Modupeola Fadugba

Last updated

Modupeola Fadugba (born 1985, Togo) [1] is a self-taught Nigerian multi-media artist, living and working in Nigeria. [2]

Contents

Education

Modupeola Fadugba studied engineering, economics, and education. [3] She has received an MA in Economics from the University of Delaware, and holds an MEd from Harvard University. [4] Her parents were Nigerian Diplomats, and the artist spent most of her youth in England and the United States. [5] She is a self-taught artist. [6] Her series Dreams from the Deep End, which she developed during a residency at the International Studio and Curatorial Program in New York, was included in a solo exhibit at Gallery 1957. [7]

Career

Her solo shows include Heads Up, Keep Swimming at Temple Muse in Lagos in 2017, [8] Synchronised Swimming & Drowning at Ed Cross Fine Art in London in 2017, [9] Prayers, Players & Swimmers at the Cité internationale des arts in Paris in 2017, [10] and Dreams from the Deep End in New York in 2018, [7] which was reviewed in ArtForum International [7]

She has participated in numerous group shows, including the Royal Academy Summer Exhibition in London in 2017, [11] Afriques Capitales in Lille, France in 2017, [12] and the Art Energy in London in 2015. [13]

Her work was selected in the 2016 Dakar Biennale, where she was awarded a Grand Prize from the Senegal Minister of Communication. [14] Her project The People’s Algorithm received the 2014 El Anatsu’s Outstanding Production Prize. [15]

Modupeola Fadugba's painting Teach Us How To Shoki In Pink appeared on the front cover of Arabia's Harper's Bazaar in April 2018. [16] [17]

Her work is included in the collection of the Smithsonian National Museum of African Art, [1] the University of Delaware, [14] [18] the Sindika Dokolo Foundation and the Liberian President, Ellen Johnson Sirleaf [19] [20]

Fadugba held a Smithsonian Institution Research Fellowship in 2020. The same year she held residency at Headlands Center for the Arts. [21]

Dreams from the Deep End and The Harlem Honeys & Bears

In the summer of 2018, Modupeola Fadugba spent some time with the Harlem Honeys & Bears, while attending a residency program at the International Studio and Curatorial Program in New York. Dreams from the Deep End was the resulting painting series and installation, first shown at Gallery 1957 in Accra, Ghana. [22] The Harlem Honeys & Bears is an all black synchronized swim team for senior citizens that meets at the Hansborough Recreation Center in New York City. The team has been in existence since 1979, and as of 2018, had 24 active members with ages ranging from 58 to 95, who met and competed on a regular basis. [23]

The painting series based on Fadugba's research with the group, is both personal and tied to identity politics of Black America. Swimming is intertwined with race, and social justice in the US. Research from the CDC shows that drowning among black children is 1.4 times higher than the rate of white children. The rate climbs to a 5.5 times difference when the research considers swimming pool drowning deaths. [24] The disparity is a legacy of segregation in the US, where black communities were denied access to public swimming pools. [25] [26] For the artist, swimming is tied to a childhood fear of the ocean, which she only overcame when she was 11, and was forced to take swimming lessons in school. [27]

Dreams from the Deep End depicts the Harlem Honeys & Bears swimmers in and around the swimming pool. In some of the paintings, the figures remain faceless, and the artist tends to use pastel colors, and her signature burnt technique. In others, she shows the faces of the swimmers on which the paintings are based, sometimes using the burning method, sometimes without. The pool water is usually monochromatic: dark blue, black, or gold, making the swimmers stand out starkly from the background.

Related Research Articles

<span class="mw-page-title-main">Lois Mailou Jones</span> American artist and educator (1905–1998)

Lois Mailou Jones (1905–1998) was an artist and educator. Her work can be found in the collections of the Smithsonian American Art Museum, The Metropolitan Museum of Art, the National Museum of Women in the Arts, the Brooklyn Museum, the Museum of Fine Arts, Boston, Muscarelle Museum of Art, and The Phillips Collection. She is often associated with the Harlem Renaissance.

