Women Who Kick Ass

Wangechi Mutu: Why she kicks ass
She is a Kenyan artist from Nairobi, currently living in Brooklyn, USA, who is renowned for her haunting and dramatic female figures, and is considered by many to be one of the most important contemporary African artists of recent years. As a unique visual artist Mutu’s work has important political and social implications.
She creates painted and collaged images of the female body, offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
Her work has been featured in museums and galleries worldwide, and has exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, the Tate Modern in London, the Studio Museum in Harlem in New York,the Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris. 
She participated in the 2004 Gwangju Biennale in South Korea, and the 2008 Prospect 1 Biennial in New Orleans. On February 23, 2010, Wangechi Mutu was honored by Deutsche Bank as their first “Artist of the Year”. The prize included a solo exhibition at the Deutsche Guggenheim in Berlin.
Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. 
More recently, Mutu has exhibited sculptural installations.[6]In 2006, Mutu and British architect David Adjaye collaborated together on a project. They transformed the Upper East Side Salon 94 townhouse in New York into a subterraneous dinner party-setting titled Exhuming Gluttony: A Lover’s Requiem. Furs and bullet holes adorned the walls while wine bottles dangled in a careless chandelier-like form above the stained table. The table’s multiple legs resembled thick femurs with visibly delicate tibias, and the whole space had a pungent aroma. The artists strove to show a moment of gluttony. This vicious hunger was seen as a connection between images of The Last Supper, the climate of the current art-buying world, and the war in Iraq.

Wangechi Mutu: Why she kicks ass

  • She is a Kenyan artist from Nairobi, currently living in Brooklyn, USA, who is renowned for her haunting and dramatic female figures, and is considered by many to be one of the most important contemporary African artists of recent years. As a unique visual artist Mutu’s work has important political and social implications.
  • She creates painted and collaged images of the female body, offering a commentary on feminist and racial issues such as the history of women’s representation, cultural migration, global identity, colonial legacies, exoticism, and voyeuristic fascination.
  • Her work has been featured in museums and galleries worldwide, and has exhibited in the San Francisco Museum of Modern Art, the Miami Art Museum, the Tate Modern in London, the Studio Museum in Harlem in New York,the Kunstpalast Dusseldorf in Germany, and the Centre Pompidou in Paris.
  • She participated in the 2004 Gwangju Biennale in South Korea, and the 2008 Prospect 1 Biennial in New Orleans. On February 23, 2010, Wangechi Mutu was honored by Deutsche Bank as their first “Artist of the Year”. The prize included a solo exhibition at the Deutsche Guggenheim in Berlin.
  • Her work has been featured in several major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President at the New Museum of Contemporary Art in New York and the Barbican in London, and USA Today at The Royal Academy in London. 
  • More recently, Mutu has exhibited sculptural installations.[6]In 2006, Mutu and British architect David Adjaye collaborated together on a project. They transformed the Upper East Side Salon 94 townhouse in New York into a subterraneous dinner party-setting titled Exhuming Gluttony: A Lover’s Requiem. Furs and bullet holes adorned the walls while wine bottles dangled in a careless chandelier-like form above the stained table. The table’s multiple legs resembled thick femurs with visibly delicate tibias, and the whole space had a pungent aroma. The artists strove to show a moment of gluttony. This vicious hunger was seen as a connection between images of The Last Supper, the climate of the current art-buying world, and the war in Iraq.
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    She is also currently exhibiting at the Museum of Contemporary Art (MCA) in Sydney. Go see it! It’s wonderful.
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