Iké Udé

Iké Udé
Born 1964
Lagos, Nigeria
Residence New York, NY
Occupation Photographer, performance artist, author, publisher

Iké Udé (born 1964) is a Nigerian-American photographer, performance artist, author and publisher. He is best known for his conceptual photographic portraits that explore issues of representation and sexual, gender, cultural, and stylistic identity. Udé currently lives and works in New York City.

Early Life and Education

Born and raised in Lagos, Nigeria, Udé is a dual citizen of the United States and Nigeria. He is the eldest son of a well-to-do family. His family dressed up for biweekly portraits,[1] exposing Udé to photography and portraiture at an early age. Udé has said that he knew he was an artist by the age of six, when he developed "a habit of firing at passers-by with a catapult" when he "disapproved of their walk or their way of dress."

As an adolescent, Udé attended the Government Secondary School, a British boarding school in Afikpo, Nigeria. He was a habitué of London before he moved to New York[2] in 1981 to study Media Communications at Hunter College, CUNY. He began his artistic art career in the late 1980s with abstract painting and drawing. Since the 1990s, photography has been Udé's primary medium.[3]

Work

Early work on Paper and Paintings

Udé's photography is celebrated, but he is less well known for his paintings and drawings. Despite this, prominent critics and art historians have recognized his early work. The late Henry Geldzhaler, said of Udé's paintings and works on paper: "I am touched and amazed at the ways in which he manages to blend invisibly the modernist tradition with his own Nigerian roots. There is never anything forced in the conjunction; air and light seem to be his media."[4]

Cover Girls

Udé began his Cover Girls series in 1994. Each photograph imitates the cover of a fashion magazine, such as Vogue, Harper’s Bazaar, House Beautiful, Parenting, Cigar Aficionado, GQ, Town & Country, and Sports Illustrated, in which the artist himself is featured as the model.[5] The photographs were consciously stylized, posed, photographed and then paired with type matching that of the respected magazine, so that at first glance, each photograph appears to be an authentic magazine cover. Udé used the magazine cover as a stage to critique the fetishism of the upper class white model and the effects of popular culture on today’s consumerist society. The series was exhibited in 1994 in the New York City gallery Exit Art.[6]

Uli

Udé's black and white series of photographs, Uli, references both high fashion and Uli body art, wall motifs from Udé's Igbo heritage.[7] The photographs explore the anonymity of the inscribed and disembodied self.[8] Udé's dynamic use of light, namely the chiaroscuro effect, serves as a critical compositional element in his Uli series.

Beyond Decorum

Udé's Beyond Decorum series, begun in 1999, juxtaposes photographs of men's shirts and women's pumps with suggestive personal advertisements in place of the clothing's tags. Harold Koda explained that in the series, Udé is "extrapolating the image of the whole man from that one detail."[9]

With its accompanying book, Beyond Decorum: Photographs by Iké Udé, the series traveled across the United States and Canada. The exhibition was shown at the Institute of Contemporary Art in Portland, Maine; OBORO in Montreal, Canada; Sert Gallery; Carpenter Center at the Harvard University Art Museum; and MAK Museum in Vienna, Austria before traveling for two more years internationally.

Paris Hilton: Fantasy and Simulacrum

Udé's Paris Hilton: Fantasy and Simulacrum is a conversation between his alter ego, Visconti, and former it-girl heiress, Paris Hilton. His exhibition consisted of several mixed media works, assembled with material from gossip blogs, wallpaper samples, photocopies, mirrors, fashion and lifestyle magazines, and pornography sites. Combined, these pieces illustrate the construction of the Paris Hilton phenomenon and invites viewers to question what they really know about fame and the aesthetics of cultural decay.[10] The exhibition was shown in New York's Stux Gallery in 2008, and then became Udé's first solo exhibition in Norway in 2009 at the Stenersen Museum in Oslo.

Recent Projects

Sartorial Anarchy

Iké Udé's portraits, most notably those in Sartorial Anarchy, are a winning combination of wit and historicism. These works possess a contemporary haute couture vibe,[11] or what New York Times art critic Roberta Smith refers to as "irreverent, cultural polyglot self-portraits of the Nigerian-born Iké Udé."[12] In a review for photographmag.com, Jean Dykstra writes, "As much as identity is a cultural construct, it's also an individual creation, and few people have fashioned a self with as much flourish as Iké Udé."[13] In an interview with Monica Miller, Udé explains his purpose for creating Sartorial Anarchy: "Medium-wise, I saw and felt a great need to push the language of photography forward, not at all satisfied by the prevailing old conservative approach and mentality that still obtains massively. I needed a robust visual vocabulary that is very particular, that I own and is instantly recognizable." Udé believes that despite today's level of globalization, people continue to dress according to their particular culture and lack "global conversation sartorially."[14]

Sartorial Anarchy is at once a reference to and departure from dandyism, in what some critics deem "post-dandyism."[15] Udé's conceptual use of historical and contemporary clothing attempts to catalog culture rather than to merely reflect fashion trends.[16] Udé carefully constructs the costumes, props and his own pose as a still life, which is then photographed by a "paid-hand. Udé paints the backgrounds for each photograph and completes all post-production procedures himself.

