Jareh Das

The first monograph on the internationally celebrated Nigerian American painter who blends her personal history and the African diasporic identity in layered compositions “Critics have often (and rightly) marveled at the care and finesse with which Akunyili Crosby assembles vast multiplicities of time and place into singular sites of visual contestation.” —FriezeNjideka Akunyili Crosby’s work unites multiple places and temporalities, reflecting both personal and universal dimensions of contemporary life and, in particular, the intricacies of the African diasporic identity. This first monograph on Akunyili Crosby brings together nearly fifty paintings, made from 2010 to 2023, that chart her methodical practice of layering painted representations of people, locales, and aspects of her own experiences with transferred images sourced from her personal collection, Nigerian publications, and other outlets. Akunyili Crosby reveals and revisits distinct realms, from lush gardens to domestic, interior worlds related to motherhood, family, marriage, the body, and personal identity. New texts from Jareh Das, Helen Molesworth, Jason Rosenfeld, and Drew Thompson focus on a range of themes in Akunyili Crosby’s work, including her visual language and material practice, her mixing of Western and Nigerian imagery and forms, and her use of photography in portraiture and figuration.

Joy Labinjo (b.1994) is a British-Nigerian artist based in London. Bringing together paintings made between 2017 and 2024, this monograph coincides with her institutional solo exhibition We Are Briefly Gorgeous at Southwark Park Galleries, London, which opened in July 2024. Labinjo uses the human figure as a vehicle to explore topics such as storytelling, identity and race, and how they intersect with wider social, cultural and political contexts. Her work is informed by her experiences growing up as both a Londoner and as part of the African diaspora. Her large-scale figurative paintings often depict Black bodies from the past and present – both real and imagined. Working from personal and archival imagery, including family photographs, found images and historical material, she captures scenes of joy, leisure and perseverance in everyday life. As a painter fundamentally concerned with people’s stories, she expands the dialogue around contemporary Black culture. For We Are Briefly Gorgeous, Labinjo produced a new body of work in response to the multicultural area of Southwark in South London. Rendered in her distinctive style of flat layers of colour and graphic patterning, the paintings capture families, friends and individuals in Southwark Park and Bermondsey. Developed from site visits and taken and found photographs, the intimate scenes document the physical, social and lived experiences of local communities. Alongside installation views and reproductions of the exhibited paintings, the book documents Labinjo’s works from 2017 onwards. Organised thematically, it explores the artist’s interests in ‘Family, Friends and Community’, ‘Social Criticism’, ‘Historical Animation’ and ‘Self-portraiture’. The paintings grouped together in the second section mark the beginning of the artist’s more satirical, politically engaged approach, instigated by the COVID-19 pandemic and the murder of George Floyd in 2020. ‘Historical Animation’ compiles Labinjo’s paintings of Black historical figures, such as Sarah Forbes Bonetta, Olaudah Equiano, Francis Barber and Charles Ignatius Sancho. In this series, the artist explores the histories of British portraiture, and the erasure of Black identities through the white gaze. An introduction by Dr Christine Checinska, the inaugural Senior Curator of African and Diaspora Textiles and Fashion at the Victoria & Albert Museum, London, contextualises Labinjo’s figurative practice in relation to a lineage of Black British painters, including Claudette Johnson and Lubaina Himid. An essay by curator and writer Dr Jareh Das expands on this, unpacking the artist’s recent works and analysing her ability to represent stories that connect cultural identities across time and geographies. An interview between Labinjo and Adelaide Bannerman, the Curatorial Director at Tiwani Contemporary, takes an in-depth look at the artist’s methodology, political themes and approach to nude self-portraiture. Edited by Bannerman, Martina Mei and Matt Price, designed by Hyperkit, produced by Hurtwood and published by Tiwani Contemporary and Anomie Publishing, London, the book has been generously supported by the A. G. Leventis Foundation. Joy Labinjo (b.1994) is a painter living and working in London. She completed her BA at Newcastle University in 2017 and her MFA at the Ruskin School of Art, University of Oxford in 2022. She was awarded the Woon Art Prize in 2017, and had her first solo show, Belonging at Morley Gallery, London, in 2018, which was followed shortly by Joy Labinjo: Gatherings at GOLDTAPPED, Newcastle. Her debut commercial solo exhibition, Recollections, was at Tiwani Contemporary in 2018. She is represented by Tiwani Contemporary.