British-Nigerian artist Yinka Shonibare celebrates ethnic diversity in British literature with ‘The British Library,’ an installation of books written by British authors from around the globe. Wrapped in Shonibare’s signature fabric – Dutch prints derived from Indonesian batik and sold to West African markets – the volumes bear silent testimony to the beauty of difference. (At James Cohan Gallery’s Chelsea location through March 18th).
Few these days think that the gods are responsible when an earthquake or tsunami hits, but British/Nigerian artist Yinka Shonibare pictures the wrath of Zeus (background) and Poseidon (front right) to comment on climate change in his latest solo show at James Cohan Gallery. Placed directly on the floor in their bold (signature Shonibare) fabrics, the gender-bending divine dancers emanate power.
Yinka Shonibare, installation view of ‘Rage of the Ballet Gods’ at James Cohan Gallery, May 2015.
The FLAG Foundation’s ‘A Secret Affair’ is one of the best shows of the moment in Chelsea, and one of the most appropriately titled, given that it’s tucked away high on the 9th and 10th floors of the foundation’s 545 West 25th Street exhibition space. Curated by Louis Grachos from Glenn and Amanda Fuhrman’s collection, rooms like this one show off the quality of the collection as well as the Fuhrmans’ penchant for sculptures of couples. (Through May 16th).
Installation view of ‘A Secret Affair: Selections from the Fuhrman Family Collection,’ at the FLAG Art Foundation, including work by Louise Bourgeois (foreground), Yinka Shonibare (left), Juan Munoz (middle), Maurizio Cattelan (back), March 2015.
Yinka Shonibare’s crafty revolutionary looks set for success with money, guns and communications, as embodied by his ’12 ‘Revolution Kid (fox girl),’ spotted today in the back viewing room of Chelsea’s James Cohan Gallery. Toting a blackberry and a 24 carat gold gilded gun and dressed in Shonibare’s signature Dutch-imported, ‘African’ textiles, she begs the question of who she is and who’s backing her.
