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\n\t\t\t\t\tImage Credit: \u00a9Seydou Ke\u00efta\/SKPEAC\/Courtesy Jean Pigozzi Collection of African Art\t\t\t\t<\/p>\n
\n\tJorge M. and Darlene P\u00e9rez have gifted Tate 36 works by artists from Africa and its diaspora. It\u2019s the second time the married collectors have made a high-profile donation to the museum network in the past year, having previously given Tate a large-scale Joan Mitchell painting.<\/p>\n
\n\tThe artworks in the gift are by an intergenerational range of artists, spanning Seydou Ke\u00efta, a Malian photographer born in the 1920s, to Joy Labinjo, a rising British painter of Nigerian descent who was born in 1994.<\/p>\n
\n\tIn some cases, Tate has already made a significant effort to spotlight artists included in the gift. Rotimi Fani-Kayode, the late Nigeria-born, England-based photographer, was already well-represented in the Tate collection, as was J.D. \u2018Okhai Ojeikere, a Nigerian photographer with work currently on view in Tate Modern\u2019s \u201cNigerian Modernism\u201d survey.<\/p>\n
\n\tBut in other cases, the gift has helped introduce artists to the holdings of the Tate. Ch\u00e9ri Samba, an influential Congolese painter, is now making his debut in the Tate collection. So is Adama Kouyat\u00e9, a Malian photographer.<\/p>\n
\n\tAlongside the gift, Osei Bonsu, the organizer of \u201cNigerian Modernism,\u201d has also been named Jorge M. P\u00e9rez Senior Curator, International Art, Africa and Diaspora.<\/p>\n
\n\tIn a statement, Bonsu said, \u201cJorge M. and Darlene P\u00e9rez have developed a dynamic and significant collection of works by African and African Diaspora artists and have shown a deep appreciation for these artists\u2019 contributions to art history. With their generous support, I look forward to further expanding my research and networks across Africa and its global diaspora, and to sharing this work with visitors to\u00a0Tate\u00a0Modern.\u201d<\/p>\n
\n\tBelow, a look at six works from the P\u00e9rezes\u2019 gift.<\/p>\n
\tSeydou Ke\u00efta, Untitled, 1957\u201358<\/p>\n
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\n\t\t\t\t\tImage Credit: \u00a9Seydou Ke\u00efta\/SKPEAC\/Courtesy Jean Pigozzi Collection of African Art\t\t\t\t<\/p>\n
\n\tKe\u00efta, a photographer whose work is currently being surveyed by the Brooklyn Museum, was known for studio portraits that afforded his Malian subjects the ability to fashion themselves according to their own liking. In this photograph, a woman reclines in a pose that recalls the centuries-old tradition of the odalisque; whether knowingly or not, she subverts a European art convention that often rendered female subjects passive.<\/p>\n
\tGavin Jantjes, Quietly at Tea, 1981<\/p>\n
\t\t\t
\n\t\t\t\t\tImage Credit: \u00a9Gavin Jantjes\/Courtesy Christie’s, London\t\t\t\t<\/p>\n
\n\tJantjes, a South African artist who recently had a retrospective that stopped at the Sharjah Art Foundation and the Whitechapel Gallery in London, moved to London the year he made this painting. It\u2019s meant as an allegory for how Africans were treated at the time in England, with a priest, a businessman, and a soldier shown engaged in deep conversation while a tipped-over African sculpture lies in the foreground.<\/p>\n
\tRotimi Fani-Kayode, Twins, 1989<\/p>\n
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\n\t\t\t\t\tImage Credit: \u00a9Rotimi Fani-Kayode\/Courtesy Autograph ABP\t\t\t\t<\/p>\n
\n\tThe beloved photographs of Nigerian-born, London-based artist Fani-Kayode, like the one featured here, often feature Black men and conjure fraught psychological states. He made this work in 1989, the year he died of AIDS-related complications.<\/p>\n
\tYinka Shonibare, Girl\/Boy, 1998<\/p>\n
\t\t\t
\n\t\t\t\t\tImage Credit: \u00a9Yinka Shonibare, All Rights Reserved\/2023 DACS\/ARS, New York\t\t\t\t<\/p>\n
\n\tBritish artist Yinka Shonibare, who was raised in Nigeria, once said, \u201cAfrican fabric signifies African identity rather like American jeans (Levi\u2019s) are an indicator of trendy youth culture.\u201d Early sculptures such as this one questioned what exactly that fabric\u2014which, in reality, was often made in Europe rather than Africa\u2014really signified, flouting gender norms in the process.<\/p>\n
\tJ.D. \u2018Okhai Ojeikere, Mmon Mmon Edet Ubok, 1974<\/p>\n
\t\t\t
\n\t\t\t\t\tImage Credit: \u00a9J.D. \u2018Okhai Ojeikere\/Courtesy Magnin-A, Paris\t\t\t\t<\/p>\n
\n\tThe Nigerian-born photographer J.D. \u2018Okhai Ojeikere became widely known for documenting women\u2019s hairstyles following Nigeria\u2019s independence from British rule. This portrait, like many of other shots from this body of work, situates its sitter in a blank white space, removing her from any time period, and thus rendering her hairstyle timeless.<\/p>\n
\tAmadou Sanogo, D\u00e9marche du Singe, 2015<\/p>\n
\t\t\t
\n\t\t\t\t\tImage Credit: \u00a9Amadou Sanogo\t\t\t\t<\/p>\n
\n\tArtist Amadou Sanogo often paints on cloth found at markets in his native Mali, and is known for spare figurations that are meant to \u201crepresent the relationships a person will have with himself, with his surroundings and with other people,\u201d as he once told Elephant<\/a>. \u201cI distort them because we all have flaws: I can\u2019t create perfect forms because they don\u2019t exist.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"Jorge M. and Darlene P\u00e9rez have gifted Tate 36 works by artists from Africa and its diaspora. It\u2019s…\n","protected":false},"author":2,"featured_media":270658,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[56],"tags":[228,226,227,144916,229,88,144917,16908],"class_list":{"0":"post-270657","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-artsanddesign","11":"tag-darlene-pu00e9rez","12":"tag-design","13":"tag-entertainment","14":"tag-jorge-m-pu00e9rez","15":"tag-tate"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/270657","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/comments?post=270657"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/270657\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media\/270658"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media?parent=270657"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/categories?post=270657"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/tags?post=270657"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}