Yinka Shonibare MBE: Season 5 Preview (October 2009)

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How can I catch up on past seasons of Art21?
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Past seasons of the Art:21—Art in the Twenty-First Century television series can be found on Hulu, on DVD from Amazon, through iTunes, and from Netflix

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What does Shonibare have to say about the idea of transformation?
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On the subject of transformation in art, Shonibare discusses the mutable nature of his materials (in the forthcoming Season 5 book):

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What happens in Shonibare's segment in Transformation?
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“My work, all along, has been a critique of Empire,” says Yinka Shonibare MBE, adopting the honorific title of Member of the Order of the British Empire, with willful irony, as part of his name. “I like the idea of parodying or mimicking the notion of class.”

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Where can I see more of his work before the October premiere?
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YInka Shonibare MBE is represented by James Cohan Gallery in New York and Stephen Friedman Gallery in London. His mid-career retrospective is on view at the Brooklyn Museum of Art until September 20th, after which it travels to the National Museum of African Art at the Smithsonian, in Washington, D.C. from November 11, 2009—March 7, 2010.

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This video is excerpted from the Season 5 episode Transformation premiering on Wednesday, October 21, 2009 at 10pm (ET) on PBS (check local listings).

Whether satirizing society or reinventing icons of literature, art history, and popular culture, the artists in Transformation—Paul McCarthy, Cindy Sherman, and Yinka Shonibare MBE—inhabit the characters they create and capture the sensibilities of our age.

Yinka Shonibare MBE was born in 1962 in London, England, but grew up in Lagos, Nigeria; he lives and works in London. Known for using batik in costumed dioramas that explore race and colonialism, Yinka Shonibare MBE also employs painting, sculpture, photography, and film in work that disrupts and challenges our notions of cultural identity. Taking on the honorific MBE as part of his name in everyday use, Shonibare plays with the ambiguities and contradictions of his attitude toward the Establishment and its legacies of colonialism and class. In multimedia projects that reveal his passion for art history, literature, and philosophy, Shonibare provides a critical tour of Western civilization and its achievements and failures. At the same time, his sensitive use of his own foibles (vanity, for one) and challenges (physical disability) provide an autobiographical perspective through which to navigate the contradictory emotions and paradoxes of his examination of individual and political power.

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