Toyin
Ojih Odutola

Books






︎︎︎Click on book selection to learn more and/or purchase.



Projects









Editorial


Column
2021—ongoing
As of 2021, Ojih Odutola contributes to her «Missed Connections» artist column in Elephant Magazine. Each biannual issue features a new scene constructed by the artist. 
Scenes Catalog


Collaborations


Ceremonies Within
2020
In developing A Countervailing Theory, Ojih Odutola collaborated with composer, Peter Adjaye.

For ACT’s run in Barbican Centre, Kunsten Aalborg, and Hirshhorn Museum and Sculpture Garden, Adjaye created Ceremonies Within (2020), an immersive soundscape to accompany the work in the exhibition.

Album artwork: Summons; To Witness One’s Own, 2020, from A Countervailing Theory, for the cover of Adjaye’s Ceremonies Within.



Covers


You Are Your Best Thing: Vulnerability, Shame Resilience, and the Black Experience 
2021
A collection of writings, edited by Tarana Burke and Brené Brown. Published by Penguin Random House. Original artwork from 2015, by Ojih Odutola, covering. 

Covers


Zora Neale Hurston, Tell My Horse: Voodoo and Life in Haiti and Jamaica 
2020
Amistad Books and HarperCollins cover project for the re-issue of the Zora Neale Hurston catalog. Original artworks and portrait of Hurston were commissioned from each invited artist


Covers


TIME Magazine
March 2020


TIME Magazine’s “100 Women of the Year” cover project, includes Toyin Ojih Odutola’s portrait of Beyoncé Knowles-Carter for the year 2014.

Covers


The New York Times Magazine
December 2020
Contributing portrait of the late Aretha Franklin for the annual “The Lives They Lived” issue. 

Covers


George S. Schuyler, Black No More
2017
Penguin Random House “Classics” re-issue of Schuyler’s 1931 novel, with a drawing from 2012 by Ojih Odutola.

Editions


Untitled, 2016
Etching and relief
Edition of 14

Made in collaboration with Flying Horse Editions.

Editions


Birmingham, 2014
(Left, Middle, Right)
Four-color lithograph suite with gold leaf
Edition of 20 (individual)

Made in collaboration with Tamarind Institute.

Editions


Benjamin, 2013
Etching with chine collé
Edition of 16

Made in collaboration with Flying Horse Editions.

Editions


If she doesn't say anything,
then it never happened
, 2012
Single-color lithograohy & three-color lithograph
Edition of 28

Made in collaboration with Tamarind Institute.

Info







Toyin Ojih Odutola (b. 1985, Ilé-Ifẹ̀, Nigeria) is a visual artist and columnist based in New York. She is best known for her ecclectic, multimedia drawings made with pen ink, pencil, charcoal and pastel, often presented in large scale series, or “chapters.” Since 2011, themes in her work have explored the malleability of identity, meaning, memory, and power through portraiture and visual story-telling.

She has participated in solo and group exhibitions at national and international institutions, including the Barbican Centre, Kunsten Museum of Modern Art Aalborg, Whitney Museum of American Art, Contemporary Art Museum St. Louis, The Drawing Center, Brooklyn Museum, The Studio Museum in Harlem, Museu de Arte de São Paulo, the Menil Collection, as well as the 12th Manifesta Biennial in Palermo, Italy.

Ojih Odutola earned her BA from the University of Alabama in Huntsville and her MFA from California College of the Arts in San Francisco. In 2016, she undertook a residency at Headlands Center for the Arts; she was the Lida A. Orzeck ‘68 Distinguished Artist-in-Residence at Barnard College from 2017—2018; and in 2019, inducted into the National Academy of Design.

Public collections of her artworks are held at the Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; National Portrait Gallery, London; Whitney Museum of American Art, New York; The Art Institute of Chicago; Harvard Art Museums, Massachusetts; and the Smithsonian National Museum of African Art, Washington DC, among others.

