Toyin Ojih Odutola

Toyin Ojih Odutola (bɛ dɔɣi o la 1985) ka o nyɛ Nigerian-American paɣa ŋun nyɛ nuuni tuunbaŋda ka bɔmdi niŋdi takari gbana ni. O tumanima nyɛla din ʒiri haŋkali zilinli. Ojih Odutola's tumanima shɛŋa lahi nyɛla din niŋdi vihigu ni binkura.

 O Piligu ni O Shikuru 
Ojih Odutola daa nyɛla bin dɔɣi so 1985 Ile-Ife, Nigeria, ka o lamba daa nyɛ karim ba nima. Yuuni 1990, o ma Nelene Ojih daa kpɔi Toyin ni o ti zo doo ŋun nyɛ yuma ayi  n chaŋ United States bi ba sani, Dr. Jamiu Ade Odutola, Berkeley diŋ bɛ California. O daa niŋ di la vihigu ka lan wohiri Chemistry University. Bi daa niŋ la yuma anahi  Berkeley ka bi daa labi Huntsville, Alabama yuuni 1994 ka o ba daa lɛɛ associate professor Alabama A&M University ka o ma daa lɛɛ nurse. Ojih Odutola nyɛla la Yoruba ni Igbo

Yuuni 2007, o daa nya undergraduate, o daa pahi Norfolk Summer Residency for Music & Art Yale University. Yuuni 2008, o daa nya o Bachelor of Arts degree in Studio Art and Communication, University of Alabama in Huntsville yuuni 2012? O daa niŋ o Master of Fine Arts degree from California College of the Arts, din bɛ Francisco 

 O Tuma 
O daa karin di California College of Arts in San Francisco, o daa niŋ o tuuli solo show in New York, (MAPS) at Jack Shainman Gallery yuuni 2011.thumb|right|200px|Lonely Chambers (T.O.), 2011, pen ink and marker drawing on paper, by Toyin Ojih Odutola (Image courtesy of the artist, Jack Shainman Gallery, Adam Green Art Advisory and the Green Family Art Foundation.)

 Exhibitions 
Tuun gahinda:
 2008: A Colonized Mind, University Center Gallery, University of Alabama in Huntsville, Alabama, thesis solo exhibition.
 2011: (MAPS), Jack Shainman Gallery, New York, which marked her first solo exhibition at the gallery and in New York City.
 2013: My Country Has No Name, Jack Shainman Gallery, New York, which dealt with themes on the malleability and suspicion regarding identity and how a portrait can only be a fragmented oversimplification of a person.
 2013—2014: The Constant Wrestler, Indianapolis Museum of Contemporary Art (iMOCA), Indianapolis, Indiana. The exhibition was later profiled by Julie Bramowitz for Interview Magazine, published December 3, 2013.
 2014: Like the Sea, Jack Shainman Gallery, New York. The exhibition title is inspired by an aphorism from Zora Neale Hurston's novel, Their Eyes Were Watching God, where Hurston writes, "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."
 2015: Untold Stories, Contemporary Art Museum St. Louis, Missouri.
 2015—2016: Of Context and Without, Jack Shainman Gallery, New York. The exhibition was profiled by Emily McDermott for Interview Magazine on December 20, 2015.
 2016—2017: A Matter of Fact, Museum of the African Diaspora (MoAD), San Francisco, California. The architect, David Adjaye, named the exhibition as one of the "Best of 2016" in the December issue of Artforum International Magazine.
 2017—2018: To Wander Determined, Whitney Museum of American Art. The exhibition was profiled by Zadie Smith for British Vogue in the June 2018 issue.
 2018: Testing the Name, Savannah College of Art and Design's (SCAD) Museum of Art, Savannah, Georgia, which was included in the SCAD de:FINE exhibition series for that season.
 2018: participated in the 12th Manifesta Biennial, hosted in Palermo, Italy, with her solo exhibition, Scenes of Exchange, held at the Orto Botanico di Palermo.
 2018: The Firmament, Hood Museum of Art, of Dartmouth College, Hanover, New Hampshire.
 2018: When Legends Die, Jack Shainman Gallery, New York.
2020: A Countervailing Theory, Barbican Centre, in London, England, her first solo museum exhibition in the UK.
2020: Tell Me A Story, I Don't Care If It's True, Jack Shainman Gallery, New York, investigating fundamental misconceptions and "gaps in understanding" between image and text. All works in the show were created during COVID-19 lockdown in New York.

