Ojih Odutola’s work is featured in Volume 60, Issue 1 of The Massachusetts Review, with her drawing, What Her Daughter Sees, 2018, as the quarterly’s cover.
Ojih Odutola’s multi-media drawing, The Flavor and The Intent, 2015, is included in the group exhibition, Drawn Together Again, at The FLAG Art Foundation, New York, through May 18th.
Ojih Odutola’s drawing, My Country Has No Name, 2013, is included in the group exhibition, Show Me as I Want to Be Seen,on view at The Contemporary Jewish Museum, San Francisco, California through July 7th, 2019.
Ojih Odutola’s drawing, Anchor, 2018, is included in the group exhibition, Damn! The Defiant, on view at Fredericks & Freiser, New York, through March 2nd, 2019.
Ojih Odutola participated in MoMA’s How To See video episode exploring Charles White’s work, on the occasion of his retrospective at the museum.
Toyin Ojih Odutola’s tribute portrait drawing of the late Aretha Franklin for The New York Times Magazine’s “The Lives They Lived” issue cover, released December 30th, 2018.
Ojih Odutola’s drawing, The Uncertainty Principle, 2014, is the cover illustration for Jennifer C. Nash’s new book, Black Feminism Reimagined After Intersectionality, released by Duke University Press, 2019.
Ojih Odutola’s drawing, Projection Enclave, 2018, has been acquired by Museum of Modern Art, New York.
Ojih Odutola’s drawing In This Imperfect Present Moment, 2016, which inspired the group exhibition title, is now on view at Seattle Art Museum, through June 16th, 2019.
Ojih Odutola’s drawing, A Well-Read Life, 2017, along with other selected works, is included in the exhibition of shortlisted artists for The Future Generation Art Prize at the PinchukArtCentre, on view through April 7th, 2019.
The publication accompaniment, Toyin Ojih Odutola: A Matter of Fact, (2018), which catalogs the titular exhibition from 2016, at the Museum of the African Diaspora in San Francisco, has been released.
Ojih Odutola and Zadie Smith in conversation at The Drawing Center, New York, on the occasion of the group exhibition, For Opacity.
Toyin Ojih Odutola, Birmingham (left, middle, right), 2014, lithograph suite, made in collaboration with Tamarind Institute.
Ojih Odutola's diptych drawing, The Engagement, 2015, was recently acquired by Mississippi Museum of Art. Read more about the work here.
A segment of Toyin Ojih Odutola’s drawing series, The Treatment, 2015—17, is on view in the group exhibition, Orientation: The Racial Imaginary Institute Biennial, at Jack Shainman Gallery. Read more about the series here.
Installation view segment of Toyin Ojih Odutola’s drawings in For Opacity: Elijah Burgher, Toyin Ojih Odutola, and Nathaniel Mary Quinn, at The Drawing Center, New York, on view through February 3rd, 2019. (Photo: Martin Parsekian)
Ojih Odutola’s diptych drawing, The Firm, 2017-18, part of her solo exhibition, When Legends Die, at Jack Shainman Gallery, New York, on view September through October 2018. Read more about the impetus for the exhibition here.
Ojih Odutola’s drawing, Crown and House Post, in Congress, 2018, was part of her solo exhibition, Scenes of Exchange, at the Orto Botanico di Palermo, Italy, for the 12th Manifesta Biennial. Read about a selected work from the exhibition here.
Ojih Odutola was honored at the third annual Amref Heath Africa ArtBall, as the recipient of the Rees Visionary Award for 2018. Pictured here with patrons, Kasseem “Swizz Beatz“ Dean, and Alicia Keys. (Photo by BFA)
Ojih Odutola's drawing, M7, 2015, was acquired by Philadelphia Museum of Art in 2015.
Toyin Ojih Odutola, The Future is Romantic, 2015, part of the solo exhibition, Of Context and Without, at Jack Shainman Gallery, New York (2015—16).
Toyin Ojih Odutola featured in an article by Dodie Kazanjian for the August 2018 issue of Vogue US, photographed by Alec Soth.
Ojih Odutola is featured in a profile by Zadie Smith for British Vogue, on the occasion of her solo exhibition, To Wander Determined, at Whitney Museum of American Art.
Ojih Odutola appointed by Barnard College as the Lida A. Orzeck ’68 Distinguished Artist-in-Residence for the 2017—18 academic year, pictured here Lida Orzeck at Whitney Museum in 2018. (Photo: Barnard College)