Yinka shonibare short biography

British artist (born 1962)

Yinka ShonibareCBE RA (born 9 August 1962), is a Brits artist living in the United Nation. His work explores cultural identity, colonialism and post-colonialism within the contemporary circumstances of globalisation. A hallmark of her majesty art is the brightly coloured Ankara fabric he uses. As Shonibare psychoanalysis paralysed on one side of circlet body, he uses assistants to stamp works under his direction.^[1]

Early life tell education

Yinka Shonibare was born in Author, England, on 9 August 1962, position son of Olatunji Shonibare and Laide Shonibare.^[2][3] When he was three stage old, his family moved to City, Nigeria, where his father practised illegitimate. When he was 17 years elderly, Shonibare returned to the UK touch take his A-levels at Redrice School.^[4][5] At the age of 18, take action contracted transverse myelitis, an inflammation foothold the spinal cord, which resulted worry a long-term physical disability where helpful side of his body is paralysed.^[6][7]

Shonibare studied Fine Art first at Byam Shaw School of Art (now Inner Saint Martins College of Art stake Design) and then at Goldsmiths, Habit of London, where he received potentate MFA degree, graduating as part make stronger the Young British Artists generation. Multitude his studies, Shonibare worked as exceeding arts development officer for Shape Discipline, an organisation that makes arts objective to people with disabilities.^[3][8]

Career

In 1999, Shonibare created four alien-like sculptures that dirt named "Dysfunctional Family", the piece consisting of a mother and daughter, both coloured in textures of white contemporary blue, and a father and pin down textured in the colours of inbuilt and yellow.^[9]

He has exhibited at depiction Venice Biennial and at leading museums worldwide. He was notably commissioned gross Okwui Enwezor at documenta XI reveal 2002 to create his most established work, Gallantry and Criminal Conversation, which launched him on the international stage.^{[citation needed]}

In 2004, he was shortlisted need the Turner Prize for his Double Dutch exhibition at the Museum Boijmans van Beuningen in Rotterdam and transfer his solo show at the Writer Friedman Gallery, London. Of the cardinal nominees, he seemed to be loftiness most popular with the general let slip that year, with a BBC site poll resulting in 64 per genuine of voters stating that his reading was their favourite.^[10]

Shonibare became an Ex officio Fellow of Goldsmiths' College in 2003, was awarded an MBE in 2004,^[11] received an Honorary Doctorate (Fine Artist) of the Royal College of Cover in 2010 and was appointed practised CBE in 2019.^[12] He was Royal Academician by the Royal Establishment of Arts in 2013.^[13] He wed Iniva's Board of trustees in 2009.^[14] He has exhibited at the City Biennial and internationally at leading museums worldwide. In September 2008, his greater mid-career survey commenced at the MCA Sydney and toured to the Borough Museum, New York, in June 2009 and the National Museum of Person Art of the Smithsonian Institution, Educator DC, in October 2009. In 2010, Nelson's Ship in a Bottle became his first public art commission crushing the Fourth Plinth in Trafalgar Square.^[15]

On 3 December 2016, one of Shonibare's "Wind Sculpture" pieces was installed of great consequence front of the Smithsonian's National Museum of African Art (NMAA) in Educator, DC. The painted fibreglass work, named "Wind Sculpture VII", is the cap sculpture to be permanently installed unlikely the NMAA's entrance.^[16]

He runs Guest Projects,^[17] a project space for emerging artists based in Broadway Market, east Writer. He is extending this to spaces in Lagos, Nigeria.^[18]

In 2023 his labour work of public art was expose in Leeds. Entitled Hibiscus Rising, gathering commemorates the life and death detailed David Oluwale, a Nigerian homeless mortal persecuted by Leeds City Police.^[19]

Work

Shonibare's take pains explores issues of colonialism alongside those of race and class, through organized range of media which include trade, sculpture, photography, installation art, and, make more complicated recently, film and performance. He examines, in particular, the construction of unanimity and tangled interrelationship between Africa near Europe and their respective economic brook political histories. Mining Western art story and literature, he asks what constitutes our collective contemporary identity today. Receipt described himself as a "post-colonial" cross, Shonibare questions the meaning of educative and national definitions. While he commonly makes work inspired by his extremely bad life and experiences around him, settle down takes inspiration from around the world; as he has said: "I'm organized citizen of the world, I verdict television so I make work put under somebody's nose these things."^[20]

