#magdaleneodundo

Reduced Black Piece, Magdalene Odundo, 1990, Minneapolis Institute of Art: Art of Africa and the Americas

circular body, lower body angled to small circular foot; long neck terminated by a wide flaring mouth; black high gloss glaze; thin wall construction Contemporary artist Odundo achieves perfect symmetry in her work without mechanical aids: all of her pieces are formed by handbuilding and coiling techniques. Born in Kenya but trained in Nigeria and New Mexico, Odundo draws on her knowledge of African utilitarian vessels to create her pots while expressing an international, multicultural identity. Size: 15 1/2 x 10 3/4 in. (39.37 x 27.31 cm) Medium: Ceramic

Charcoal-Burnished Vessel, Magdalene Odundo, 1983, Art Institute of Chicago: Arts of Africa

Kenyan-born ceramic artist Magdalene Odundo is one of the foremost contemporary artists from Africa working today. Born in Kenya in 1950 and currently living in the United Kingdom, Odundo creates works that rely on a unique combination of formal and surface treatments and are almost ethereal in their effect. Odundo attained the dark and slightly metallic color of this vessel through multiple firings rather than the application of glazes. The work’s tilted and ringed neck, raised spine, and round belly connect it to other vessels in Odundo’s oeuvre that explore the female body. The beauty, refinement, and technical mastery of Odundo’s art allow her work to transcend stereotypes and boundaries. While her vessels resonate with ceramic traditions from Africa and other parts of the world, they also stand on an equal footing with other works of contemporary art, particularly those that challenge commonly held notions about functionality (see also 1997.63).—Permanent Collection Object Description Director's Major Acquisition Endowment Size: 30.5 x 22.9 cm (12 x 9 in.) Medium: Ceramic and pigment

Charcoal-Burnished Vessel, Magdalene Odundo, 1983, Art Institute of Chicago: Arts of Africa

Kenyan-born ceramic artist Magdalene Odundo is one of the foremost contemporary artists from Africa working today. Born in Kenya in 1950 and currently living in the United Kingdom, Odundo creates works that rely on a unique combination of formal and surface treatments and are almost ethereal in their effect. Odundo attained the dark and slightly metallic color of this vessel through multiple firings rather than the application of glazes. The work’s tilted and ringed neck, raised spine, and round belly connect it to other vessels in Odundo’s oeuvre that explore the female body. The beauty, refinement, and technical mastery of Odundo’s art allow her work to transcend stereotypes and boundaries. While her vessels resonate with ceramic traditions from Africa and other parts of the world, they also stand on an equal footing with other works of contemporary art, particularly those that challenge commonly held notions about functionality (see also 1997.63).—Permanent Collection Object Description Director's Major Acquisition Endowment Size: 30.5 x 22.9 cm (12 x 9 in.) Medium: Ceramic and pigment

Teardrop I, Magdalene Odundo, 1996, Art Institute of Chicago: Arts of Africa

Kenyan-born ceramic artist Magdalene Odundo is one of the foremost contemporary artists from Africa working today. Born in Kenya in 1950 and currently living in the United Kingdom, Odundo creates works that rely on a unique combination of formal and surface treatments and are almost ethereal in their effect. This piece was one of four vessels that Odundo completed in late 1996. Its highly polished, bright red-orange surface and elegant form were achieved through an exacting and time-consuming process of hand building, followed by intensive burnishing with small polished stones, the application of a terra sigillata slip, and multiple firings. Odundo has explained that in her work she attempts to create pieces with perfect harmony, symmetry, and balance. Her sources of inspiration include ceramics from Africa, the American Southwest, Ancient Greece and Rome, and modern Europe.Although Odundo’s pots as a whole are distinctive, she does not repeat her work; each vessel is different, although sometimes only subtly. This work is roughly teardrop in shape, with a pointed bottom and wide, flaring hips that attenuate into a graceful, fluted neck with a wide rim. The disparity in size from the base to the mouth creates a tension, producing a visual effect that causes the piece to appear as if suspended in a moment, much like a snapshot or a dancer’s pose (See also 2001.409).—Permanent Collection Object Description Harriott A. Fox Endowment Size: 50.8 x 40.6 cm (20 x 16 in.) Medium: Terracotta and slip

