Showing posts with label Wangechi Mutu. Show all posts
Showing posts with label Wangechi Mutu. Show all posts

Monday, October 13, 2014

LONDON: Wangechi Mutu

Wangechi Mutu, Mountain of Prayer, 2014, Collage painting on vinyl, 30.5 x 35.5 inches. Private collection. Image via victoria-miro.com.

Nguva na Nyoka
October 14 – December 19, 2014

16 Wharf Road
London, UK

From victoria-miro.com:

Victoria Miro is delighted to present the gallery’s second exhibition by Wangechi Mutu, widely known for her elaborate collages that explore and subvert cultural preconceptions of the female body and the feminine.

Mutu’s practice has been described as engaging in her own unique form of myth-making. This exhibition, Nguva na Nyoka (meaning “Sirens and Serpents” in Kiswahili) presents Mutu's latest body of collage, video and sculptural works. Drawing on such diverse references as East African coastal mythologies (particularly of nguvas, or water women), gender and racial politics, Western popular culture, Eastern and ancient beliefs and autobiography, in her works Mutu proposes worlds within worlds, populated by powerful hybridized female figures.

Mutu’s latest collage-paintings are defined by a shift away from her much-documented use of Mylar as a substrate to a use of vinyl and linoleum as the basis for the works, allowing for a more densely textured and sculptural ground.  Painterly techniques are employed alongside Mutu’s signature construction of images comprised of deftly cut-out and collaged forms. In addition, Mutu’s visual language is further enriched in these works by her use of unexpected materials such as tea, batik fabrics, synthetic hair, Kenyan soil, feathers, and sand, amongst other media – many of which are imbued with their own cultural significations.

The  interweaving  of  fact  with  fiction  and  an  extension  of  the  possibilities  for  yet  another  group  of  symbolic  female characterizations that co-exist in various cultures as another understanding (or constructing) of femaleness underpins this new body  of  work.  The  exhibition  will  also  feature  a  video,  entitled  Nguva,  a  multi-tiered  performance  featuring  the  mesmeric eponymous role: a mysterious aquatic character who emerges from the sea onto land and wanders, restless, vicious and curious.





Friday, October 11, 2013

NEW YORK: Wangechi Mutu

Wangechi Mutu. Riding Death in My Sleep, 2002. Ink, collage on paper, 60 x 44 inches. Collection of Peter Norton, New York.
© Wangechi Mutu. Image via huffingtonpost.com.
Wangechi Mutu: A Fantastic Journey
October 11, 2013–March 9, 2014

Elizabeth A. Sackler Center for Feminist Art, 4th Floor
200 Eastern Parkway
Brooklyn, NY

Wangechi Mutu: A Fantastic Journey is the first survey in the United States of this internationally renowned, Brooklyn-based artist. Spanning from the mid-1990s to the present, the exhibition unites more than fifty pieces, including Mutu’s signature large-scale collages as well as video works, never-before-seen sketchbook drawings, a site-specific wall drawing, and sculptural installations.

Born in Nairobi, Kenya, Mutu scrutinizes globalization by combining found materials, magazine cutouts, sculpture, and painted imagery. Sampling such diverse sources as African traditions, international politics, the fashion industry, pornography, and science fiction, her work explores gender, race, war, colonialism, global consumption, and the exoticization of the black female body. Mutu is best known for spectacular and provocative collages depicting female figures—part human, animal, plant, and machine—in fantastical landscapes that are simultaneously unnerving and alluring, defying easy categorization and identification. Bringing her interconnected ecosystems to life for this exhibition through sculptural installations and videos, Mutu encourages audiences to consider these mythical worlds as places for cultural, psychological, and socio-political exploration and transformation. 

Wangechi Mutu: A Fantastic Journey is organized by the Nasher Museum of Art at Duke University by Trevor Schoonmaker, Chief Curator and Patsy R. and Raymond D. Nasher Curator of Contemporary Art. The Brooklyn Museum presentation is coordinated by Saisha Grayson, Assistant Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum.