Ojih Odutola has also participated in group exhibitions at various institutions, including:

  Future Generation Art Prize @ Venice 2019, Part of the 58th Venice Biennale (2019).
Show Me as I Want to Be Seen, at the Contemporary Jewish Museum, San Francisco, (2019).
 For Opacity: Elijah Burgher, Toyin Ojih Odutola, and Nathaniel Mary Quinn, at The Drawing Center, New York, (2018).
 Histórias Afro-Atlânticas (Afro-Atlantic Stories), at São Paulo Museum of Art, São Paulo, Brazil, (2018). 
 Disguise: Masks and Global African Art, at Brooklyn Museum, New York, (2016). 
 FORE and Black: Color, Material, Concept, at Studio Museum in Harlem, New York, (2015, 2012, respectively). 
 Ballpoint Pen Drawing Since 1950, at Aldrich Contemporary Art Museum, Ridgefield, (2013). 
 The Progress of Love, at the Menil Collection, Houston, (2012).
 Afro: Black Identity in America and Brazil, Tamarind Institute, University of New Mexico, Albuquerque, (2012).

 Collections 
Ojih Odutola's tumanima nyɛla din be luɣa pam:

 Museum of Modern Art, New York
 Whitney Museum of American Art, New York
 The Metropolitan Museum of Art, New York
 Birmingham Museum of Art, AL
 Baltimore Museum of Art, Maryland
 Frye Art Museum, Seattle, Washington
 Hood Museum of Art, Dartmouth College, New Hampshire
 Institute of Contemporary Art, Boston, Massachusetts
 Mississippi Museum of Art, Mississippi
 Museum of Contemporary Art San Diego
 National Portrait Gallery, London, United Kingdom
 New Orleans Museum of Art, Louisiana
 Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania
 Philadelphia Museum of Art, Pennsylvania
 Princeton University Art Museum, New Jersey
 RISD Museum of Art, Providence, Rhode Island
 Society for Contemporary Art, Art Institute of Chicago, Illinois
Spencer Museum of Art, Kansas
 Honolulu Museum of Art Spalding House, Hawaii
 National Museum of African Art, Smithsonian Institution, Washington, D.C.

 Pina 
 2007: Ellen Battell Stoeckel Fellowship Grant, Yale University.
 2008: Erzulie Veasey Johnson Painting & Drawing Award, University of Alabama in Huntsville.
 2011: Murphy and Cadogan Fellowship Award, The San Francisco Foundation.
 2017: Lida A. Orzeck Distinguished Artist-in-Residence, Barnard College.
 2018: Rees Visionary Award, Amref Health Africa.
 2019: Shortlisted for the Victor Pinchuk Foundation's Future Generation Art Prize.
 2020: Lauréate of the Prix Jean-François Prat, The Bredin Prat Foundation for Contemporary Art.
 2022: Great Immigrants Award, Carnegie Corporation of New York.

 Publications 

 Alphabet: A Selected Index of Anecdotes and Drawings, 2012.
 The Treatment, 2015—17, Anteism Books, 2018.
 For Opacity: Elijah Burgher, Toyin Ojih Odutola, and Nathaniel Mary, The Drawing Center, Exhibition catalogue, 2018.
 Toyin Ojih Odutola: A Matter of Fact, Museum of the African Diaspora, Exhibition catalogue, 2019.
 A Countervailing Theory, Barbican Centre, Exhibition catalog, 2020.

 Kundivihira 

Further reading

 Ah-Sue, Gerladine, Raw Material: A Podcast from SFMoMA, Episode 4: The Mind, Season 2: Manifest, (2017)
 Smalls, Lola, “Toyin Odutola”, Greedmont Park Magazine, No.4 (Fall 2011). New York, NY.

 Chtena, Natascha, “Interview with artist Toyin Odutola”, Think Africa Press, 30 May 2011.

External links

Category:1985 births
Category:Living people
Category:Nigerian women painters
Category:21st-century Nigerian artists
Category:Yoruba women artists
Category:Yoruba artists
Category:People from Ife
Category:Women printmakers
Category:Nigerian expatriates in the United States
Category:21st-century Nigerian painters
Category:Nigerian printmakers
Category:University of Alabama in Huntsville alumni
Category:California College of the Arts alumni
Category:Igbo artists
Category:Ballpoint pen art
Category:American artists of Nigerian descent
Category:21st-century women painters