“I’m more interested in the poetic than the didactic.” “I don’t produce propaganda art,” he said. When he deals with pithy matters like race, class, disability, colonialism and war, he does so deftly and often indirectly. Shonibare makes art that is sumptuously aesthetic and often wickedly funny. A disabled black artist who continuously challenges assumptions and stereotypes “That’s the point of my work really,” he said Mr. Shonibare, at 47, is a senior figure in the British art world but one who intentionally eludes easy categorization. The exhibition includes paintings, sculptures, large-scale installations, photographs and films.Įrudite and wide ranging, Mr. Shonibare, whose theatrically exuberant work, with its signature use of headless mannequins and African fabrics, will be featured in a major midcareer survey at the Brooklyn Museum starting Friday. It was a small tranquil moment in the midst of a whirlwind time for Mr. One of Bob and Roberta Smith’s slogan paintings, “Duchamp stinks like a homeless person,” hung above him, and a tuna on toast prepared by his housekeeper was sandwiched between a vase of yellow tulips and a stack of Dante volumes: “Inferno,” “Purgatorio” and “Paradiso.” IN his Victorian house in the East End here Yinka Shonibare, the British-Nigerian conceptual artist, perched on an exercise ball at the wooden table in his book-crammed study, sipping peppermint tea and examining a shipment of faux oysters on the half shell.Ī stationary hand cycle sat beside him, an electric wheelchair across from him.
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