Toyin Ojih Odutola

Toyin Ojih Odutola (born 1985) is a Nigerian-American contemporary visual artist known for her vivid multimedia drawings and works on paper. Her unique style of complex mark-making and lavish compositions rethink the category and traditions of portraiture and storytelling. Ojih Odutola's artwork often investigates a variety of themes from socio-economic inequality, the legacy of colonialism, queer and gender theory, notions of blackness as a visual and social symbol, as well as experiences of migration and dislocation.
Early life and education.
Ojih Odutola was born in 1985 in Ile-Ife, Nigeria, where both her parents were teachers. In 1990 her mother, Nelene Ojih, took Toyin and her two-year-old brother to the United States to accompany their father, Dr. J. Ade Odutola, in Berkeley, California, where he was undergoing research and teaching chemistry at the university. After four years in Berkeley, the family moved to Huntsville, Alabama in 1994 where her father became a professor at Alabama A&M University and her mother a nurse. Ojih Odutola is of Yoruba and Igbo descent from her paternal and maternal heritage, respectively.
In 2007, while an undergraduate, she participated in the Norfolk Summer Residency for Music & Art, from Yale University in Connecticut. Shortly after in 2008, she received a Bachelor of Arts degree in Studio Art and Communications from the University of Alabama in Huntsville. In 2012, she earned a Master of Fine Arts degree from California College of the Arts, in San Francisco.
Career.
While studying at California College of Arts in San Francisco, she presented her first solo show in New York, "(MAPS)" at Jack Shainman Gallery in 2011. It was composed of a collection of individual black figures in decontextualized white backgrounds drawn in layers with a ballpoint pen. The ideas behind this series of skin as geography introduced her as a new voice in the visual representation of black skin.
Forbes featured Ojih Odutola in its 2012 list of 30 notable individuals under 30 in the category "Art & Style."
In 2015, her solo museum exhibition, "Untold Stories," at the Contemporary Art Museum St Louis, introduced storytelling and text into her work, marking a shift in her studio practice.
In 2016, she presented "A Matter of Fact," a solo exhibition at the Museum of the African Diaspora, in San Francisco, exploring a new style of works she developed during her residency at Headlands Center for the Arts, in Sausalito, California.
Her work was the featured cover story for "Juxtapoz Magazine" in November 2017, on the occasion of her museum solo exhibition, "To Wander Determined," at Whitney Museum of American Art, in New York. The exhibition presented a vibrant series of figures connected by a fictional narrative of two aristocratic Nigerian dynasties, who are joined by the union of titled sons from both families. Ojih Odutola introduces the portraits as the private collection from these families, which are of different upper-class origins unencumbered by the history of colonialism. The premise behind the portraits being fictional invites the audience to decipher the truth behind them.
She was appointed the "Lida A. Orzeck ’68 Distinguished Artist-in-Residence" for the academic year of 2017 to 2018 at Barnard College in New York.
In 2018, she participated in the 12th iteration of the Manifesta international biennial, in Palermo, Italy, with her solo presentation, "Scenes of Exchange."
In September 2018, she was nominated as one of the 21 shortlisted artists for the "Future Generation Art Prize" for 2019, presented in a group exhibition at the PinchukArtCentre in Kiev, Ukraine, which subsequently traveled to be included in a collateral exhibition for the 58th Venice Biennale in 2019.
Ojih Odutola was inducted into the "National Academicians Class of 2019", of the National Academy of Design. A lifetime honor appointment and tradition dating back to 1825, current members confidentially nominate and elect a new class each year honoring the artists' remarkable contributions to the canon and story of American art. The exhibits and artwork that is shown by the ambassadors inspire the next generation while cultivating its 200-year-old tradition. The National Academicians assist as ambassadors for the arts.
In August 2020, her first museum solo exhibitioinn in the United Kingdom opened at The Curve gallery at Barbican Centre, London, titled "A Countervailing Theory." Specifically for this commission, Ojih Odutola created 40 works depicting an ancient parable set in central Nigeria’s Jos Plateau. In the artist’s interview with "The Guardian", Ojih Odutola said that the exhibition was inspired by two episodes: reading about ancient rock formations in central Nigeria; and hearing about a German archaeologist who mistakenly attributed brass statues found in Nigeria to ‘Greeks from Atlantis’ because he ‘couldn’t couldn’t conceive of Nigerians having the mental aptitude to create such anatomically correct and beautiful objects’. Out of these two rose black and white drawings that ‘flip the script in every aspect’, in the words of the artist. Author, Zadie Smith, wrote an essay on the themes of the exhibition in "The New Yorker", also included in the exhibition catalog.
Style and influences.
Ojih Odutola is best known for her detailed portrait drawings, entirely or primarily done in black pen ink. Her more recent work has expanded to include charcoal, pastel, chalk, and pencil. However, the artist does not consider herself a portraitist; the subjects of her drawings are actually drawn from many different people. She credits her high school art teacher, Dana Bathurst, for introducing her to African-American portraiture artists such as Jacob Lawrence, Elizabeth Catlett, Romare Bearden and Barkley L. Hendricks. Ojih Odutola has also received inspiration and influence from comic books, Japanese manga, and anime. Additionally, studying the works of contemporary artists like Kerry James Marshall, Wangechi Mutu, and Julie Mehretu had an impact while she was in graduate school.
Ojih Odutola's work is often viewed as challenging the many traditional notions about social and political identity as well as the framework of which it is defined. Her work is an intentional means of translating those narratives about race, identity, and class visually. This is done through the mediums and surfaces she uses as well as the textures conveyed in the figures and landscapes she portrays in her detailed drawings. For Ojih Odutola, the texture is a form of communication and language with the viewer. The various marks she creates represent a kind of dialect and accent.
Exhibitions.
Selected solo exhibitions:
Ojih Odutola has also participated in group exhibitions at various institutions, including:
Collections.
Ojih Odutola's work is held in many public collections, including: