It was a small tranquil moment in the midst of a whirlwind time for Mr. Shonibare, whose theatrically exuberant work, with its signature use
of headless mannequins and African fabrics, will be featured in a major midcareer survey at the Brooklyn Museum starting Friday.
His tableaux
of headless mannequins costumed in this fabric evoke themes of history and its legacy for future generations.
Over the past 15 years Yinka Shonibare has created an iconic oeuvre
of headless mannequins that bring to life famous moments of history and art history.
Not exact matches
Though it's been widely assumed that he has never actually resided in this most spacious
of spaces, it's really fun to think about Karl going to sleep with a creepy, giant,
headless mannequin form watching over him.
In these works, the artist dressed
headless mannequins in «African» garb in place
of Fragonard's courtly 18th - century European figures to suggest the ways in which Africa was implicitly present in a burgeoning leisure class's concepts
of love.
Bringing Dutch wax into a Victorian world and using it to dress the middle classes that he represents with
headless mannequins is one
of his artistic gestures, making his work instantly recognisable.
His radiant
headless mannequins don fantastical garb, in which neon colors form decorative galaxies reminiscent
of an African aesthetic.
A quartet
of life - size,
headless mannequins stand formally in a row.
On view from November 10 through March 7, 2010, the exhibition features 21 dramatic paintings, photographic series, films and sculptural tableaux, including his famous
headless mannequins that portray the complexities
of cultural identity.
Among the works included are Jonathan Borofsky's Untitled ping pong table, which all are encouraged to play, it posits the opponents at odds with each other as one side
of the table is a «plus» and the other is a «minus»; Andreas Gursky's large scale photograph depicts a soccer match between the Dutch and French teams, however with no ball in sight and a player injured on the field, the image speaks to the larger nationalistic ideas
of sports; Mike Kelley's Arena # 2 (Kangaroo) is comprised
of tattered stuffed animals on a used children's blanket, creating a tableaux about loss
of innocence; Kirsten Geisler's interactive female cyborg beckons the viewer with sound recognition software to engage in a dialogue
of sorts; Yinka Shonibare's sculpture Hopscotch incorporates a classic children's game with
headless mannequins dressed in Colonial attire and Sol LeWitt plays a game
of chance in his wall drawing # 716 from 1991 in which there are eight possible lines (vertical lines, horizontal lines, arcs, etc) to be placed in each square
of a grid covered wall.
Yinka Shonibare MBE: Magic Ladders By Judith F. Dolkart (author), Derek Gillman (foreword) Yinka Shonibare MBE (b. 1962), a British artist
of Nigerian descent, is best known for his dramatic tableaux
of life - size,
headless mannequins, gorgeously dressed in eighteenth - and nineteenth - century costumes made from elaborately patterned textiles popular in Africa.
Grounds for Magical Thinking @ J Hammond Projects A diverse three person group show where it's the sculpture
of Adam Shiu - Yang Shaw that shines through with his
headless seated
mannequin and a model house, both with a creepy air about them.
Yinka Shonibare MBE (b. 1962), a British artist
of Nigerian descent, is best known for his dramatic tableaux
of life - size,
headless mannequins, gorgeously dressed in eighteenth - and nineteenth - century costumes made from elaborately patterned textiles popular in Africa.
At the entry
of the gallery is a
headless male
mannequin casually presiding over the goings on in the gallery.
WASHINGTON, DC — A little
headless mannequin is balancing on the world in the European galleries
of the Corcoran Gallery
of Art.
The artist is on hand for the installation
of a retrospective
of sculptures —
headless, «post-racial,»
mannequins dressed in vibrant costumes — at the MCA Sydney.