Toyin Ojih Odutola

Toyin Ojih Odutola (born 1985) is an Nigerian-American contemporary visual artist known for her vivid multimedia drawings and works on paper.[1][2][3] Ojih Odutola produces multimedia drawings that engage in the complexity and shape-ability of identity. Shown in her unique style of complex mark-making, her lavish compositions rethink the category and traditions of portraiture and storytelling.[4] The creative work of Ojih Odutola is linked to inequality and the notion of blackness as a visual and a social symbol.[5]

Lonely Chambers (T.O.), 2011, pen ink and marker drawing on paper, by Toyin Ojih Odutola
Toyin Ojih Odutola
Born1985 (age 34–35)
Ife, Nigeria
NationalityNigeria
United States
Education
OccupationVisual artist
Known forpastel, charcoal, pencil, black pen ink
Websitetoyinojihodutola.com

Early life and education

Ojih Odutola was born in 1985 in Ile-Ife, Nigeria, where both her parents were teachers. In 1990 her mother, Nelene Ojih, and her 2-year-old brother, Datun, took her to accompany her father, Adeola Odutola in Berkeley, California, where her father was doing research and teaching chemistry at the university. After four years in Berkeley, the family moved to Huntsville, Alabama in 1994 where her father became a professor at Alabama A&M University and her mother a nurse.She is of Yoruba and Igbo descent from her paternal and maternal heritage, respectively. [6]

In 2007, as a undergraduate upcoming senior, she did the Norfolk Summer Residency for Music & Art[7][8], from Yale University in Conneticut. Shortly after in 2008, she received a Bachelor of Arts degree in Studio Art and Communications from the University of Alabama in Huntsville.[9] In 2012, she earned a Master of Fine Arts degree from California College of the Arts. She is represented by the Jack Shainman Gallery in New York City, where she lives and works.[10][9]

Career

Once she graduated from the California College of Arts in San Francisco, with the help of Jack Shainman, Toyin performed her first solo show in 2011. It was composed of a collection of individual black faces in white backgrounds drawn in layers with a ballpoint pen. The idea behind this artwork portrayed her as a genius creator in the representation of black skin.[11]

Forbes featured Ojih Odutola in its 2012 list of 30 notable individuals under 30 in the category "Art & Style."[12][13]

Her work was also the featured cover story for Juxtapoz Magazine in November 2017, on the occasion of her museum solo exhibition, To Wander Determined, at Whitney Museum of American Art, New York.[14] "To Wander Determined" is a vibrant series of figures relatively connected by a fictional narrative of two a Nigerian families. Ojih Odutola introduces the portraits as private work from the two families, which are of different upper-class origins.[15] The premise behind the portraits being fictional allow the audience to decipher the truth behind them. Toyin Ojih makes the stories and lives of these characters fictional, but as it is done correctly, the audience can immerse themselves in the emotions, vibrant accessories, costumes, and lives presented in front of them.

She was appointed the Lida A. Orzeck ’68 Distinguished Artist-in-Residence for the academic year of 2017 to 2018 at Barnard College in New York.[16]

In September 2018, she was nominated as one of the 21 shortlisted artists for the Future Generation Art Prize for 2019.[17]

For The New York Times Magazine's annual The Lives They Lived issue, Ojih Odutola was invited to create a tribute portrait of the late singer, songwriter, and pianist Aretha Franklin, for its cover, published on December 30, 2018.[18]

Ojih Odutola was inducted into the National Academicians Class of 2019, of the National Academy of Design. A lifetime honor appointment and tradition dating back to 1825, current members confidentially nominate and elect a new class each year honoring the artists' remarkable contributions to the canon and story of American art. The exhibits and artwork that is shown by the ambassadors inspire the next generation while cultivating its 200-year-old tradition. The National Academicians assist as ambassadors for the arts. [19]

Style and influences

Ojih Odutola is best known for her very detailed portrait drawings, entirely or primarily done in black pen ink. Her more recent work has expanded to include charcoal, pastel, and pencil.[20] She credits her high school art teacher, Dana Bathurst, for introducing her to African-American portraiture artists such as Jacob Lawrence, Elizabeth Catlett, Romare Bearden and Barkley L. Hendricks.[21]

