Category: Art

Someone once asked Toyin Ojih Odutola, a contemporary portrait painter based in New York, what her purpose as an artist was.

This is how she answered: “To make the world less small.”

On the surface level, how she does that seems obvious. Toyin is Nigerian-born and grew up in Texas. The perspective her artwork brings to the white walls of traditionally white, male spaces is important as we grow the space for voices.

But diversity means more to Toyin than representation of skin color in art. Diversity also means diversity of thought in the room. I love this little reminder that “diversity” isn’t a call to lift up one voice over another; it should be an attempt to elevate all voices to an equal level so that we can hear, and ostensibly learn, from each one.

Making the world feel less small comes through in her art in very powerful ways. Not only does her portraiture capture and express the magic of black skin, the conceptual work of her images reveals much. For her recent exhibition at The Whitney, she presented life-size portraits from the “private estates” of two fictional Nigerian aristocratic families.

As i-D writes, these are “radically soft visions of black wealth” driven by Toyin’s diversification of the stories we tell ourselves.

“Toyin says this was the driving question for her Whitney exhibition: What if you claimed everywhere you go as a home? Some black people avoid traveling because they (reasonably) fear they’ll encounter racism. Toyin wanted to help ease this hesitation by depicting black people outside, in nature, swimming in lagoons, chilling on the beach, taking in the sunset.”

That sounds so simple… but when you consider all the ways popular media can misrepresent black experiences and bodies by the imagery they choose, Toyin’s portraits seem all that more powerful in their commonness of scene.

More here!

Involvement Series by Wanda Pimentel, 1968-69, vinyl on canvas

Brazilian artist Wanda Pimentel began her series titled “Envolvimento” (or Involvement) in 1968, the year the country’s military dictatorship decreed one of 17 major institutional acts that gave the regime authoritarian rule and mostly threw judicial review in the can.

So, her dissent of the country’s politics and violence toward the powerless had to be somewhat veiled lest she and her work face censorship… or worse. At the same time, in other places across the world, pop art and nouveau realism were rubbing their graphically shaped stones together and making lots of boldly saturated sparks.

In the Involvement Series, Pimentel painted in vibrant colors but a reduced palette. Her flat scenes uncomfortably cram together interior objects, from which there seems to be no escape. Body parts hint at the humans in the rooms, but their disembodied, naked status comment on the feeling that humans can be props, just like the objects of consumerism they use and discard, use and discard.

“Everyday objects crowd compressed interiors and suggest acts of corresponding domestic labor. Figures are fragmented,” states the AIC placard. “In this canvas, two disembodied feet emerge below the red ironing board. Their owner is otherwise only indicated by the closet full of blouses and the ready iron, the trappings of consumer culture through which we assume and care for our external appearances.”

Trouble inside. Trouble out.

But there’s some exciting expression in the series too, again subliminally disguised. “Messy piles of clothing, pools of spilled liquid and slowly dripping faucets seem to reflect the recent collapse of the political order, but also the excitement of sexual self-discovery,” writes Frieze.