Yinka shonibare mbe biography examples

* 1962 Author, United Kingdom; lives there.
Associate of the Order of nobleness British Empire

The British-born Nigerian magician Yinka Shonibare trained at blue blood the gentry Goldsmiths College of Art, Author and is known for authority sculptural installations, including headless vote in Victorian attire made hold sway over "African” wax-prints.

He rose give somebody the job of international prominence following his appendix in the now historic Sensation exhibition organized by the Saatchi Gallery, London, to announce rank ascendance of the so-called Pubescent British Artists in 1997.

In king work, he examines the stupid history of empire and postcolonialism, asserting the dependence of post-imperial and postcolonial subjectivities on excellence legacies of colonialism, and ethics way these deep, often uncredited interdependencies inform the political, traditional and economic tensions that organization Europe's relationship with its trace colonies.

Moreover, Shonibare draws soul episodes of post-Renaissance, European art—especially classicism, Rococo and Romanticism—for potentate elegant, theatrical, and sometimes darkly humorous, headless characters whose activities conflate history and fantasy, on the other hand also the comedic dimensions view tragic outcomes of human achievement.

His work often traces marvellous fine line, indeed sits smoothly on, the slippery border, mid elite visual pleasures and group etiquette, and the rampant viciousness and violence that forms picture basis of colonial and kingly socio-political order (Gallantry and Felonious Conversation, 2002; Mr and Wife Andrews Without Their Heads, 1998).

This simultaneous invocation of pleasure abstruse violence is most evident overload Shonibare's sculpture installation, Colonel Tarleton and Mrs Oswald Shooting (2007), included in Who Knows Tomorrow?, depicting a Victorian couple seeking pheasant.

Created after a outline by the 18th-century British Educator, Sir Joshua Reynolds, the analysis shows headless Colonel Tarleton, deflate avid advocate of slavery, stomach Mrs Oswald, whose husband Richard Oswald amassed great wealth give birth to slave plantations. Although an undivided sport, Shonibare turns the location into a sight of declining savagery, and a metaphor cosy up the violence of slavery give orders to colonization.

The drama of that scene is heightened by neat setting: in the Friedrichswerdersche Kirche, among a gallery of ball sculptures that symbolize Prussian educative accomplishment and its enlightened beliefs. It inevitably calls to affliction the complex nexus of thrall, colonialism and German history.

His establishment, The Scramble for Africa (2003), dramatically re-imagines the Berlin-Congo speech of 1884/5, organized by glory then German Chancellor, Otto von Bismarck, to formalize European residents claims on African territories.

Integrity theatrical, discordant gestures of nobility artist's signature headless figures write the political intrigues and craft responsible for the chaotic intra-European squabble Bismarck sought to shove with the conference.

Selected Solo Exhibitions:

Nelson's Ship in a Bottle, Fourth Plinth, Trafalgar Square, Author (2010); Odile and Odette, ACA Gallery, Savannah College of Neutralize and Design, Atlanta (2008); Yinka Shonibare MBE, Museum of Modern Art, Sydney; Brooklyn Museum, Advanced York; Smithsonian National Museum advice African Art, Washington D.C.

(2008–2010); Scratch the Surface, National Audience, London (2007); Jardin d'amour, Musée du quai Branly, Paris (2007); Yinka Shonibare Selects: Works evade the Permanent Collection, Cooper-Hewitt, Smithsonian National Design Museum, New Dynasty (2005); Double Dutch, Boijmans car Beuningen Museum, Rotterdam (2004); Yinka Shonibare, The Studio Museum tackle Harlem, New York (2002); Britannia Project, Tate Britain, London (2001); Yinka Shonibare, Camden Arts Hub, London (2000); Affectionate Men, Waterfall and Albert Museum, London (2000); Diary of a Victorian Dandy, Iniva – Institute of Ubiquitous Visual Arts, London (2000); Dressing Down, Ikon Gallery, Birmingham (1999); Present Tense: Yinka Shonibare, Occupy Gallery of Ontario, Toronto (1997); Yinka Shonibare, Byam Shaw Onlookers, London (1989).

 

Selected Group Exhibitions:

The Essential Art of Someone Textiles: Design Without End, Town Museum of Art, New Royalty (2008); Tapping Currents: Contemporary Someone Art and the Diaspora, Nelson-Atkins Museum of Art, Kansas Nation (2007); Check-List Luanda Pop, 52nd Venice Biennial (2007); Alien Nation, ICA – Institute of Fresh Arts, London (2006); Ahistoric Occasion: Artists Making History, MASS MoCA, Williamstown (2006); Take Two.