Ojih Odutola has also received inspiration and influence from comic books, Japanese manga, and anime. She credits the artist, Cathy G. Johnson who does webcomics. Johnson's style is different compared to Odutola's but, she has created art with such influence. Artists like Kerry James Marshall, Wangechi Mutu, and Julie Mehretu had a huge impact on her when she was in graduate school.[22]

Ojih Odutola's work is often viewed as challenging the many traditional notions about social and political identity as well as the framework of which it is defined. Her work is an intentional means of translating those narratives about race, identity, and class visually. This is done through the medium she uses as well as the textures conveyed in the figures in her detailed drawings. For Ojih Odutola, the texture is a form of communication and language with the viewer. The various marks she creates represent dialect and accent.[23] Ojih has mentioned she has been afraid of depicting women in her art. She has been afraid of portraying women as it can come with objectification. Ojih steers towards using her brothers in her artwork, particularly in the series, "Of Another Kind" from a different perspective. When portraying naked people, she imagines them for who they are, and believe they deserve no labels to them. In this piece, she exposes her brothers in order to break the notion of portraying black males in an open position. [24]

Selected exhibitions
  • 2006: UAHuntsville Annual Juried Student Art Exhibition, Huntsville, Alabama, her first selected exhibition.[25]
  • 2007: Huntsville City Summer Art Stroll, Huntsville, Alabama. Yale/Norfolk Summer Art Program Student Exhibition, Norfolk, Connecticut[26]
  • 2008: Toyin Odutola: "A Colonized Mind", University Center Gallery, Huntsville, Alabama (solo)[27]

"Flesh and Bone: Mixed Media Exhibition of Bodies and Nature", Madrone Lounge, San Francisco. Curated by Leila Fakouri. Misc. Womanhood, Ori: Center for African Diasporic Culture, Oakland, California. Curated by Muinat Kemi Amin) Panoply Festival of Arts, Huntsville City Council for the Arts, Huntsville, Alabama UAHuntsville Annual Juried Student Art Exhibition, Huntsville, Alabama[28]

  • 2010: Common Ground, ARTLAB33 / Art Space, Miami. Curated by Onajide Shabaka[29]
  • 2011: (MAPS), at Jack Shainman Gallery, New York, which marked her first solo exhibition at the gallery and in New York City.[30]
  • 2012: "Afro: Black Identity in America and Brazil",Tamarind Institute , Albuquerque, New Mexico

"Falling Through Space Drawn by the Line", UB Art Galleries, University at Buffalo[31]

  • 2013: My Country Has No Name, her second solo exhibition at Jack Shainman Gallery, New York, which dealt with themes on the malleability and suspicion regarding identity and how a portrait can only be a fragmented oversimplification of a person.[32]
  • 2013—2014: The Constant Wrestler, at Indianapolis Museum of Contemporary Art (iMOCA), Indianapolis, Indiana, her first museum solo exhibition. The show was later profiled by Julie Bramowitz for Interview Magazine, published December 3, 2013.[33]
  • 2014: Like the Sea, her solo show at Jack Shainman Gallery, New York. The exhibition title is inspired by an aphorism from Zora Neale Hurston's novel, Their Eyes Were Watching God, where Hurston writes, "Love is lak de sea. It's uh movin' thing, but still and all, it takes its shape from de shore it meets, and it's different with every shore."[34]
  • 2015: Untold Stories, Ojih Odutola's second major museum exhibition at the Contemporary Art Museum St. Louis, Missouri.[35]
  • 2015—2016: Of Context and Without, marked her fourth solo exhibition at Jack Shainman Gallery, New York. The exhibition was profiled by Emily McDermott for Interview Magazine on December 20, 2015.[36]
  • 2016—2017: A Matter of Fact, her solo exhibition of portraits depicting a fictional Nigerian family at the Museum of the African Diaspora (MoAD), in San Francisco, California, following a two-month residency at the Headlands Center for the Arts in California's Marin County, that same year. The show would the beginning of a series of exhibitions involving this family, emphasizing themes of wealth, travel, and how status and power were totems of idealism and not indicative of equality and how humanity is perceived and experienced. The architect, David Adjaye, named the exhibition as one of the Best of 2016 in the December issue of Artforum International Magazine.[37]
  • 2017—2018: To Wander Determined, her first solo museum show in New York, opened at Whitney Museum of American Art.[38] The exhibition was profiled by Zadie Smith for British Vogue in their June 2018 issue.[39]
  • 2018: Testing the Name, Ojih Odutola's fourth solo museum exhibition held at the Savannah College of Art and Design's (SCAD) Museum of Art, in Savannah, Georgia, which was included in the SCAD de:FINE exhibition series for that season.[40]
  • 2018: participated in the 12th Manifesta Biennial, hosted in Palermo, Italy, with her solo exhibition, Scenes of Exchange, held at the Orto Botanico di Palermo.[41]
  • 2018: The Firmament, at Hood Museum of Art, of Dartmouth College, in Hanover, New Hampshire.[42]
  • 2018: When Legends Die, her fifth solo exhibition with Jack Shainman Gallery, in New York.[43]
  • 2020: A Countervailing Theory, her first UK solo exhibition with The Barbican, in London, England [44]


