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ARW
Artsy x Rago/Wright

This work is sold by a private individual and ships from Shelter Island, New York, United States.

Accompanied by original photocopy of certificate of authenticity signed by the artist and publisher

Condition Report: No apparent condition issues. Framed with museum-grade glass and slightly floated. Framed dimensions: …

Medium
Signature
Signed, titled, and dated in pencil with publisher and printer's chops, verso
Publisher
The Tamarind Institute, Albuquerque, New Mexico, United States

Through black ballpoint pen ink, Toyin Odutola’s drawings question physical and sociopolitical identities as they pertain to skin color. Treating skin as topography, she layers ink as a means of mapping a person’s subjective, individual geography built from real-life experiences. Her interest in surface qualities stems from the history of African textiles, which inspires the artist’s rich textures on flat planes. Concerned with historical representations of black subjects in portraiture, Odutola undermines notions of blackness in her drawings by exploring what it means to look or be perceived as black, as, while drawn in black ink, not all of her subjects are of African descent. More recently, Odutola has begun to look beyond pen ink, working with charcoal and pastels to reflect the cultural diversity and ambition of American cities.

Established
Represented by industry leading galleries.
Collected by a major museum
Museum of Modern Art (MoMA)
Selected exhibitions
2015
Toyin Ojih Odutola: Of Context and WithoutJack Shainman Gallery
2014
Toyin Ojih Odutola: Like the SeaJack Shainman Gallery
2013
Toyin Ojih Odutola: My Country Has No NameJack Shainman Gallery
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Birmingham (triptych), 2014/2015

Three, four-colored lithographs with gold leaf
24 × 16 1/2 in
60.9 × 41.9 cm
Edition 15/20 + 5AP
.
Bidding closed
ARW
Artsy x Rago/Wright

This work is sold by a private individual and ships from Shelter Island, New York, United States.

Medium
Signature
Signed, titled, and dated in pencil with publisher and printer's chops, verso
Publisher
The Tamarind Institute, Albuquerque, New Mexico, United States

Through black ballpoint pen ink, Toyin Odutola’s drawings question physical and sociopolitical identities as they pertain to skin color. Treating skin as topography, she layers ink as a means of mapping a person’s subjective, individual geography built from real-life experiences. Her interest in surface qualities stems from the history of African textiles, which inspires the artist’s rich textures on flat planes. Concerned with historical representations of black subjects in portraiture, Odutola undermines notions of blackness in her drawings by exploring what it means to look or be perceived as black, as, while drawn in black ink, not all of her subjects are of African descent. More recently, Odutola has begun to look beyond pen ink, working with charcoal and pastels to reflect the cultural diversity and ambition of American cities.

Established
Represented by industry leading galleries.
Collected by a major museum
Museum of Modern Art (MoMA)
Selected exhibitions (3)
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