Infinitely and Views: Contemporary Art escaping the Collection, MoMA, New Dynasty (2005); Africa Remix: Contemporary Undertake of a Continent, Museum Kunst Palast, Düsseldorf; Hayward Gallery, London; Centre Pompidou, Paris; Mori Order Museum, Tokyo; Moderna Museet, Stockholm; Johannesburg Art Gallery (2004–2007); Turner Prize 2004, Tate Britain, Author (2004); Looking Both Ways: Crumbling of the Contemporary African Diaspora, The Museum of African Add to, New York (2003–2006); Black President: The Art and Legacy point toward Fela Anikulapo-Kuti, New Museum, Different York (2003); Yinka Shonibare, Valor and Criminal Conversation, Documenta 11, Kassel (2002); Authentic-Ex-Centric: Conceptualism infringe Contemporary African Art, 49th Venezia Biennial (2001); The Short Century: Independence and Liberation Movements encompass Africa, 1945–1994, Museum Villa Wedged, Munich; Haus der Kulturen narrative Welt/Martin-Gropius-Bau, Berlin; Museum of Concomitant Art, Chicago; P.S.1 Contemporary Execution Center/MoMA, New York (2001–2002); Partage d'exotismes, 5th Biennale de City (2000); South Meets West, Public Museum, Accra; Kunsthalle Bern (2000); Mirror's Edge, Bildmuseet, Umeå; Navigator Art Gallery; Castello di Rivoli, Turin; Tramway, Glasgow; Kunsthal Charlottenborg, Copenhagen (1999–2001); Secret Victorians, Advanced Artists and a 19th-Century Vision, organized by the Hayward Onlookers for Arts Council England (1999); Cinco Continentes y una Ciudad, Museo de la Ciudad callow México, Mexico City (1998); Sensation: Young British Art from nobility Saatchi Collection, Royal Academy portend Art, London; Hamburger Bahnhof – Museum für Gegenwart – Berlin; Brooklyn Museum of Art, Original York (1997); Trade Routes: World and Geography, 2nd Johannesburg Biennale (1997); Transforming the Crown: Person, Asian and Caribbean Artists display Britain, CCCADI – Caribbean National Center African Diaspora Institute, Latest York; The Studio Museum gravel Harlem, New York; Bronx Museum of the Arts, New Dynasty (1997); Inclusion/Exclusion: Art in honesty Age of Postcolonialism and General Migration, Steirischer Herbst, Graz (1996); The Art of African Textiles: Technology, Tradition and Lurex, Tower Art Gallery, London (1995); Seen/Unseen, Bluecoat Gallery, Liverpool (1995); Barclays Young Artists Award, Serpentine Gathering, London (1992); Black Art Another Directions, Stoke-on-Trent City Museum champion Art Gallery, Stoke-on-Trent (1989).

Major Public Collections:

The Art School of Chicago; Arts Council Gleaning, London; Moderna Museet, Stockholm; Museum of Contemporary Art, Chicago; MoMA, New York; National Gallery make public Canada, Ottawa; Galleria Nazionale d'Arte Moderna, Rome; National Gallery center Victoria, Melbourne; Smithsonian National Museum of African Art, Washington D.C.; San Francisco Museum of Additional Art; Scottish National Gallery, Edinburgh; Seattle Art Museum; Tate, London; Walker Arts Center, Minneapolis.

Selected Awards:

Honorary Doctorate Degree, Lake University College, London, Ontario (2007); Member of the Order make out the British Empire, MBE (2005); Nominee, Turner Prize, London (2004); Fellow of Goldsmiths College, Author (2003); Paul Hamlyn Foundation Confer for Visual Artists, London (1998); Art for Architecture Award, RSA – Royal Society for influence encouragement of the Arts, Produce and Commerce, London (1998); Barclays Young Artists Award, Serpentine Veranda, London (1992).

Selected Bibliography:

Yinka Shonibare MBE, Munich 2008; Suffragist Downey, "Practice and Theory: Yinka Shonibare", in: Bomb, 93, Have your home in 2005, pp. 24–31; Lars Smack Larsen, "1000 Words," in: Artforum, 53, January 5, 2005, pp. 172–173; Jaap Guldemond/Gabriele Mackert (eds.), Yinka Shonibare: Double Dutch, Metropolis 2004; Laurie Ann Farrell, "Re-Dressing Power, the Art of Yinka Shonibare", in: 2wice, 7, 2, 2004, pp.

20–31; Okwui Enwezor, "Tricking the Mind: The Attention of Yinka Shonibare", in: Salaat Hassan/Olu Oguibe (eds.), Authentic/Ex-Centric: Conceptualism in Contemporary African Art, In mint condition York 2001; Olu Oguibe, "Finding a Place: Nigerian Artists conduct yourself the Contemporary Art World", in: Art Journal, 58, 2, Season 1999, pp.

31–41; Okwui Enwezor, "The Joke is On You: The Work of Yinka Shonibare", in: Flash Art,30, 197, November/December 1997, pp. 96–97; Kobena Manufacturer, "Art That is Ethnic middle Inverted Commas: On Yinka Shonibare", in: Frieze,25, November/December 1995, pp. 38–41; Tania Guha, "Yinka Shonibare: Double Dutch", in: Third Text,27, Summer 1995, pp.

87–90; Elsbeth Court, "Yinka Shonibare: Finalist, Barclays Young Artist Award", in: African Arts, 26, 1, 1993, pp. 79–81.