<span class="mw-page-title-main">Lorraine O'Grady</span> American artist

Lorraine O'Grady is an American artist, writer, translator, and critic. Working in conceptual art and performance art that integrates photo and video installation, she explores the cultural construction of identity – particularly that of Black female subjectivity – as shaped by the experience of diaspora and hybridity. O'Grady studied at Wellesley College and the University of Iowa Writers' Workshop before becoming an artist at age forty-five. Regarding the purpose of art, O'Grady said in 2016: "I think art’s first goal is to remind us that we are human, whatever that is. I suppose the politics in my art could be to remind us that we are all human."

<span class="mw-page-title-main">Gwendolyn Knight</span> American artist

Gwendolyn Clarine Knight was an American artist who was born in Bridgetown, Barbados, in the West Indies.

<span class="mw-page-title-main">Augusta Savage</span> American sculptor and teacher (1892–1962)

Augusta Savage was an American sculptor associated with the Harlem Renaissance. She was also a teacher whose studio was important to the careers of a generation of artists who would become nationally known. She worked for equal rights for African Americans in the arts.

<span class="mw-page-title-main">Toyin Ojih Odutola</span> Nigerian visual artist

Toyin Ojih Odutola 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.

<span class="mw-page-title-main">Dindga McCannon</span> American artist (born 1947)

Dindga McCannon is an African-American artist, fiber artist, muralist, teacher author and illustrator. She co-founded the collective Where We At, Black Women Artists in 1971.

Joyce J. Scott is an African-American artist, sculptor, quilter, performance artist, installation artist, print-maker, lecturer and educator. Named a MacArthur Fellow in 2016, and a Smithsonian Visionary Artist in 2019, Scott is best known for her figurative sculptures and jewelry using free form, off-loom beadweaving techniques, similar to a peyote stitch. Each piece is often constructed using thousands of glass seed beads or pony beads, and sometimes other found objects or materials such as glass, quilting and leather. In 2018, she was hailed for working in new medium — a mixture of soil, clay, straw, and cement — for a sculpture meant to disintegrate and return to the earth. Scott is influenced by a variety of diverse cultures, including Native American and African traditions, Mexican, Czech, and Russian beadwork, illustration and comic books, and pop culture.

<span class="mw-page-title-main">Simone Leigh</span> American artist from Chicago (born 1967)

Simone Leigh is an American artist from Chicago who works in New York City in the United States. She works in various media including sculpture, installations, video, performance, and social practice. Leigh has described her work as auto-ethnographic, and her interests include African art and vernacular objects, performance, and feminism. Her work is concerned with the marginalization of women of color and reframes their experience as central to society. Leigh has often said that her work is focused on “Black female subjectivity,” with an interest in complex interplays between various strands of history. She was named one of the 100 most influential people in the world by Time magazine in 2023.

<span class="mw-page-title-main">Kenyatta A.C. Hinkle</span> American artist

Kenyatta A.C. Hinkle is also known as Olomidara Yaya. She is an American artist, author, and Assistant Professor at the University of California at Berkeley Department of Art Practice. Her work focuses on questions of race, sexuality, and history through a variety of visual and textual mediums. She lives and works in Los Angeles, California. Notable works include the Kentifrica project, the Tituba series, The Evanesced, and the Uninvited series. She is a member of CTRL+SHFT Collective in Oakland, California.

<span class="mw-page-title-main">Njideka Akunyili Crosby</span> Visual artist

Njideka Akunyili Crosby is a Nigerian-born visual artist working in Los Angeles, California. Through her art, Akunyili Crosby "negotiates the cultural terrain between her adopted home in America and her native Nigeria, creating collage and photo transfer-based paintings that expose the challenges of occupying these two worlds". In 2017, Akunyili Crosby was awarded the prestigious Genius Grant from the John D. and Catherine T. MacArthur Foundation.