Thursday, March 21, 2013

DURHAM: Wangechi Mutu

 Wangechi Mutu, Family Tree, 2012. Suite of 13, mixed-media collage on paper, 16.25 x 12.25 inches (41.28 x 31.12 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase with additional funds provided by Trent Carmichael (T’88, P’17), Blake Byrne (T'57), Marjorie and Michael Levine (T'84, P’16), Stefanie and Douglas Kahn (P’11, P’13), and Christen and Derek Wilson (T'86, B'90, P'15). Image courtesy of Susanne Vielmetter Los Angeles Projects. © Wangechi Mutu. Photo by Robert Wedemeyer.

A Fantastic Journey
March 21 – July 21, 2013

2001 Campus Drive
Durham, NC

The Nasher Museum of Art at Duke University has organized Wangechi Mutu’s first survey in the United States, the most comprehensive and innovative show yet for this internationally renowned, multidisciplinary artist. The touring exhibition, Wangechi Mutu: A Fantastic Journey, opens March 21.

Wangechi Mutu: A Fantastic Journey presents more than 50 works from the mid-1990s to the present, including collage, drawing, sculpture, installation and video. The exhibition features many of the artist’s most iconic collages drawn from major international collections, rarely seen early works and new creations. The exhibition also unveils the artist’s sketchbooks of intimate drawings that reveal her creative process and inspirations, on public view for the first time. Other new highlights include Mutu’s first-ever animated video, created in collaboration with Santigold, commissioned by the Nasher Museum and co-released by MOCAtv. Mutu also will transform the gallery into an environmental installation, including a monumental wall drawing, which evokes an enchanted forest and allows visitors to immerse themselves in the artist's work. 


The exhibition is curated by Trevor Schoonmaker, Patsy R. and Raymond D. Nasher Curator of Contemporary Art at the Nasher Museum. 


“We are very proud to present Wangechi Mutu’s most innovative and exhilarating work,” Schoonmaker said. “Followers of Mutu’s work will be amazed by her new ideas and creations, and will gain unprecedented insight into her artistic process and evolution as an artist over the past 15 years. Her work is as seductive and beautiful as it is critical and disturbing.” 


The Nasher Museum is the first venue for the touring exhibition, which will be on view at Duke through July 21, 2013. Wangechi Mutu: A Fantastic Journey will travel to the Brooklyn Museum of Art in September 2013, the Museum of Contemporary Art, North Miami in April 2014 and the Mary and Leigh Block Museum of Art at Northwestern University in September 2014.


Mutu was born in Nairobi, Kenya, and lives and works in Brooklyn, NY. She is best known for her large-scale collages depicting female figures in lush, otherworldly landscapes. Her work explores issues of gender, race, war, globalization, colonialism and the eroticization of the black female body. She creates mysterious cyborgian figures pieced together with human, animal, machine and monster parts. She often combines found materials and magazine cutouts with sculpture and painted imagery, sampling from sources as diverse as African traditions, international politics, the fashion industry and science fiction.


Wangechi Mutu: A Fantastic Journey is accompanied by a 160-page, color-illustrated catalogue with critical texts by Mutu, Schoonmaker, art historian Kristine Stiles and critic and musician Greg Tate. The exhibition catalogue is published by the Nasher Museum and distributed by Duke University Press. 

At the Nasher Museum, Schoonmaker curated the nationally touring exhibitions The Record: Contemporary Art and Vinyl (2010), Barkley L. Hendricks: Birth of the Cool (2008) and Street Level: Mark Bradford, William Cordova and Robin Rhode (2007). He is the editor of Fela: From West Africa to West Broadway (Palgrave Macmillan, 2003). 


The exhibition will be complemented by free programs and events, including an opening talk by Mutu on March 20; student-organized Art for All brunch on April 7; screening of the film “The Triptych” and gallery talk by Stiles on May 2; two Family Day events; film series; teacher workshops; catalogue launch party; artist visit; and more. 




