Tschabalala Self

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Tschabalala Self
TschabalalaSelf.jpg
Self in 2017
Born1990 (age 33–34)
Harlem, New York, U.S.
Education Nightingale-Bamford School
Alma mater Bard College; Yale School of Art
Known for Painting
Website tschabalalaself.com

Tschabalala Self (born 1990) is an American artist best known for her depictions of Black female figures using paint, fabric, and discarded pieces of her previous works. [1] Though she uses mixed media, all of her works are on canvas and employ a "painting language." [2] Inspired by works done by African-American artist Romare Bearden, Self creates collages of various items that she has collected over time and sews them together to depict Black female bodies that "defy the narrow spaces in which they are forced to exist". [3] She derives the concept from the history behind the African-American struggle and oppression in society. Self reclaims the Black female body and portrays them to be free of stereotypes without having to fear being punished. [3] Her goal is to "create alternative narratives around the Black body." [4] Much of Self's work uses elements from Black culture to construct quilt-like portraits. Self lives in New Haven, Connecticut. [5] [6]

Contents

Early life and education

Self was born in 1990 [7] in Harlem, New York City, the youngest of six children. [8]

She attended Nightingale-Bamford School [9] in Manhattan. After graduating from Bard College with a B.A. in 2012, Self completed her M.F.A. in painting and printmaking at the Yale School of Art. [10]

Career

Self's first solo show was in 2015 at Schur-Narula in Berlin. [11] In a review of a solo show at Thierry Goldberg gallery in New York in 2016, The New York Times declared: "Ms. Self's work has great promise, which she is developing." [12] Peter Schjeldahl compared her piece at the New Museum's 2017 Trigger: Gender as a Tool and a Weapon to the works of Arshile Gorky and Willem de Kooning. [13] Self's work has also been featured in a solo exhibition at the Parasol unit foundation for contemporary art in London in 2017. It was her first exhibition in the UK. [14] [15] In 2022, Self's first solo museum show in Europe, Make Room, opened at the Consortium Museum in Dijon, France; in 2023, the exhibition traveled to Kunstmuseum St. Gallen in Switzerland, titled Inside Out.

Self has been named to Forbes "30 Under 30 List". [16] She has also been recognized as a Joan Mitchell Foundation Painters & Sculptors Grant recipient. [17]

Artistic style

Two Girls (2019) at the Rubell Museum DC in 2022 Two Girls, 2019, Tschabalala Self at Rubell DC 2022.jpg
Two Girls (2019) at the Rubell Museum DC in 2022

Self has said, "I use materials in an unconventional way to subvert the status quo. You don't have to use paint to make a painting. It aligns with my overall message, which is one of change." [18] The use of unconventional materials helps to highlight the unique shapes of a body because it separates the emphasis of each part from the whole structure of the artwork and creates an individual space for the pieces to express, rather than to perform, for the audience. Self starts her artwork with a line drawing of the character she wants to illustrate, then takes different objects to create her collage of items to go over that drawing. She uses shapes to build her characters while emphasizing objects or parts of the body that might be noticed first or carry a psychological or physical weight to them. [19]

Several of Self's works are sexually explicit. [20] Her Rainbow piece, [21] which consists of wood, acrylic paint, and other elements, portrays a Black woman bending down, exposing her genitalia. Swim, involves a man and woman joined in a sexual act while still displaying certain parts of the body that places more emphasis, in particular, on the buttocks. [22] [20] The Black female bodies in her artwork are often described as nonbinary or "genderless" because they do not conform to the westernized form of beauty, usually seen in the art world. [3]

Self's art style revolves around the representation of Black women through primary (e.g., genitalia) and secondary (e.g., body features) sexual characteristics by painting and utilizing printmaking. Through her art, Self comments upon the normalization and objectification of the body with a romanticized perspective. [23] The characters illustrated in her artworks all share exaggerated body and facial features, and in doing so, allude to a racial and generational trauma embedded within each painting. The people in her artwork are made from different textures and prints of clothing, which emphasize and direct the attention of the audience towards the most significant part in her artwork. [23] Her particular artistic style gravitates towards Black women embracing independence and resilience leaving a strong and fierce presence. [24] Self's approach is most commonly androgynous and does not solely reference one gender. [24]

Works

A prominent Self work, The Function, sheds light into the social aspect of the art piece and explains the abstract nature of the figure and its background. [25] Tschabalala states in an interview, "A stereotype is a flat character with two dimensions. And I can confront those stereotypical images by making round, multidimensional characters with complicated desires, inner dialogues, and psychology". [1] The art piece is created by patching together pieces of old paintings, raw canvas, and fabrics which are assembled by stretching, painting and drawing over them. This gives the avatar a greater sense of dimension as it highlights the dynamic motion of turning one's back, indicated by the creased fabric.