<span class="mw-page-title-main">Kay Brown (artist)</span> American painter

Kay Brown (1932-2012) was an African American artist, Printmaker, published author, Graphic and Fashion designer. She graduated at New York City College in 1968, with a Bachelor of Fine Arts degree. She was also a graduate at Howard University in 1986 with a Master of Fine Arts degree. Brown became the first woman awarded a membership into the Weusi Artist Collective, based in Harlem during the 1960s and 1970s. The Weusi Collective, named for the Swahili word for “blackness”, was founded in 1965, composed entirely of men. The fact that she was the only female member of this collective inspired her to seek out ways of representing the neglected Black female artists. She is widely acknowledged as one of the founders of the Where We At Black women artists' collective in New York City. Brown's works are credited for representing issues that affected the global Black community via her mixed media collages and prints. Brown's work was featured in the "We Wanted a Revolution" exhibition at the Brooklyn Museum.

<span class="mw-page-title-main">Nicole Awai</span> American visual artist

Nicole Awai is an artist and educator based in Brooklyn, New York and Austin, Texas. Her work captures both Caribbean and American landscapes and experiences and engages in cultural critique. She works in many media including painting, photography, drawing, installations, ceramics, and sculpture as well as found objects.

Jordan Casteel is an American figurative painter. She typically paints portraits of friends and family members as well as neighbors and strangers in Harlem and New York. Casteel lives and works in New York City.

Torkwase Dyson is an interdisciplinary artist based in Beacon, New York, United States. Dyson describes the themes of her work as "architecture, infrastructure, environmental justice, and abstract drawing." Her work is informed by her own theory of Black Compositional Thought. This working term considers how spatial networks—paths, throughways, water, architecture, and geographies—are composed by Black bodies as a means of exploring potential networks for Black liberation. She is represented by Pace Gallery and Richard Gray Gallery.

Tokini Peterside-Schwebig is a Nigerian entrepreneur, business woman and art collector. She is the founder of ART X Collective, a cultural management company in Lagos, Nigeria. The company's flagship fair, ART X Lagos, is the leading international art fair in West Africa.

Elizabeth Colomba is a French painter of Martinique heritage known for her paintings of black people in historic settings. Her work has been shown at the Gracie Mansion, the Wallach Art Gallery at Columbia University, the Museum of Contemporary African Diasporan Arts, the Musée d'Orsay, Los Angeles County Museum of Art, and the Metropolitan Museum of Art.

Caitlin Cherry is an African-American painter, sculptor, and educator.

The racial composition of swimming and other aquatic sports has long been influenced by the history of segregation and violence at pools as well as the building patterns of public and private pools in America.

Joy Labinjo is a British–Nigerian artist based in London, England. Born in 1994, she is known for her large colorful figure paintings with flattened perspective that take inspiration from her collection of old family photos, found photos and historical archives. Her paintings usually explore themes of culture, identity, race and belonging through her depictions of Black individuals and families in everyday situations while also drawing from her experiences growing up as a British-Nigerian woman in the U.K.

<span class="mw-page-title-main">Nude swimming in US indoor pools</span> Nudity in public indoor pools

Nude swimming in US indoor pools was common for men and boys, but rare for women and girls from the late 1880s until the early 1970s. For much of that time period, indoor pool use was primarily for physical education or athletic competition, not recreation. Male nude swimming had been customary in natural bodies of water, which was not viewed as a social problem until the 18th century. When the tradition of skinny-dipping in secluded spots had become more visible with urbanization, indoor pools were first built in the 19th century in part to address this issue by moving male swimming indoors. For the first decades of the 20th century, male nude swimming was associated with a trope of the "old swimming hole" as representing childhood innocence and adult masculinity. In their own classes, nudity was rare for girls based upon an assumption of modesty, but might include young children. Prepubescent boys might be nude in mixed-gender settings, including the presence of female staff, public competitions, and open houses for families.