︎︎︎ PDF of CV









Galleries


Jack Shainman New York

Corvi-Mora London






Articles & Media


︎︎︎The New York Times Style Magazine, by Lovia Gyarkye
︎︎︎ Elephant Magazine, by Louise Benson
︎︎︎ Talk Easy with Sam Fragoso 
︎︎︎ The White Review, by Orit Gat 
︎︎︎ Kunsten.nu, by Stinna Toft 
︎︎︎ ArtReview, by Rahel Aima 
︎︎︎ The Brooklyn Rail, by Amber Jamilla Musser
︎︎︎ Jack Shainman Gallery | States of Being, by Ojih Odutola
︎︎︎ The New York Times, by Jason Farago
︎︎︎ The Art Newspaper, by Louisa Buck
︎︎︎ CNN Style, by Jaqui Palumbo
︎︎︎ Artforum, by Cassie Packard
︎︎︎ Granta, by Yaa Gyasi
︎︎︎ Arte.tv, by Virginie Apiou
︎︎︎ iNews, by Hettie Judah
︎︎︎ The Quietus, by Amah-Rose Abrams
︎︎︎ Harper’s Bazaar, by Yaa Gyasi and Ojih Odutola
︎︎︎ Artforum, by Jo Baer
︎︎︎ Flash Art, by Kareem Reid
︎︎︎ Frieze, by Rianna Jade Parker
︎︎︎ HyperAllergic, by Naomi Polonsky
︎︎︎ The New Yorker, by Zadie Smith
︎︎︎ Apollo Magazine, by Samuel Reilly
︎︎︎ National Portrait Gallery, by Katy Hessel
︎︎︎ Barbican Centre, by Ojih Odutola
︎︎︎ Conversation with Erin J. GilbertNothing Concrete Podcast
︎︎︎ Cultural Politicsby Deborah Frizzell
︎︎︎ Artforum, by Brian J. Green
︎︎︎ Artsy, by Gabrielle Bruney
︎︎︎ Something Curated, by Keshav Anand
︎︎︎ Great Women Artists with Katy Hessel
︎︎︎ Talk Art with Russell Tovey & Robert Diament
︎︎︎ WePresent, by Allyssia Alleyne
︎︎︎ Apollo Magazine, 40 Under 40 Africa
︎︎︎ The Guardian | Observer, by Killian Fox

︎︎︎ Conversation with Kenturah Davis
︎︎︎ them, by Wren Sanders

︎︎︎ Conversation with Zadie Smith, The Drawing Center
︎︎︎ PBS Brief But Spectacular
︎︎︎ The New York Times, by Jason Farago

︎︎︎ How To See — Charles White: A Retrospective, MoMA
︎︎︎ The New York Times, by Jillian Steinhauer
︎︎︎ Elephant Magazine, by Charlotte Jansen
︎︎︎ Juxtapoz Magazine, by Kristin Farr

︎︎︎ British Vogue, by Zadie Smith
︎︎︎ The New York Times Style Magazine, by Leanne Shapton
︎︎︎ Interview Magazine, by Kat Herriman
︎︎︎ Vogue, by Julia Felsenthal
︎︎︎ New Orleans Museum of Art, by Katie Pfohl
︎︎︎ Hood Museum, by John Stomberg

︎︎︎ The New Yorker, by Johanna Fateman
︎︎︎ Nka Journal of Contemporary African Art, by Jody Cutler
︎︎︎ The New York Times Style Magazine
︎︎︎ Elle Magazine, by Molly Langmuir, Trish Deitch, Carly Leitzes
︎︎︎ IFA Contemporary, by Indira Abiskaroon
︎︎︎ i-D Magazine, by André-Naquian Wheeler
︎︎︎ CULTURED Magazine, by Solange Knowles, Ojih Odutola
︎︎︎ Interview Magazine, by Emily McDermott
︎︎︎ The New York Times Style Magazine, by Taiye Selasi
︎︎︎ Luncheon Magazine, by Reginald Moore
︎︎︎ The Georgia Review, by Katie Geha
︎︎︎ The Massachusetts Review Front Cover
︎︎︎ The New York Times, by Martha Schwendene
︎︎︎ Frieze, by Chase Quinn
︎︎︎ The New York Times Sunday Review