Furthermore, Self said in an interview: "My work does not comment on stereotypes and generalizations about the Black female body, my practice absorbs these fantasies. The work is celebratory because one must thrive despite destructive rhetoric." [18]

Bodega Run

Through her project of a series called Bodega Run, Self explores how bodies are affected by their environment, which also impacts the way the bodies move through the world itself. [3] Bodegas are small grocery and convenience stores, that are commonly found on the east coast of America, specifically New York. [26] Self's inspiration for this project stems from her hometown of Harlem, where bodegas were and are very common. Self, along with many others, believes that bodegas are a place where communities come together that share mutual issues, such as the issue of the oppression of people of color in America. [27] [28] [29] Her Bodega project stems from this belief and her "characters populating the bodegas of Harlem, these groceries of the corner, true microcosms emblems of the Black and Latin diasporas in New York". [30] [28] This series includes works she calls Hammer Projects, such as Rainbow, Big Red, My Guy, Ice Cream, and Loosie in the Park. Self also includes neon light signs, consisting of words such as Abierto/ Open, Coffee/ Teas, EBT/ ATM, and Lotto, which represent the LED lights that typically reside in these facilities. [31] [32] [ citation needed ] As Self noted in conversation with Jareh Das for Ocula magazine,

"The bodega is an infinitely interesting locale and institution for the various racial, ethnic, and social dynamics at play within these spaces. The mere existence of these stores is deeply radicalized, given the fact that bodegas occupy neighborhoods that are generally defined as food deserts." [33] [34]

Cotton Mouth

The body of work presented by Self in her exhibition Cotton Mouth embodies the extraordinary experience of Black American life by connecting Black America's past to contemporary culture. She does this through the use of elements in dyed canvas, craft paper, and fabric, in conjunction with other mediums. [35] Self reveals the idea behind the name of this exhibition, explaining that, "Cotton mouth is when you can’t speak with ease, or are coerced into sticking to a script that you didn’t write. Cotton mouth is the reality that you’re in, because of repeated damage". [35] The choice of title is a burdened one, as a mouth that can no longer function serves as a metaphor for the systemic and continued silencing of Black Americans. [36] Self's work allows the viewer to contemplate the cultural and historical significance of the labor and sacrifice required of Black Americans to produce cotton itself during the 19th century.

Art market

In 2019, Self's painting Out of Body (2015) sold at auction for $382,000 at Christie's, a record for the artist. [37]

In 2019, Tschabalala Self collaborated with Louis Vuitton for the ArtyCapucines collection. [38]

As of 2023, Self was represented by Pilar Corrias in London, [39] and Galerie Eva Presenhuber in New York, and Zürich. [40]

