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Chris OfiliChris Ofili, The Caged Bird’s Song (Voyeur) 2024. Limited, Signed Print & NGBook2024
2024
About the Item
Art Edition (No. 1–100), with the numbered and signed print The Caged Bird’s Song (Voyeur), 2024, by Chris Ofili.
Art print, Giclée on 340gsm Hahnemühle Rag Metallic paper with deckled edges, 10 x 15.2 in. numbered and signed by the artist; numbered hardcover volume with organza cover, 11.4 x 15.6 in., 582 pages, in clamshell box, 14.90 lbs.
From Medieval to Modern - a bicentennial celebration of the National Gallery's picture collection. Since it was established in 1824, the National Gallery has become a beacon for London's visitors and residents alike. From its inception in John Julius Angerstein's home in Mayfair to its current home in Trafalgar Square, it has expanded both its collection and its footprint to become one of the world's leading galleries. This book features photography by David Dawson, Massimo Listri, and Mary McCartney. It brings together over 200 of the Gallery's paintings, which were made between the 13th and 20th centuries, including memorable masterpieces from both the famous and the forgotten.
These pages tell the history of painting in the Western European tradition through the National Gallery's collection. You’ll go on a visual journey through the centuries, with works by Duccio, Van Eyck, Raphael, Titian, Rembrandt, Vigée Le Brun, Gainsborough, Morisot, and Matisse, to name just a few. Punctuating this story are contributions by and photographic portraits of 25 cultural figures, such as Frank Auerbach, Alvaro Barrington, Edward Enninful, David Hockney, Kim Jones, Damian Lewis, Sahara Longe, Chris Ofili, Ai Weiwei, Rachel Whiteread, Annabelle Selldorf, and Flora Yukhnovich, among others.
This Art Edition by Chris Ofili comprises 100 copies with the numbered (No. 1–100) and signed print The Caged Bird’s Song (Voyeur), 2024. Chris Ofili’s atmospheric and enigmatic paintings investigate the intersection of desire, identity, and representation. Portraying characters from a range of aesthetic and cultural sources through a kaleidoscopic visual mode that bridges abstraction and figuration, his works serve as sites for journeys of creative transformation. He won the Turner Prize in 1998 and over the past two decades has exhibited in many international institutions. In 2003 he was selected to represent Britain at the 50th Venice Biennale, where he presented his ambitious exhibition, "Within Reach". In 2010 Tate Britain presented an extensive survey of his work and in 2014, "Night and Day", held at the New Museum, New York, featured more than thirty of Ofili’s major paintings, in addition to drawings and a selection of sculptures from across his career.
- Creator:Chris Ofili (1968, British)
- Creation Year:2024
- Dimensions:Height: 15.2 in (38.61 cm)Width: 10 in (25.4 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Los Angeles, CA
- Reference Number:1stDibs: LU50815581172
Chris Ofili
Chris Ofili’s earliest paintings and prints were some of his most radical, breaking boundaries and setting the tone for a lifetime of work that unapologetically explores Black identity, racism, religion and pop culture.
The Manchester-born artist made a big splash in the art world in the early 1990s, after he visited Zimbabwe at the age of 23. Deeply moved by the region’s Stone Age cave paintings, which incorporated endless (presumably) finger-painted dots, Ofili returned to his studio and infused his paintings with the exuberance of his travels — and with some of the little balls of elephant dung he saw on his trip, which he also found intriguing and brought back to England.
Ofili was a member of the Young British Artists — a collective of London-based artists that included Damien Hirst, Tracey Emin and others that never shied from using non-traditional materials or tackling controversial subject matter. He found the spotlight in the late 1990s when then-New York City mayor Rudolph Giuliani publicly criticized the artist’s monumental depiction of an eroticized black Madonna that featured elephant dung and images of female genitalia.
So it was that Ofili became, for a time, best known for his elephant dung paintings. Then, in 1998, at the age of 30, Ofili won the coveted Turner Prize — he was the first Black artist to do so — and soon afterward, in 2003, he was selected to exhibit at the 50th Venice Biennale.
Over the years, Ofili has incorporated other surprising elements into his work, including resin, glitter, beads, oil paint, and pornographic cut-outs — a rich amalgamation of textures and colors, iconography and symbols. He has also found himself surrounded by controversy, as in 1996, when he painted a Black Madonna with elephant dung on her breast, set against a background of genitalia cut out of pornographic magazines. In 2017, Ofili was awarded a Commander of the Most Excellent Order of the British Empire (CBE) in honor of his unusual and thought-provoking contributions to art.
Ofili’s work is held in the collections of some of the world’s most prominent public institutions, including the British Museum in London and the Walker Art Center in Minneapolis, Minnesota. Ofili enjoys ongoing exhibitions at prestigious museums like the Carnegie Museum of Art in Pittsburgh, Pennsylvania, the Tate in London, the Museum of Contemporary Art in Los Angeles, and the Museum of Modern Art in New York. Today, Ofili lives and works in Trinidad.
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