︎︎︎ Vogue, by Dodie Kazanjian
︎︎︎ Paper Magazine, by Khalid El Khatib
︎︎︎ The New York Times Magazine
︎︎︎ Vanity Fair, by Elissa Santisi
︎︎︎ Mr. Welfare Podcast, A New York Minute, by Mr. Gandy

︎︎︎ Studio International Magazine, by A Will Brown
︎︎︎ The New York Times, by Holland Cotter
︎︎︎ Interview Magazine, by Julie Bramowitz


Timeline









2008


A Colonized Mind
Inspired by the writings of Franz Fanon, Edward Said, and particularly James Baldwin’s statement:

“The paradox of education is precisely this - that as one begins to become conscious one begins to examine the society in which he is being educated.”

Exploring the limitations of visual language one can utlize to express their reality when the tools available are inherently colonist, in opposition to one’s selfhood and autonomy. How to mitigate this lens in order to create work that is honest to one’s vision? How might it manifest itself? These are the main questions asked of the series. 
Select Work(s) / Installation View(s


2011


(MAPS)
If a person’s reality is in constant transition, context becomes unrealiable and the body becomes a place. Migration activity, however enforced, is also a coping mechanism. The subjects of these drawings are neither within nor without, each depicted in decontexualized surroundings to emphasize their groundlessness, in constant search for security. The intense detail and close-cropped compositions of the drawings embody the need to find new ways to express a visual lexicon through the figure. Using the writing tool, ball point pen, to draw, the scenerio of a portrait expands to include more than the realities that may befall or define the black body in space and time. Collectively, these drawings offer a map for those willing to travel towards new destinations and meanings for blackness.

“Where some may see flat, static narratives, I see a spectrum of tonal gradations and realities. What I am creating is literally black portraiture with ballpoint pen ink. I’m looking for that in-between state in an individual where the over-arching definition is lost. Skin as geography is the terrain I expand by emphasizing the specificity of blackness, where an individual’s subjectivity, various realities and experiences can literally be drawn onto the diverse topography of the epidermis. From there, the possibilities of portraying a fully-fledged person are endless.”

—Artist Statement, 2011

Select Work(s) / Installation View(s)




2012


Black Surfaces. Black Grounds.
Using consistent materials—black ballpoint pen ink and black acrylic ink on black matted or glossed illustration board—surface details in the markmaking are drawn with various linework, shading, and other sinewy, tactile traces in an attempt to deconstruct “Black” as a concept along with its visual inconsistencies pertaining to light, shadow, and texture.

A subversive play with relative and filtered distinctions between looking at someone and actually seeing an individual—and how the illusion of image-making inexorably fails at exacting both. In each drawing, the problematic contradictions ingrained in the chroma are emphasized, as they cannot exist outside of a two-dimensional plane. The subjects of the series are interpreted bare in an isolated space, their purpose is not to be a spectacle for the viewer.
Select Work(s) / Installation View(s)




2013


All These Garlands Prove Nothing
A record of different hair stylings donned from 2008 to 2012, through the filter of memory. Each portrait conveys the same subject seemingly at issue with varying personas. The drawings were created using graphite, ballpoint pen ink, and marker on paper. Collectively, the series stresses the dubiousness of a singular picture and how arbitrary an identity may seem once embellishments are altered or disregarded altogether.
Select Work(s) / Installation View(s)



2013


Guaging Tone (Of Another Kind)
The series premise asks: “when an aesthetic is inverted, does the meaning stay the same?” And, if so, does this extend to how people read images of themselves? To explore this, each drawing is comprised of metallic marker on illustration board.
Select Work(s) / Installation View(s)



2014


Like the Sea
The series title is excerpted from an aphorism in Zora Neale Hurston's Their Eyes Were Watching God (1937), which states:

"Love is lak de sea.
It's uh movin' thing, but still and all,
it takes its shape from de shore it meets,
and it's different with every shore."

