African Art Archives – Daily Art Fixx

Born in 1944 in Ogidi Ikimu, Nigeria, Prince Taiwo Olaniyi Oyewale-Toyeje Oyelale Osuntoki is a Nigerian painter, sculptor, and musician. He changed his name to Twins Seven Seven, (Ibeji Meje Meje. Ibeji in the Yoruba language), because he is the only surviving child of seven sets of twins born to his mother.

Twins Seven-Seven began his career in the 1960s in workshops with Ulli and Georgina Beier in Osogbo, a Yoruba town in southwestern Nigeria. Successful exhibitions in Prague and Munich brought him international recognition in the mid-1960s. Today, Twins Seven Seven is one of the most well known artists of the Osogbo School. “His work is influenced by traditional Yoruba mythology and culture, and creates a fantastic universe of humans, animals, plants and Yoruba gods.”

Twins Seven Seven was designated UNESCO Artist for Peace in May 2005 ““in recognition of his contribution to the promotion of dialogue and understanding among peoples, particularly in Africa and the African Diaspora”. His work has been exhibited throughout the world including the National Museum of Modern Art – Georges Pompidou Centre in Paris, the Houston Contemporary Arts Museum, the Museum of Modern Art in New York, the National Museum of African Art in Washington, D.C. and the National Modern Art Gallery in Lagos, Nigeria. In January 2010, the book Prince Twins Seven-Seven: His Art, His Life in Nigeria, His Exile in America by Henry Glassie was published by Indiana University Press.

Twins Seven-Seven suffered a stroke and was hospitalized in April 2011. He passed away on June 16th, 2011. He is considered to be one of the greatest and most celebrated, African artists of his generation.

To see more of Twins Seven Seven’s work, visit Indigo Arts Gallery

Sources: Indigo Arts Gallery, Culturebase.net

Born in Nairobi, Kenya, Wangechi Mutu moved to New York in the mid-1990s. She received her MFA in sculpture from Yale University in 2000.

“Mutu’s work explores the contradictions of female and cultural identity and makes reference to colonial history, contemporary African politics and the international fashion industry. Drawing from the aesthetics of traditional crafts, science fiction and funkadelia, Mutu’s works document the contemporary myth making of endangered cultural heritage.

Piecing together magazine imagery with painted surfaces and found materials, Mutu’s elaborate collages mimic amputation, transplant operations and bionic prosthetics. Her figures become satirical mutilations. Their forms are grotesquely marred through perverse modification, echoing the atrocities of war or self-inflicted improvements of plastic surgery. Mutu examines how ideology is very much tied to corporeal form. She cites a European preference to physique that has been inflicted on and adapted by Africans, resulting in both social hierarchy and genocide.

Mutu’s figures are equally repulsive and attractive. From corruption and violence, Mutu creates a glamorous beauty. Her figures are empowered by their survivalist adaptation to atrocity, immunised and ‘improved’ by horror and victimisation. Their exaggerated features are appropriated from lifestyle magazines and constructed from festive materials such as fairy dust and fun fur. Mutu uses materials which refer to African identity and political strife: dazzling black glitter symbolises western desire which simultaneously alludes to the illegal diamond trade and its terrible consequences. Her work embodies a notion of identity crisis, where origin and ownership of cultural signifiers becomes an unsettling and dubious terrain.” (bio from Satchi Gallery)

Mutu’s work is in the permanent collections of numerous major art museums, including the Museum of Modern Art, New York; The Whitney Museum of American Art; and The Museum of Contemporary Art, Los Angeles. In 2010, Mutu was selected as Deutsche Bank Group’s Artist of the Year.

To see more of Wangechi Mutu’s work, visit WangechiMutu.com or Satchi Gallery.

Twins Seven Seven: 1944 – 2011

Wangechi Mutu: Collage