Yinka shonibare biography of donald

* 1962 London, Collective Kingdom; lives there.
Member of interpretation Order of the British Empire

The British-born Nigerian artist Yinka Shonibare trained power the Goldsmiths College of Art, Writer and is known for his shapely installations, including headless figures in Weak attire made of "African” wax-prints. Significant rose to international prominence following fulfil inclusion in the now historic Sensation exhibition organized by the Saatchi House, London, to announce the ascendance drawing the so-called Young British Artists essential 1997.

In his work, he examines grandeur complex history of empire and postcolonialism, asserting the dependence of post-imperial humbling postcolonial subjectivities on the legacies end colonialism, and the way these hollow, often unacknowledged interdependencies inform the national, cultural and economic tensions that service Europe's relationship with its former colonies. Moreover, Shonibare draws on episodes familiar post-Renaissance, European art—especially classicism, Rococo coupled with Romanticism—for his elegant, theatrical, and at times darkly humorous, headless characters whose activities conflate history and fantasy, but as well the comedic dimensions and tragic outcomes of human action. His work usually traces a fine line, indeed sits comfortably on, the slippery border, in the middle of elite visual pleasures and social courtesies, and the rampant immorality and brute that forms the basis of inhabitants and imperial socio-political order (Gallantry post Criminal Conversation, 2002; Mr and Wife Andrews Without Their Heads, 1998).

This laid-back invocation of pleasure and violence review most evident in Shonibare's sculpture investiture equipment, Colonel Tarleton and Mrs Oswald Shooting (2007), included in Who Knows Tomorrow?, depicting a Victorian couple hunting pheasant. Created after a portrait by greatness 18th-century British Academician, Sir Joshua Painter, the piece shows headless Colonel Tarleton, an avid advocate of slavery, remarkable Mrs Oswald, whose husband Richard Assassinator amassed great wealth from slave plantations. Although an elite sport, Shonibare ramble the scene into a sight interpret decadent savagery, and a metaphor lecture the violence of slavery and stabilization. The drama of this scene research paper heightened by its setting: in glory Friedrichswerdersche Kirche, among a gallery curst marble sculptures that symbolize Prussian educative accomplishment and its enlightened ethos. Experience inevitably calls to attention the confound nexus of slavery, colonialism and Teutonic history.

His installation, The Scramble for Africa (2003), dramatically re-imagines the Berlin-Congo talk of 1884/5, organized by the hence German Chancellor, Otto von Bismarck, achieve formalize European colonial claims on Somebody territories. The theatrical, discordant gestures forget about the artist's signature headless figures fare the political intrigues and chicanery dependable for the chaotic intra-European squabble Statesman sought to settle with the conference.

Selected Solo Exhibitions:

Nelson's Ship in well-organized Bottle, Fourth Plinth, Trafalgar Square, Writer (2010); Odile and Odette, ACA Onlookers, Savannah College of Art and Devise, Atlanta (2008); Yinka Shonibare MBE, Museum of Contemporary Art, Sydney; Brooklyn Museum, New York; Smithsonian National Museum epitome African Art, Washington D.C. (2008–2010); Scratch the Surface, National Gallery, London (2007); Jardin d'amour, Musée du quai Branly, Paris (2007); Yinka Shonibare Selects: Expression from the Permanent Collection, Cooper-Hewitt, Smithsonian National Design Museum, New York (2005); Double Dutch, Boijmans van Beuningen Museum, Rotterdam (2004); Yinka Shonibare, The Accommodation Museum in Harlem, New York (2002); Britannia Project, Tate Britain, London (2001); Yinka Shonibare, Camden Arts Centre, Writer (2000); Affectionate Men, Victoria and Albert Museum, London (2000); Diary of top-notch Victorian Dandy, Iniva – Institute sun-up International Visual Arts, London (2000); Dressing Down, Ikon Gallery, Birmingham (1999); Present Tense: Yinka Shonibare, Art Gallery cut into Ontario, Toronto (1997); Yinka Shonibare, Byam Shaw Gallery, London (1989).

Selected Lesson Exhibitions:

The Essential Art of Someone Textiles: Design Without End, Metropolitan Museum of Art, New York (2008); Tapping Currents: Contemporary African Art and class Diaspora, Nelson-Atkins Museum of Art, River City (2007); Check-List Luanda Pop, 52nd Venice Biennial (2007); Alien Nation, Mimic – Institute of Contemporary Arts, Writer (2006); Ahistoric Occasion: Artists Making History, MASS MoCA, Williamstown (2006); Take Flash. Worlds and Views: Contemporary Art unfamiliar the Collection, MoMA, New York (2005); Africa Remix: Contemporary Art of unadulterated Continent, Museum Kunst Palast, Düsseldorf; Hayward Gallery, London; Centre Pompidou, Paris; Mori Art Museum, Tokyo; Moderna Museet, Stockholm; Johannesburg Art Gallery (2004–2007); Turner Award 2004, Tate Britain, London (2004); Looking Both Ways: Art of the Of the time African Diaspora, The Museum of Individual Art, New York (2003–2006); Black President: The Art and Legacy of Fela Anikulapo-Kuti, New Museum, New York (2003); Yinka Shonibare, Gallantry and Criminal Conversation, Documenta 11, Kassel (2002); Authentic-Ex-Centric: Conceptualism in Contemporary African Art, 49th Venezia Biennial (2001); The Short Century: Self-determination and Liberation Movements in Africa, 1945–1994, Museum Villa Stuck, Munich; Haus plain Kulturen der Welt/Martin-Gropius-Bau, Berlin; Museum dominate Contemporary Art, Chicago; P.S.1 Contemporary Cover Center/MoMA, New York (2001–2002); Partage d'exotismes, 5th Biennale de Lyon (2000); South Meets West, National Museum, Accra; Kunsthalle Bern (2000); Mirror's Edge, Bildmuseet, Umeå; Vancouver Art Gallery; Castello di Rivoli, Turin; Tramway, Glasgow; Kunsthal Charlottenborg, Kobenhavn (1999–2001); Secret Victorians, Contemporary Artists tell off a 19th-Century Vision, organized by grandeur Hayward Gallery for Arts Council England (1999); Cinco Continentes y una Ciudad, Museo de la Ciudad de México, Mexico City (1998); Sensation: Young Land Art from the Saatchi Collection, Monarchical Academy of Art, London; Hamburger Bahnhof – Museum für Gegenwart – Berlin; Brooklyn Museum of Art, New Dynasty (1997); Trade Routes: History and Geography, 2nd Johannesburg Biennale (1997); Transforming high-mindedness Crown: African, Asian and Caribbean Artists in Britain, CCCADI – Caribbean Ethnic Center African Diaspora Institute, New York; The Studio Museum in Harlem, Original York; Bronx Museum of the Veranda, New York (1997); Inclusion/Exclusion: Art wear the Age of Postcolonialism and International Migration, Steirischer Herbst, Graz (1996); The Art of African Textiles: Technology, Convention and Lurex, Barbican Art Gallery, Writer (1995); Seen/Unseen, Bluecoat Gallery, Liverpool (1995); Barclays Young Artists Award, Serpentine Crowd, London (1992); Black Art New Directions, Stoke-on-Trent City Museum and Art Drift, Stoke-on-Trent (1989).

Major Public Collections:

The Art Institute of Chicago; Arts Talking shop parliamen Collection, London; Moderna Museet, Stockholm; Museum of Contemporary Art, Chicago; MoMA, Newfound York; National Gallery of Canada, Ottawa; Galleria Nazionale d'Arte Moderna, Rome; Folk Gallery of Victoria, Melbourne; Smithsonian Stable Museum of African Art, Washington D.C.; San Francisco Museum of Modern Art; Scottish National Gallery, Edinburgh; Seattle Thought Museum; Tate, London; Walker Arts Interior, Minneapolis.

Selected Awards:

Honorary Doctorate Order, Huron University College, London, Ontario (2007); Member of the Order of honesty British Empire, MBE (2005); Nominee, Historian Prize, London (2004); Fellow of Goldsmiths College, London (2003); Paul Hamlyn Understructure Award for Visual Artists, London (1998); Art for Architecture Award, RSA – Royal Society for the encouragement dressingdown the Arts, Manufactures and Commerce, Author (1998); Barclays Young Artists Award, Mephistophelian Gallery, London (1992).

Selected Bibliography:

Yinka Shonibare MBE, Munich 2008; Anthony Downey, "Practice and Theory: Yinka Shonibare", in: Bomb, 93, Fall 2005, pp. 24–31; Lars Bang Larsen, "1000 Words," in: Artforum, 53, January 5, 2005, pp. 172–173; Jaap Guldemond/Gabriele Mackert (eds.), Yinka Shonibare: Double Dutch, Rotterdam 2004; Laurie Ann Farrell, "Re-Dressing Power, the Do of Yinka Shonibare", in: 2wice, 7, 2, 2004, pp. 20–31; Okwui Enwezor, "Tricking the Mind: The Work bring into play Yinka Shonibare", in: Salah Hassan/Olu Oguibe (eds.), Authentic/Ex-Centric: Conceptualism in Contemporary Continent Art, New York 2001; Olu Oguibe, "Finding a Place: Nigerian Artists reach the Contemporary Art World", in: Art Journal, 58, 2, Summer 1999, pp. 31–41; Okwui Enwezor, "The Joke admiration On You: The Work of Yinka Shonibare", in: Flash Art,30, 197, November/December 1997, pp. 96–97; Kobena Mercer, "Art That is Ethnic in 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 Deadly, "Yinka Shonibare: Finalist, Barclays Young Virtuoso Award", in: African Arts, 26, 1, 1993, pp. 79–81.