Charcoal-Burnished Vessel, Magdalene Odundo, 1983, Art Institute of Chicago: Arts of Africa

Kenyan-born ceramic artist Magdalene Odundo is one of the foremost contemporary artists from Africa working today. Born in Kenya in 1950 and currently living in the United Kingdom, Odundo creates works that rely on a unique combination of formal and surface treatments and are almost ethereal in their effect. Odundo attained the dark and slightly metallic color of this vessel through multiple firings rather than the application of glazes. The work’s tilted and ringed neck, raised spine, and round belly connect it to other vessels in Odundo’s oeuvre that explore the female body. The beauty, refinement, and technical mastery of Odundo’s art allow her work to transcend stereotypes and boundaries. While her vessels resonate with ceramic traditions from Africa and other parts of the world, they also stand on an equal footing with other works of contemporary art, particularly those that challenge commonly held notions about functionality (see also 1997.63).—Permanent Collection Object Description Director's Major Acquisition Endowment Size: 30.5 x 22.9 cm (12 x 9 in.) Medium: Ceramic and pigment

Reduced Black Piece, Magdalene Odundo, 1990, Minneapolis Institute of Art: Art of Africa and the Americas

circular body, lower body angled to small circular foot; long neck terminated by a wide flaring mouth; black high gloss glaze; thin wall construction Contemporary artist Odundo achieves perfect symmetry in her work without mechanical aids: all of her pieces are formed by handbuilding and coiling techniques. Born in Kenya but trained in Nigeria and New Mexico, Odundo draws on her knowledge of African utilitarian vessels to create her pots while expressing an international, multicultural identity. Size: 15 1/2 x 10 3/4 in. (39.37 x 27.31 cm) Medium: Ceramic

Charcoal-Burnished Vessel, Magdalene Odundo, 1983, Art Institute of Chicago: Arts of Africa

Kenyan-born ceramic artist Magdalene Odundo is one of the foremost contemporary artists from Africa working today. Born in Kenya in 1950 and currently living in the United Kingdom, Odundo creates works that rely on a unique combination of formal and surface treatments and are almost ethereal in their effect. Odundo attained the dark and slightly metallic color of this vessel through multiple firings rather than the application of glazes. The work’s tilted and ringed neck, raised spine, and round belly connect it to other vessels in Odundo’s oeuvre that explore the female body. The beauty, refinement, and technical mastery of Odundo’s art allow her work to transcend stereotypes and boundaries. While her vessels resonate with ceramic traditions from Africa and other parts of the world, they also stand on an equal footing with other works of contemporary art, particularly those that challenge commonly held notions about functionality (see also 1997.63).—Permanent Collection Object Description Director's Major Acquisition Endowment Size: 30.5 x 22.9 cm (12 x 9 in.) Medium: Ceramic and pigment

Teardrop I, Magdalene Odundo, 1996, Art Institute of Chicago: Arts of Africa

Kenyan-born ceramic artist Magdalene Odundo is one of the foremost contemporary artists from Africa working today. Born in Kenya in 1950 and currently living in the United Kingdom, Odundo creates works that rely on a unique combination of formal and surface treatments and are almost ethereal in their effect. This piece was one of four vessels that Odundo completed in late 1996. Its highly polished, bright red-orange surface and elegant form were achieved through an exacting and time-consuming process of hand building, followed by intensive burnishing with small polished stones, the application of a terra sigillata slip, and multiple firings. Odundo has explained that in her work she attempts to create pieces with perfect harmony, symmetry, and balance. Her sources of inspiration include ceramics from Africa, the American Southwest, Ancient Greece and Rome, and modern Europe.Although Odundo’s pots as a whole are distinctive, she does not repeat her work; each vessel is different, although sometimes only subtly. This work is roughly teardrop in shape, with a pointed bottom and wide, flaring hips that attenuate into a graceful, fluted neck with a wide rim. The disparity in size from the base to the mouth creates a tension, producing a visual effect that causes the piece to appear as if suspended in a moment, much like a snapshot or a dancer’s pose (See also 2001.409).—Permanent Collection Object Description Harriott A. Fox Endowment Size: 50.8 x 40.6 cm (20 x 16 in.) Medium: Terracotta and slip