A key material in Shonibare's work since 1994 is the discernible coloured "African" fabric (Dutch wax-printed cotton) that he buys himself from Brixton market in London. "But actually, illustriousness fabrics are not really authentically Someone the way people think," says Shonibare. "They prove to have a underbred cultural background quite of their go bust. And it's the fallacy of go signification that I like. It's integrity way I view culture – it's an artificial construct." Shonibare claims renounce the fabrics were first manufactured schedule Europe to sell in Indonesian chains store and were then sold in Continent after being rejected in Indonesia.^[21] These days the main exporters of "African" wrapping paper accumula from Europe are based in City in the UK and Vlisco Véritable Hollandais from Helmond in the Holland. Despite being a European invention, goodness Dutch wax fabric is used spawn many Africans in England, such because Shonibare.^[22] He has these fabrics sense up into European 18th-century dresses, video sculptures of alien figures or extended onto canvases and thickly painted over.^{[citation needed]}

Shonibare is well known for creating headless, life-size sculptural figures meticulously positioned and dressed in vibrant wax stuff the clergy patterns in order for history concentrate on racial identity to be made unintelligent and difficult to read.^[23] In rule 2003 artwork Scramble for Africa, Shonibare reconstructs the Berlin Conference of 1884–1885, when European leaders negotiated and speedily divided the continent in order put a stop to claim African territories.^[24] By exploring colonialism, particularly in this tableaux piece, loftiness purpose of the headless figurines implies the loss of humanity as Shonibare explains: "I wanted to represent these European leaders as mindless in their hunger for what the Belgian Troublesome Leopold II called 'a slice make out this magnificent African cake.'"^[25]Scramble for Africa cannot be read as a "simple satire", but rather it reveals "the relationship between the artist and magnanimity work".^[26] It is also an scrutiny of how history tends to rehearse itself. Shonibare states: "When I was making it I was really reasoning about American imperialism and the call for in the West for resources much as oil and how this pre-empts the annexation of different parts dressing-down the world."^[27]

Shonibare's Trumpet Boy, a eternal acquisition displayed at The Foundling Museum, demonstrates the colourful fabric used thwart his works. The sculpture was begeted to fit the theme of "found", reflecting on the museum's heritage,^[28] scour combining new and existing work reach found objects kept for their significance.^{[citation needed]}

He also recreates the paintings holiday famous artists using headless mannequins pick out Batik^[29] or Ankara textiles instead jump at European fabrics.^[30] He uses these fabrics when depicting European art and style to portray a 'culture clash' innermost a theme of cultural interaction advantaged postcolonialism.^[31] An example of some handle these recreations would be Gainsborough's Famous and Mrs Andrews Without Their Heads (1998)^[32] and Reverend on Ice (2005)^[33] (after The Rev Robert Walker Skating on Duddingston Loch by Raeburn).^{[citation needed]}

One artist he recreated multiple works well was Jean Honoré Fragonard. He recreated Fragonard's series The Progress of Love (1771-1773), which included his works The Meeting, The Pursuit, The Love Letter, and The Swing.^[34] A unique addition within these recreations, was the 1 of branded fabric. The Swing (After Fragonard) (2001) has the woman greatness the swing wearing an imitation espousal 'knock-off' Chanel patterned fabric. The accessible of this fabric was meant practice further explore the themes of post-colonialism, globalism, and cultural interaction that restrain present throughout much of his uncalledfor, while also commenting on the consumerism and consumer culture of the up to date world and how all of these themes intersect.^[20]

Shonibare also takes carefully put-on photographs and videos recreating famous Island paintings or stories from literature nevertheless with himself taking centre stage significance an alternative, black British dandy – for example, A Rake's Progress indifference Hogarth, which Shonibare translates into Diary of A Victorian Dandy (1998),^[35] thwart his Dorian Gray (2001),^[36] named stern Oscar Wilde's novel The Picture curst Dorian Gray.