The series captures Ojih Odutola’s two younger brothers. They are surrounded by tapestries emblematic of the various locales their family has lived. These sites and the memories associated are interwoven into the moments of love shared there. The series was a means for moving away from the decontexualized surroundings of past works, to give the drawings more subjectity through specificity of a narrative.
Select Work(s) / Installation View(s)




2014


Untold Stories
Mixed-media drawings created using pastel, charcoal, marker and pencil on paper. Isolated visual narratives with some diptychs and triptychs combining image with text.
Select Work(s) / Installation View(s)



2015—2017


The Treatment
A single work, comprised of 43 drawings, depicting well-known, white men in their youth—all rendered in black, ballpoint pen and graphite—to illustrate how lack of individuality and dehumanization might occur when one is systemically indistringuishable from the sameness of a group.

There is no supportive text or enhancing narrative added; each drawing is titled in the sequence it was created. Awash in a singular color, these figures are stripped of the power construct and exclusivity whitness and masculinity affords in society. At the mercy of shifting reads and perceptions, these portraits become “othered,” included at the margins.
Select Work(s) / Installation View(s)


2016


A Matter of Fact
Chapter 1: presenting a fictionalized union between titled sons from two artistocratic, Nigerian families: the Emeka and Omodele, known as the UmuEze Amara Clan and House of Obafemi, respectively. Comprised of pastel, charcoal, and graphite on paper, the series focuses on the Emeka marquisate, one of the oldest noble clans of Nigeria, highlighing their wealth and holdings if colonialism and chattel slavery interventions had never distupted the country. The bold, crimson-clay red wall color chosen is emblematic of the stature and wealth of the family.
Select Work(s) / Installation View(s)


2017


To Wander Determined
Chapter 2, Part 1: involving two fictionalized Nigerian, aristocratic families, with focus on the Omodele barony, House of Obafemi, who are known for their ambassadorship, wine, and travels. The soft, pink wall color was chosen to emphasize the family’s matrilineal power.
Select Work(s) / Installation View(s)


2017—2018


Testing the Name
Chapter 2, Part 2: involving two fictionalized Nigerian, aristocratic families, with focus on the Omodele barony, House of Obafemi. Comprised of pastel, charcoal, and graphite on paper, Part Two centers on the relatioships between parents and their children, mainly that of Lord Temitope with his father. The haint blue wall color is inspired by and pays homage to the rich Gullah culture prominent in Savannah, Georgia.
Select Work(s) / Installation View(s)


2018


When Legends Die
Chapter 3: the final chapter depicting the fictional Emeka and Omodole families and their collective legacy as the UmuEze Amara Clan and House of Obafemi. Drawn using pastel, charcoal, and graphite on paper. The lavender/lilac wall color brings a finality in tone to the series, signifying the changing of regimes.
Select Work(s) / Installation View(s)


2018


Scenes of Exchange
Seven drawings created specifically for the 12th Manifesta biennial theme, The Planetary Garden,” which highlights the globally diverse history of Palermo. This small series presents possible encounters through the lens of trade between Italy and Nigeria. The chosen wall color reflects interiors often found in the antiquanted buildings of Palermo, Italy.
Select Work(s) / Installation View(s)


2017—2020


This Moment No Longer Belongs To You
Travel documentation, auto-portrait project of 30+ drawings and sketches, charting creative shifts in material and method. Each portrait exemplifies how “capturing a moment” for and of oneself is futile. The archive has nothing to do with the moment experienced by nature of how it reduces each moment to function.
Select Work(s) / Installation View(s)


2019—2020


A Countervailing Theory
A recently unearthed ancient parable set in central Nigeria’s Jos Plateau. Comprised of 40 monochomatic drawings, created using pastel, charcoal and chalk on gessoed linen and board. Read as a single body of work, it questions the nature of mythologies we tell ourselves.
Select Work(s) / Installation View(s)


2020


Tell Me A Story, I Don’t Care If It’s True
A series of anecdotal drawings: some images with accompanying, free-associative text, others isolated pictures and text narratives. Most of the works were created during COVID-19 quarantine in New York.
Select Work(s) / Installation View(s)








Select photographs from slideshow and timeline Courtesy of Hirshhorn Museum and Sculpture Garden, Kunsten Museum Aalborg, Barbican Centre, Whitney Museum of American Art, Savannah College of Art and Design Museum of Art, Contemporary Art Museum St. Louis, Museum of the African Diaspora in San Francisco, Pinchuk Art Centre & Jack Shainman Gallery.