References

  1. 1 2 "Works – Modupeola Fadugba". Artists – National Museum of African Art - Smithsonian Institution. Retrieved 21 December 2021.
  2. "Modupeola Fadugba Causes a Stir with Her Dreamy Artworks". Galerie. 2018-06-18. Retrieved 2019-03-02.
  3. "Equity, education, and female heroes in the art of Modupeola Fadugba". The Guardian Nigeria News - Nigeria and World News. 2017-10-31. Retrieved 2019-03-02.
  4. "Nigerian Artist Modupeola Fadugba to Exhibit 'Dreams from the Deep End' in Accra – Glitz Africa Magazine" . Retrieved 2019-03-02.
  5. "Equity, education, and female heroes in the art of Modupeola Fadugba". guardian.ng. 2017-10-31. Retrieved 2019-03-02.
  6. "Modupeola Fadugba". nataal.com. Retrieved 2019-03-02.
  7. 1 2 3 "Ayodeji Rotinwa on Modupeola Fadugba". www.artforum.com. Retrieved 2019-03-02.
  8. "Heads Up, Keep Swimming". SMO Contemporary Art. Retrieved 2019-03-02.
  9. "Ed Cross Fine Art - Contemporary African Art - Modupeola Fadugba". www.edcrossfineart.com. Retrieved 2019-03-02.
  10. "Prayers, Players & Swimmers". citedesarts.pagesperso-orange.fr. Retrieved 2019-03-02.
  11. "687 - HEADS OR TAILS: DIVERSIFY by Modupeola Fadugba". se.royalacademy.org.uk. Retrieved 2019-03-02.
  12. "Afrique Capitales | Contemporary And". www.contemporaryand.com (in German). Retrieved 2019-03-02.
  13. "Modupeola Fadugba is crossing international boundaries with art". Leading Ladies Africa. 2018-04-11. Retrieved 2019-03-02.
  14. 1 2 admin (2017-05-05). "Modupeola Fadugba". AFRICANAH.ORG. Retrieved 2019-03-02.
  15. "1-54 Contemporary African Art Fair" . Retrieved 2019-03-02.
  16. "Meet Bazaar Art's March Cover Star Modupeola Fadugba". Harper's BAZAAR Arabia. Retrieved 2019-03-02.
  17. Blogs (2018-03-22). "Nigerian Artist Modupeola Fadugba's Works Cover Harper's Bazaar Art's March Issue [LOOK] » Thesheet.ng". Thesheet.ng. Retrieved 2019-03-02.
  18. "University of Delaware Alumni news neslwtter" (PDF).
  19. Olaniyan, Oliver Enwonwu and Oyindamola (2018-12-12). "Modupeola Fadugba: Challenging Racial Undertones through Art". Omenka Online. Retrieved 2019-03-02.
  20. Information, Ministry of. "Government of the Republic of Liberia (Ministry of Information) - Amid Rapturous Cheers: President Sirleaf Lauds ECOWAS Commission Staff". www.micat.gov.lr. Retrieved 2019-03-02.
  21. "Modupeola Fadugba". Headlands Center for the Arts. Retrieved 21 December 2021.
  22. "Modupeola Fadugba". Gallery1957. Retrieved 2019-04-28.
  23. Lewis, Brent (2018-02-01). "The Harlem Honeys and Bears want everybody in the pool". Andscape . Retrieved 2019-04-28.
  24. "Racial/Ethnic Disparities in Fatal Unintentional Drowning Among Persons Aged ≤29 Years — United States, 1999–2010". www.cdc.gov. Retrieved 2019-04-28.
  25. "Racial History of American Swimming Pools". NPR.org. Retrieved 2019-04-28.
  26. Hackman, Rose (2015-08-04). "Swimming while black: the legacy of segregated public pools lives on". The Guardian. ISSN   0261-3077 . Retrieved 2019-04-28.
  27. Tsjeng, Zing; David, Sara (2018-09-05). "Evocative Paintings of an All-Black Swim Team of Senior Citizens". Broadly. Retrieved 2019-04-28.