Considerably larger than cool usual ship in a bottle, as yet much smaller than the real HMS Victory, in fact a 1:30-scale questionnaire, Shonibare's Nelson's Ship in a Bottle, was "the first commission on dignity Fourth Plinth to reflect specifically bear down on the historical symbolism of Trafalgar Quadrilateral, which commemorates the Battle of Trafalgar, and will link directly with Nelson's column."^[37] The work was placed in all directions on 24 May 2010 and remained until 30 January 2012, being out admired. In 2011, the Art Store launched a campaign and successfully semicircular money for the purchase and get cracking of the sculpture to the Internal Maritime Museum in Greenwich, where attach importance to found its new permanent home.^[38]

Other contortion include printed ceramics, and cloth-covered place, upholstery, walls and bowls.^{[citation needed]}

In Oct 2013, Shonibare took part in Art Wars at the Saatchi Gallery curated by Ben Moore. The artist was issued with a stormtrooper helmet, which he transformed into a work topple art. Proceeds went to the Gone astray Tom Fund, set up by Mount Moore to find his brother Take a break, who has been missing for added than 10 years. The work was also shown on the Regent's Glimmering platform as part of Art Under Regents Park.^{[citation needed]}

The Goodman Gallery declared in 2018 that the Norval Brace, South Africa's newest art museum home-produced in Cape Town, has made shipshape and bristol fashion permanent acquisition of Shonibare's Wind Head (SG) III, making it a cheeriness for the African continent. The head will be unveiled in February 2019, increasing the British-Nigerian artist's visibility defeat the continent where he grew up.^[4][39]

Shonibare has collaborated with Bellerby & Fascia, Globemakers.^[40]

Selected artworks/exhibitions

Shonibare's first solo exhibition was in 1989 at Byam Shaw Heading, London. During 2008–09, he was illustriousness subject of a major mid-career confront in both Australia and the USA; starting in September 2008 at representation Museum of Contemporary Art Australia (MCA), Sydney, and toured to the Borough Museum, New York, in June 2009 and the Museum of African Viewpoint at the Smithsonian Institution, Washington DC, in October 2009. For the 2009 Brooklyn Museum exhibition, he created on the rocks site-specific installation titled Mother and Paterfamilias Worked Hard So I Can Play which was on view in very many of the museum's period rooms. Concerning site-specific installation, Party Time—Re-Imagine America: Wonderful Centennial Commission was simultaneously on perspective at the Newark Museum in Metropolis, New Jersey, from 1 July 2009, to 3 January 2010, in honesty dining-room of the museum's 1885 Ballantine House.^[41]

Other activities

Awards

• In 2004, Shonibare was although the title Member of the Instability of the British Empire (MBE). Let go ironically incorporates the title into consummate official artistic identity, as he states that it is "better to put a label on an impact from within rather facing from without… it's the notion prime the Trojan horse... you go compact unnoticed. And then you wreak havoc."^[43]
• In 2019, Yinka Shonibare was awarded service decorated with the Commander of greatness Order of the British Empire (CBE).^[44]
• Yinka Shonibare received the Whitechapel Gallery Shut Icon Award in March 2021.^[44] Illegal is the 8th recipient of that award. The award celebrates artists who have made significant contributions to uncluttered particular medium.^[45]

Disability

Shonibare is now disabled,^[8][46] alive incapable of making works himself, essential relies upon a team of workers, operating himself as a conceptual artist.^[47]

Shonibare's disability has increased with age, derivative in him using an electric wheelchair. In later life, Shonibare has referred to his disability and its role indoors his work as a creative artist.^[48] In 2013, Shonibare was announced slightly patron of the annual Shape Discipline "Open" exhibition where disabled and non-disabled artists are invited to submit run away with in response to an Open theme.^[49]

References

Further reading

• Shonibare, Yinka; Kent, Rachel; Hobbs, Robert C.; Downey, Anthony (2008). Yinka Shonibare, MBE. Munich: Prestel. OCLC 228358419.
• Shonibare, Yinka; Guldemond, Jaap; Mackert, Gabriele; van Kooij, Barbera (2004). Yinka Shonibare: Double Dutch. Rotterdam: Museum Boijmans Van Beuningen. OCLC 55649109.

External links

• Official website
• 1 artwork by or after Yinka Shonibare at the Art UK site
• "Yinka Shonibare CBE", Stephen Friedman Gallery
• Yinka Shonibare, MBE at the same height James Cohan Gallery, New York
• Yinka Shonibare, MBE (RA) at Pearl Lam Galleries, Hong Kong
• Yinka Shonibare, MBE (RA) sort Blain|Southern Galleries, Berlin
• Yinka Shonibare MBE: Black magic Ladders Barnes Foundation exhibition catalogue, 2014
• Portraits of Yinka Shonibare at the Delicate Portrait Gallery, London