE, The Swing (After Fragonard), 2001 (Tate, London) © Yinka Shonibare. The Swing (After Fragonard) is a three-dimensional recreation of the Rococo painting after which it was titled, which itself offers testimony to the opulence and frivolity of pre-Revolutionary France. Painted in 1767, Jean-Honoré Fragonard’s The Swing depicts a coquettish young girl swinging in a lush and fertile forest and, of course, playfully kicking up her shoe. “Living in England, with my colonial relationship to this country, one cannot escape all these Victorian things, because they are everywhere: in architecture, culture, attitude…” – Yinka Shonibare

 

“Gallantry and Criminal Conversation (Parasol),” 2002 Two life-size fiberglass mannequins, two metal and wood cases, Dutch wax printed cotton, leather, wood, and steel, 64 1/5 x 44 1/10 x 75 4/5 inches Collection of Beth Rudin DeWoody, New York Photo by Werner Maschmann © Yinka Shonibare MBE

 
“Being able to indulge in your fantasies really belongs to the privileged and the wealthy. I was fascinated with the fashion that comes with that luxury and excess, and I wanted to produce a piece that would be slightly surreal and also a bit of satire as well—poking fun at the whole thing, but also loving it at the same time. It’s not sexually explicit. Really it’s about people having a sense of humor.” -Yinka Shonibare MBE

SPOTLIGHT: Conceptual Artist Yinka Shonibare, MBE

“How to Blow Up Two Heads at Once (Ladies),” a 2006 work by Yinka Shonibare with mannequins, guns, Dutch wax-printed cotton textile, shoes, boots and plinth. Credit Steve White/Museum Purchase, Wellesley College Friends of Art

SPOTLIGHT: Conceptual Artist Yinka Shonibare, MBE

SPOTLIGHT: Conceptual Artist Yinka Shonibare, MBE

“He reminds us that every action has ramifications. A girl sprouting butterfly wings, and a male figure outfitted in a spacesuit with his worldly possessions strapped to his back. They are poised for takeoff to  escape the mess we have made on Earth and begin anew elsewhere—hopefully having learned from history, so as not to repeat our mistakes.” – —Karen Kedmey via Artsy Editoral, “Yinka Shonibare’s Haunting New Sculptures and Installations Present a Link Between Climate Change and Our Dark History”

Yinka Shonibare MBE’s The Last Supper Exploded is based on a sculpture of the same name first on view at the artist’s solo show Pop! at Stephen Friedman Gallery, London, 2013. The exhibition’s main themes explored corruption, excess and debauchery in contemporary society, with particular reference to the most recent on-going economic crisis. In The Last Supper Exploded, Shonibare investigates the worship of luxury goods and the reckless behaviour of in particular the financial industry by paying art historical homage to one of humanity’s best known artworks: Leonardo da Vinci’s The Last Supper.

 

Yinka Shonibare [Website] [Twitter]

*quote taken from, Headless Bodies From a Bottomless Imagination – The New York Times

 

SEE IT NOW:

  • Until June 2017 a commission by artist Yinka Shonibare, produced by Up Projects for the Royal Opera House. Titled ‘Globe Head Ballerina’, on display on the exterior of the building overlooking Russell Street.  The work is inspired by a famous photograph of ballerina Margot Fonteyn. Shonibare’s sculpture depicts a life-size ballerina, modelled on Melissa Hamilton, a soloist with the Royal Ballet. Encased in a giant ‘snow globe’, the figure, whose head is a replica Victorian globe, rotates slowly.

    Spotlight: Yinka Shonibare MBE

    photo:Sim Canetty-Clarke, courtesy UP Projects ROH
    ‘Globe Head Ballerina’ by Yinka Shonibare

The More You Know:

SPOTLIGHT: CONCEPTUAL ARTIST GLENN LIGON

 

Glenn Ligon is an American conceptual artist whose work explores race, language, and identity by engaging the subjects within wordplay. Sourcing literary gems from influential writers including, Zora Neal Hurston, Gertrude Stein, and James Baldwin, he uses language and textual experiments with legibility and eligibility to speak on challenging subject matters. His medium of choice—oil crayon used with letter stencils—transforms the texts he quotes, making them abstract, difficult to read, and layered in meaning, much like the subject matter that he appropriates.  For the viewer, the words slowly dissipate into powerful messages as the text begins to blur and morph into a larger meaning.

His later work with text-based neon signs crossed that bridge – finding a connection between the illuminated signs  and his text heavy paintings that move his message on our collective experiences forward.  Repetition is often a highlight in his work self expression;  to promote a  progression of clarity in his thoughts and meditations.

Ligon’s paintings and sculptures continue to examine cultural and social identity through found sources—literature, Afrocentric coloring books, photographs—to reveal the ways in which the history of slavery, the civil rights movement, and sexual politics inform our understanding of American society.

 

 

Glenn Ligon_ Untitled

Glenn Ligon – Untitled (I’m Turning Into a Specter before Your Very Eyes and I’m Going to Haunt You)

Stand there long enough to realize that you are re-reading a single phrase; Ligon’s repetition of this phrase begins to dissipate into a powerful message as the words begin to blur and disappears into a bigger meaning.

 

 

The More You Know:

  • VIDEO – Watch Glenn Ligon as he explains some of his more widely-known pieces.
  • VIDEO – Watch Curator Thelma Golden and Glenn Ligon in Conversation.
  • The Whitney Museum holds the largest collection of Ligon’s work.  Visit their website for a listen & learn of influential pieces in their collection.

Discover: Rune Guneriussen

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Norwegian conceptual artist Rune Guneriussen creates whimsical worlds that highlight the natural beauty of his chosen locales. Integrating everyday, man-made objects into his work, Guneriussen assembles temporary, site-specific sculptures that he photographs using a analog plate camera.

It can take days before he finds the perfect secluded location. Items are hauled there by foot and arranged to sit within the perfect balance of light, illuminated by what Guneriussen refers to as the ‘blue hour’. Once the image is taken, he quickly dismantles the work, leaving no trace of it behind.

“As an artist he believes strongly that art itself should be questioning and bewildering as opposed to patronizing and restricting…he does not want to dictate a way to the understanding of his art, but rather indicate a path to understanding a story,” Guneriussen states in the third person on his website.

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Discover more of Guneriussen’s work:
Website \ Facebook

Ivan Sikic – It’s My Party and I do What I Want To!

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It’s My Party and I do What I Want To! aims to comment on the widening wealth gap. Conceptual artist Ivan Sikic aims to maintain that debate with his installation denounces this system. He placed 99 balloons held by a fake gold bar over 7,000 thumbtacks.

“This is the political and social context Iván Sikic aims to respond to in this instance by presenting It’s My Party and I do What I Want To! In a corner of gallery Luis Adelantado, Valencia, 99 helium filled balloons keep a gilded brick afloat. During the two months that the work will be open for viewing, each week, a newly inflated balloon gets added to supplement the ones that will continue to deflate. These remain, deflated, in the spot where they land, as a crude testimony that their replacement is both cheap and inevitable. On the ground, a small and helpless thumbtack army dramatize the inanity of their posture against the relentless golden brick.”*

*quote taken from artist statement.

This is an evolving work, Sikic invites everyone to check back at the end of September for the finalized documentation of the piece.

photos via artist website.

Zeren Badar’s ‘Accident Series’

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Self-taught photographer Zeren Badar describes his latest photography project, Accident Series as “rich, conceptual, sensual and anti-formal” turning “pre-existing works of art into Duchampian ready-mades”. Indeed he is exploring his Dada influences with a peculiar combination of photography, painting & collage. These collages are made with found objects, covered in food, laced in strong shadows and layering effects to give a three dimensional sense to his work.

Badar hopes these copies of old masters paintings will evoke the viewers memory. The artist explains, “By using unexpected juxtapositions of objects, I try to create ambiguity and pull viewers attention deeper into my photographs.”

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*Zeren Badar is a self-taught photographer who lives currently in NYC. He is originally from Turkey. He is obsessed with art.
He enjoys long walks all around Manhattan and take long breaks at art shows.

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zerenbadar.com

very first accident

Conceptual Art Hits The Runway

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Conceptual art is hitting the runway with designers dreaming big off of their art history backgrounds like Craig Green. Green’s new mens line features ropes that bind,  sculptural headdresses of wood planks that obscure the models faces forcing anonymity, and playful uses of light and dark conceptions that make his creations seem very much like moving contemporary installations blurring the lines between fashion show and art exhibit.

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