Ojih Odutola has also participated in group exhibitions at various institutions, including:

Collections

Ojih Odutola's work is held in many public collections, including:

Publications
  • Alphabet: A Selected Index of Anecdotes and Drawings, 2012.[49]
  • The Treatment, 2015—17, Anteism Books, 2018.[50]
  • For Opacity: Elijah Burgher, Toyin Ojih Odutola, and Nathaniel Mary, The Drawing Center, Exhibition catalogue, 2018.[51]
  • Toyin Ojih Odutola: A Matter of Fact, Museum of the African Diaspora, Exhibition catalogue, 2019.[52]
gollark: Why would they do this to us?!
gollark: small brain: use a vector image editor to edit SVGsmedium brain: edit the raw text of SVGslarge brain: edit programs which output SVGs
gollark: Fish is neat. I use it on my laptop, though my servers get oddly configured zsh.
gollark: I just saved the osmarks.tk achievement system in the Wayback Machine so it will persist forever.
gollark: <@319753218592866315> I *hope* so?

References
  1. Sydney Gove (2017-02-26). "Toyin Ojih Odutola Uses Art To Challenge Invented Constructs Of The Self". NYLON. Retrieved 2017-09-29.
  2. Fallon, Claire (2015-12-09). "Stunning Ballpoint Imagery Explores Blackness And The Power Of Ink". Huffington Post. Retrieved 2017-09-29.
  3. Morse, Trent (2014-01-08). "Making Cutting-Edge Art with Ballpoint Pens". ARTnews. Retrieved 2017-09-29.
  4. "Toyin Ojih Odutola: To Wander Determined". whitney.org. Retrieved 2019-03-02.
  5. Kadist. "Toyin Ojih Odutola". Kadista. Retrieved 4 July 2020.
  6. Kazanjian, Dodie. "Reimagining Black Experience in the Radical Drawings of Toyin Ojih Odutola". Vogue. Retrieved 5 July 2020.
  7. "Toyin Ojih Odutola". Artnet. Retrieved 5 July 2020.
  8. "Yale Norfolk School of Art". Norfolk-Yale School of Art. Retrieved 5 July 2020.
  9. "Ojih Odutola Biography", Jack Shainman Gallery, Retrieved 25 November 2018.
  10. "AllContent". Toyin Ojih Odutola. Retrieved 30 October 2017.
  11. Kazanjian, Dodie. "Reimagining Black Experience in the Radical Drawings of Toyin Ojih Odutola". Vogue. Retrieved 5 July 2020.
  12. Adams, Susan. "Toyin Odutola, Artist, 27 - pg.21". Forbes. Retrieved 2017-09-29.
  13. Lehrer, Adam (2016-02-25). "Artist Toyin Ojih Odutola Explores and Questions the Construct of Blackness". Forbes. Retrieved 2017-09-29.
  14. Benson, Eben. "Beyond the Cover: Toyin Ojih Odutola". Retrieved 2017-09-29.
  15. Carroll, Rebecca. "Wandering with Determination and Beauty". WNYC. Retrieved 8 July 2020.
  16. "Visual Artist Toyin Ojih Odutola to Join Barnard College as Orzeck Artist-in-Residence". Retrieved 2019-03-16.
  17. "The Future Generation Art Prize". Future Generation Art Prize. Retrieved 2019-03-09.
  18. "NYTimes Magazine: The Lives They Live 2018". Retrieved 2019-03-16.
  19. "Class of 2019". National Academy of Design. Retrieved 2019-12-03.
  20. "Raw Material: A Podcast from SFMOMA". SFMOMA. Retrieved 2017-09-29.