Notable works in public collections

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References

  1. 1 2 Eckardt, Stephanie (January 16, 2017). "Meet Tschabalala Self, the 26-Year-Old Artist Empowering the Lives of Black Women". wmagazine.com . Retrieved February 24, 2018.
  2. ↑ "Tschabalala Self on Not Being Afraid of Hard Work". thecreativeindependent.com. Retrieved February 24, 2018.
  3. 1 2 3 4 "An Individual Is Made of Many Parts: Tschabalala Self Interviewed by Sasha Bonét - BOMB Magazine". bombmagazine.org. Retrieved June 6, 2019.
  4. ↑ Adorante, Mia; Herriman, K. (April 2017). "Heads Above the Rest". W Magazine. 46– via ProQuest.
  5. ↑ Balco, Cat (May–June 2018). "Tschabalala Self". Art New England. 39: 16.
  6. ↑ Anaya, Suleman (July 9, 2022). "The New New Haven". The New York Times. ISSN   0362-4331 . Retrieved July 21, 2022.
  7. ↑ Tschabalala Self Biography, MutualArt.com , retrieved February 24, 2018
  8. ↑ Gipson, Ferren (2022). Women's work: from feminine arts to feminist art. London: Frances Lincoln. ISBN   978-0-7112-6465-6.
  9. ↑ Pogrebin, Robin (November 2, 2020). "With New Show, Tschabalala Self Explores Black American Identity". The New York Times. ISSN   0362-4331 . Retrieved August 28, 2023.
  10. ↑ Lindsay Gellman (October 28, 2020). "Artist Tschabalala Self Sees Bodies Like No One Else Does". The Wall Street Journal.
  11. ↑ Anand, Keshav (November 15, 2018). "Interview: In The Studio With Artist Tschabalala Self". Something Curated. Retrieved March 19, 2019.
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  13. ↑ Schjeldahl, Peter (October 2, 2017). "The Art World as Safe Space" . Retrieved February 24, 2018– via www.newyorker.com.
  14. ↑ "Tschabalala Self". Parasol unit. Retrieved August 4, 2023.
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  19. ↑ The Art Assignment (October 13, 2016), Self Shape - Tschabalala Self | The Art Assignment | PBS Digital Studios , retrieved June 6, 2019
  20. 1 2 "Tschabalala Self". Art in America. November 3, 2016. Retrieved June 6, 2019.
  21. ↑ Picci, Barbara (February 16, 2023). ""Rainbow Bronze Deep Tone" by Tschabalala Self". Barbara Picci. Retrieved May 20, 2023.
  22. ↑ "Tschabalala Self". ARTnews.com. November 3, 2016. Retrieved May 20, 2023.
  23. 1 2 Cohen, Alina (November 6, 2019). "Inside Tschabalala Self's Complicated, Meteoric Rise through the Art Market". Artsy.
  24. 1 2 "Tschabalala Self | Artist Profile, Exhibitions & Artworks | Ocula". ocula.com. May 19, 2020.
  25. ↑ "'Tschabalala Self: The Function' at T293, Naples". ARTnews.com. March 24, 2016. Retrieved May 20, 2023.
  26. ↑ Gjording, Lindsey Rae (August 4, 2022). "What Is A Bodega? From Storeroom To Current Competition". CitySignal. Retrieved May 20, 2023.
  27. ↑ Pearsall, Hamil (October 2012). "Moving out or moving in? Resilience to environmental gentrification in New York City". Local Environment. 17 (9): 1013–1026. doi:10.1080/13549839.2012.714762. ISSN   1354-9839.
  28. 1 2 Kaufman, Leslie; Karpati, Adam (June 1, 2007). "Understanding the sociocultural roots of childhood obesity: Food practices among Latino families of Bushwick, Brooklyn". Social Science & Medicine. 64 (11): 2177–2188. doi:10.1016/j.socscimed.2007.02.019. ISSN   0277-9536.
  29. ↑ Törnberg, Petter; Chiappini, Letizia (May 2020). "Selling black places on Airbnb: Colonial discourse and the marketing of black communities in New York City". Environment and Planning A: Economy and Space. 52 (3): 553–572. doi:10.1177/0308518X19886321. hdl: 11245.1/19f6318a-35b9-4818-a53b-196646932d50 . ISSN   0308-518X.
  30. ↑ "Tschabalala Self by Herself". www.lofficiel.com (in French). Retrieved June 6, 2019.
  31. ↑ Hix, Lisa. "Neon Lost and Found: Where New York City Still Burns Bright". Collectors Weekly. Retrieved May 20, 2023.
  32. ↑ Kovel, Sophie (2019). "Tschabalala Self at Hammer Museum". www.artforum.com. Retrieved May 20, 2023.
  33. ↑ "Tschabalala Self: 'We must abandon the lies and mistruths we have been told'". ocula.com. November 25, 2020. Retrieved November 25, 2020.
  34. ↑ Sacks, Rachel; Yi, Stella S.; Nonas, Cathy (May 2015). "Increasing Access to Fruits and Vegetables: Perspectives From the New York City Experience". American Journal of Public Health. 105 (5): e29–e37. doi:10.2105/AJPH.2015.302587. ISSN   0090-0036. PMC   4386516 . PMID   25790427.
  35. 1 2 Adamson, Glenn (January 8, 2021). "Stitching the Social Fabric". ARTnews.com. Retrieved April 16, 2021.
  36. ↑ "New York – Tschabalala Self: "Cotton Mouth" at Eva Presenhuber Through January 23rd, 2021" . Retrieved April 16, 2021.
  37. ↑ Specter, Emma (June 27, 2019). "Tschabalala Self Smashes Her Auction Record At Christie's". Garage Magazine . Vice Media. Archived from the original on February 3, 2023. Retrieved June 20, 2023.
  38. ↑ "Louis Vuitton to debut new exhibition, launch ArtyCapucines bags in Beverly Hills". Los Angeles Times. June 7, 2019. Retrieved August 4, 2023.
  39. ↑ Brady, Anna (May 11, 2023). "'Not a matter of competition, but natural progression': Pilar Corrias to open new London gallery in Mayfair". The Art Newspaper . Archived from the original on June 3, 2023. Retrieved June 20, 2023.
  40. ↑ Durón, Maximilíano (June 11, 2023). "Ahead of Art Basel, Zurich Art Weekend Returns with Strong Offerings". ARTnews . Archived from the original on June 20, 2023. Retrieved June 20, 2023.
  41. ↑ "Chopped Cheese". PAMM. Pérez Art Museum Miami . Retrieved June 20, 2023.
  42. ↑ "Lite". ICABoston. Institute of Contemporary Art, Boston . Retrieved June 20, 2023.
  43. ↑ "Pant". Philadelphia Museum of Art . Retrieved June 21, 2023.
  44. ↑ "Thank You". ArtIC. Art Institute of Chicago . Retrieved June 20, 2023.
  45. ↑ "Damsel". MOCA. Museum of Contemporary Art, Los Angeles . Retrieved June 20, 2023.
  46. ↑ "Evening". MCASD. Museum of Contemporary Art San Diego . Retrieved June 21, 2023.
  47. ↑ "Lady". Pinakothek der Moderne . Retrieved June 21, 2023.
  48. ↑ "Piss". Brooklyn Museum . Retrieved June 21, 2023.
  49. ↑ "Spat". Whitney Museum . Retrieved June 21, 2023.
  50. ↑ "Nate the Snake". Bard College . Retrieved June 20, 2023.
  51. ↑ "Black Face Red Bone with Black Bob". Frye Art Museum . Retrieved June 21, 2023.
  52. ↑ "Tabled". Hirshhorn. Smithsonian Institution . Retrieved June 20, 2023.
  53. ↑ "Two Women 3". ArtBMA. Baltimore Museum of Art . Retrieved June 20, 2023.
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