For additional information visit nasher.duke.edu/mutu








Sunday, May 20, 2012

SCREENING: The Triptych featuring Sanford Biggers, Wangechi Mutu and Barron Claiborne

Photography by Barron Claiborne

Afro-Punk Pictures in association with Weeksville Heritage Center presents The Triptych Documentary Series
Thursday, May 24, 2012, 7pm

200 Eastern Parkway
Brooklyn, NY

Time/Schedule:

6PM - Heineken Hour

7-8PM -  Screening

8-PM - After-party doors open to screening non-attendees
8-9PM - Post-screening Q&A (screening attendees only)
9-11PM - Music: Special Guest DJ

Afro-punk pictures presents The Triptych, in association with Weeksville Heritage Center. This short-film series (Terrance Nance, Director; Shawn Peters, Director of Photography; and Barron Claiborne, Co-Director) highlights the work of artists Sanford Biggers, Wangechi Mutu, and Barron Claiborne. Live music and a Q&A with the artists will follow the screening. This event is supported by Heineken.

The Triptych is a unique and profound documentary series profiling some of the most outspoken visual artists of our time.Produced by Afro-punk pictures, the documentary is itself a work of art, featuring three intimate 20-minute conversations with three bold and culturally resonant voices in art. Each monologue is a reflection of their life experience, letting the viewer discover how their observations have shaped the art they create.

The first in the series features Sanford Biggers, Wangechi Mutu and Barron Claiborne – contemporaries, luminaries and friends. Spanning the artistic gamut from interdisciplinary to photography and performance, their keen reflections on the world are at once startling and insightful.

Co-visionary, Barron Claiborne joins nascent director Terrence Nance whose new film, The Oversimplification of Her Beauty, premiered at Sundance 2012. Terrence makes art as a means of creating culture.

As a purveyor of the Black experience, Afro-punk is dedicated to supporting and disseminating the work of visual artists that are prevalent in our society.

As space is limited, advance purchase of nonrefundable tickets for general admission and a reserved seat at the screening is recommended via www.museumtix.com. Members receive free admission; please call the Membership Hotline at (718) 501-6326for reservations.


Photography by Barron Claiborne

Tuesday, April 10, 2012

CAPTURED: Wangechi Mutu and Santigold

Photo posted by Santigold via Instagram.
On March 21,2012 singer Santigold posted the above photo on her Twitter page with the following words: "Me and Wangechi Mutu at her studio." Santigold obviously likes hip artists: the cover of her sophomore recording Master of My Make-Believe features artwork by Kehinde Wiley.


Monday, February 6, 2012

MONTRÉAL: Wangechi Mutu / Musée D'art Contemporain


February 2 - April 22, 2012
185 Sainte-Catherine Quest (Corner Jeanne-Mance)
Montréal (Québec)


Exhibited regularly since the late 1990s, Wangechi Mutu’s collage-drawings depicting black women, tampered with and prey to strange bodily mutations, attracted attention
that has not abated since.

Born in Nairobi, Kenya, in 1972, Wangechi Mutu lives and works in New York. In her drawings and collages, as well as her sculptures, installations and videos, she evokes the interplay of relations between living organisms, human beings and the power of nature.

The broad range of raw materials she uses—magazines on fashion and current events, geography and ethnography, motorcycles and pornography—allows her to tackle the stereotypes of media representation, particularly of women, head on by exposing the fragility of their foundation. Concerned with questions of identity and the African diaspora, Mutu creates new models, beyond all norms, that will undermine the worn-out images that promote reckless consumption and perpetrate a superficial, simplistic understanding of the world: the (Western) world in general, whose codes and standards are apparently known and recognized, and the generally unknown world of the Other and the stranger.

The centrepiece of the exhibition is the installation Moth Girls, 2010, recently acquired by the Musée. In the recurrence of a half-human, half-animal, female figure, the product of an extreme hybridization, the work reintroduces the notion of taxonomy, along with the volatile notion of classification and hierarchization of species and, by extension, peoples and races. The installation of the work recalls a classroom configuration that resembles a modest African school. Carving material right out of the wall surface creates a kind of crevices, reddened patches like engravings expressively representing the shapes of four lakes in Kenya. This elemental relationship with landscapes of a remembered geography is part of the intense introspective power that pervades Mutu’s work. Conjuring up a physical wound and colonialism’s territorial appropriation and exploitation, the artist merges poetic symbolism with an ethno-political discourse.


Josée Bélisle, curator of the MAC’s permanent collection, is the curator of Wangechi Mutu. A 72-page catalogue including an essay by the curator, a list of works and a short bio-bibliography of the artist has been published and may be purchased for $22.95.
The Musée d’art contemporain de Montréal is a provincially owned corporation funded by the Ministère de la Culture, des Communications et de la Condition féminine du Québec. It receives additional funding from the Department of Canadian Heritage and the Canada Council for the Arts. The museum gratefully acknowledges their support and that of Collection Loto-Québec, the MAC’s principal partner.

Wednesday, June 1, 2011

ARCHIVE: Wangechi Mutu / Art in America / June 2007

Wangechi Mutu, Yo Mama, 2003, mixed mediums on two sheets of paper, 59 by 85 inches overall.
Museum of Modern Art, New York.
In June 2007, the cover of Art in America magazine was preternatural in pink thanks to Wangechi Mutu's mixed media composition Yo Mama. The work was used to promote the feature "Worldwide Women" which examined the Brooklyn Museum exhibit Global Feminisms: New Directions in Contemporary Art. The article by Eleanor Heartney described the show as "[exploring] the range of artworks being made internationally by women born since 1960 -- and the variety of experiences they reflect."

Saturday, May 28, 2011

CLIP ART: Wangechi Mutu / F Newspaper / May 2011


Clipped from "Lecture Roundup" article for F Newspaper published by the School of the Art Institute of Chicago. Written by Tara Plath.

Wednesday, November 17, 2010

REVIEW: Wangechi Mutu / NY TIMES / NOVEMBER 12, 2010

ART IN REVIEW

Wangechi Mutu: ‘Hunt Bury Flee’



Wangechi Mutu, Me Myself and Shy, 2010 Mixed media ink, paint, collage on Mylar; 52 x 51 inches (132.1 x 129.5 cm)on x 51 inches (132.1 x 129.5 cm)


Gladstone Gallery
515 West 24th Street
Chelsea
Through Dec. 4
In her first solo exhibition with Gladstone Gallery, Wangechi Mutu shows why she’s one of the most exciting artists working in collage today. The same can’t be said of her storytelling and her sculptural installations, though they aren’t the focus here.
Ms. Mutu assembles snippets of National Geographic, skin magazines and fashion tomes into intimidating cyborglike beings (usually female). Often, mechanical imagery adds a Dadaist touch. In “Root of All Eves,” for instance, a woman in a magnificent striped headdress wears shoes made of motorcycle parts. At the same time daubs of glitter, handfuls of tinsel, and marblelike swirls of paint encroach on the clippings, making it hard to home in on a specific source.
The collages of life-size figures, though commanding, have a certain mythological ponderousness about them; they show women being attacked by vultures and giving birth to strange plant forms. Ms. Mutu’s smaller, square-format collages of heads are more playful and often just as involved. The female profile of “Before Punk Came Funk,” with its cat eye and cactus neck, seems to riff on Arcimboldo, while the fake-pearl-encrusted, fishnet-coiffed “Me Myself and Shy” takes cues from Chris Ofili’s ornamented Madonnas.
Tree stumps made from felt bunched over cardboard boxes and anchored with packing tape are clearly meant to extend the enchanted-forest theme but look like dull set design. And in the rear gallery, the installation “Moth Girls” — figurines with porcelain legs and wings of leather and feathers, affixed to the wall in neat rows — is a curio cabinet of disappointing sameness. Why Ms. Mutu would want to experiment with seriality and uniformity when her collages relish the subjective and unique is anyone’s guess.


KAREN ROSENBERG
http://www.nytimes.com/2010/11/12/arts/design/12galleries-005.html