  21. Selasi, Taiye (2017-05-08). "A Portrait of the Artist as a Young African Immigrant". The New York Times. ISSN 0362-4331. Retrieved 2019-03-02.
  22. Bramowitz, Julie. "Toyin Odutola and the Public Struggle". Interview Magazine.
  23. "Toyin Ojih Odutola on connecting with others through portraiture". PBS NewsHour. 2019-09-19. Retrieved 2019-12-03.
  24. Bramowitz, Julie. "Toyin Odutola and the Public Struggle". Interview Magazine.
  25. "Toyin Ojih Odutola Biography". Artnet. Retrieved 9 July 2020.
  26. "Toyin Ojih Odutola Biography". Artnet. Retrieved 9 July 2020.
  27. "Toyin Ojih Odutola Biography". Artnet. Retrieved 9 July 2020.
  28. "Toyin Ojih Odutola Biography". Artnet. Retrieved 9 July 2020.
  29. "Toyin Ojih Odutola Biography". Artnet. Retrieved 9 July 2020.
  30. "Toyin Ojih Odutola: (MAPS)". jackshainman.com. Retrieved 2019-03-24.
  31. "Toyin Ojih Odutola Biography". Artnet. Retrieved 9 July 2020.
  32. "Toyin Ojih Odutola: My Country Has No Name". jackshainman.com. Retrieved 2019-03-24.
  33. "Interview Magazine: Toyin Odutola and the Public Struggle". 2013-12-03. Retrieved 2019-03-24.
  34. "Toyin Ojih Odutola: Like the Sea". jackshainman.com. Retrieved 2019-03-24.
  35. "Toyin Ojih Odutola: Untold Stories". 2018-01-26. Retrieved 2019-03-16.
  36. "Interview Magazine: Traveling with Toyin Ojih Odutola". 2015-12-20. Retrieved 2019-03-24.
  37. "Leigh Raiford Reviews: Toyin Ojih Odutola, Museum of the African Diaspora" (PDF). Artforum International. April 2017. Retrieved 2019-01-23.
  38. "Toyin Ojih Odutola:To Wander Determined, Whitney Museum of American Art". whitney.org. Retrieved 2017-09-29.
  39. "Zadie Smith On Toyin Ojih Odutola's Artwork". Retrieved 2019-03-24.
  40. "Toyin Ojih Odutola exhibition: 'Testing the Name'". SCAD.edu. Retrieved 2019-03-24.
  41. "Manifesta 12: Palermo". M12. 2018-06-15. Retrieved 2019-03-09.
  42. "Toyin Ojih Odutola, Hood Museum". Retrieved 2019-03-24.
  43. "Toyin Ojih Odutola: When Legends Die". jackshainman.com. Retrieved 2019-03-24.
  44. "Toyin Ojih Odutola: A Countervailing Theory | Barbican". www.barbican.org.uk. Retrieved 2020-05-12.
  45. "FUTURE GENERATION ART PRIZE @ VENICE 2019 - Exhibitions – PinchukArtCentre". new.pinchukartcentre.org. Retrieved 2019-12-03.
  46. "Toyin Ojih Odutola | MoMA". The Museum of Modern Art. Retrieved 2019-12-03.
  47. "Toyin Ojih Odutola". whitney.org. Retrieved 2019-12-03.
  48. "Unclaimed Estates, 2017, Toyin Ojih Odutola". www.metmuseum.org. Retrieved 2019-12-03.
  49. "Toyin Ojih Odutola: Alphabet: A selected Index of Anecdotes and Drawings". Retrieved 2019-03-24.
  50. "Toyin Ojih Odutola: The Treatment, 2015-17". Retrieved 2019-03-24.
  51. "For Opacity: Elijah Burgher, Toyin Ojih Odutola, and Nathaniel Mary Quinn". Retrieved 2019-03-24.
  52. Toyin Ojih Odutola: A Matter of Fact. 2019-02-05. ISBN 978-1944903688.

Further reading
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