The series was well received by the public and subsequently traveled throughout the United States. It was exhibited in "The Global Africa Project" at the Museum of Arts and Design (MAD) in New York (2010), and in "Artist/Rebel/Dandy: Men of Fashion" at the Rhode Island School of Design Museum (2013). Udé's series was also exhibited at the Leila Heller Gallery in Chelsea, New York. Entitled "Style and Sympathies," this exhibit presented a selection of his self-portraits from the series.[17] The Minneapolis Institute of Arts, the Sheldon Museum of Art, the Rhode Island School of Design Museum, and numerous private collectors have acquired works from Sartorial Anarchy.

The CHIC Index

The CHIC Index is an online anthology of Udé's portraits that depict New York City's most stylish individuals.[18] The photos show the range of the individual's signature "looks," and feature, among others, Geoffrey Bradfield, Robert Verdi, Patrick McDonald, Steven Knoll, Somers Farkas and Jean Shafiroff.[19]

Publishing

aRUDE magazine

In 1995 Udé created aRUDE magazine, named in homage to the Jamaican Rude Boys of 1960s London.[20] The magazine is similar to Interview and features conversations with leading artists, photographers, and designers as well as editorials on fashion, beauty and style. While the magazine began as a print publication, it has been published online on its website since 2009.[21]

Style File: The World's Most Elegantly Dressed

Udé is the author of Style File: The World’s Most Elegantly Dressed, published by Harper Collins in 2008. The volume profiles 55 of the most influential arbiters of style.[22] Style File features writings and noted contributions by Valerie Steel, director and chief curator at the Museum of the Fashion Institute of Technology, F. I. T., and Harold Koda, curator-in-charge of the Costume Institute at the Metropolitan Museum of Art. The publication provides insights on all of the 55 women and men profiled, including John Galliano, Oscar de la Renta, Carolina Herrera, Diane von Furstenberg, Dita Von Teese, and Christian Louboutin.

Ideologies

Publishing vs. Photography

When asked if he preferred working as an artist or publisher, Udé stated that he has never thought of himself as a publisher. Instead, he views himself as an artist who spends his spare time "executing a smartly tailored periodic journal."[23] Or when asked in an interview by Another Magazine about the relationship between his practices as artist, editor and a writer he stated that, "The common thread that unites them is the same – a passion for beauty, intelligence, love of conversation and sartorial appreciations. Thus, it's akin to water, whether in its liquid, solid and gaseous states – it immutably remains H2O."

Fashion vs. Style

Udé insists on a firm distinction between fashion and style. He believes that "fashion is an uninformed, thrilling desire to be in agreement with the majority, and style is a cool intelligent refusal to disagree."[24] One of his most quoted aphorisms states that "style is not just about form and substance, it is also the luxurious deliberation of intelligence in the face of boundaries."[25]

Color and Composition

Udé creates harmony through intricate rhythms of color and form. He says, "Color is as close as I get to, say, a Nirvana. Ever since I was a child, color has always—unyieldingly—curated my disposition, informed my artistic temperament. As a visual artist, color transports me into the ether realm of music and poetry."[26] Udé says: "My approach to making pictures is from the tradition of the picture architect. Every detail—from the obvious to the indeterminate — are finely wrought, weighed, considered, reconsidered and deliberated on, challenged for inclusion or exclusion, no prisoners taken—there is a lot that is eliminated for the greater good and desired result."[27]

Select Exhibitions

Group Exhibitions

Solo Exhibitions

Recognition

Throughout Udé's career, his works have been placed in the permanent collections of various institutions and collections such as The Guggenheim Museum, New York, the Smithsonian National Museum, Washington D.C., the Rhode Island School of Design Museum, Providence, Rhode Island, Sheldon Museum of Art, Lincoln Nebraska, Minneapolis Institute of Arts, New Britain Museum of American Art, Connecticut, and in numerous private collections. Udé's works have been reviewed with critical acclaim in Art in America, Flash Art, the New York Times, ARTNEWS, The New Yorker and the Wall Street Journal.

Udé has also been included in the Vanity Fair magazine International Best Dress List in 2009, 2012, and 2013, on the Artsy Editorial list of 10 Masters of the Self-Portrait,[28] and in an NPR interview in March, 2015.[29]

Books about Iké Udé

References

  1. ↑ Mary Billard, Iké Udé' - The Wildness of Clothes, but Not for Fashion - NYTimes.com, October 30, 2013. http://www.nytimes.com/2013/10/31/fashion/ike-ude-the-wildness-of-clothes-but-not-for-fashion.html?_r=0
  2. ↑ Carol Kino, Iké Udé at Leila Heller, Working Practice, p.7, October 2013. http://www.1stdibs.com/introspective/working_practice/ike_ude_at_leila_heller/
  3. ↑ Iké Udé's biography by National Museum of African Art http://africa.si.edu/collections/view/people/asitem/Objects$004016634/0;jsessionid=247FB0E15A4BF7D2CF19C5F1E840AAB7?t:state:flow=4fc28d26-1c1a-4f4d-bae4-bd9e5f1ec77f
  4. ↑ Regarding Henry, by Julia Szabo, New York Magazine, p.46, January 16th 1995. http://books.google.com/books?id=keMCAAAAMBAJ&pg=PA42&lpg=PA42&dq=ike+ude+regarding+henry&source=bl&ots=Nt890LU4V3&sig=YXgeIb__pyDOlvtaX-eBZAPg1UU&hl=en&sa=X&ei=ioi3U-LWOM-Qqgb0hYDQCw&ved=0CCQQ6AEwAQ#v=onepage&q&f=false
  5. ↑ Asinugo, Nic. "~The Jack of All Trades~ Iké Udé". The Naijaholic. Retrieved 2014-08-13.
  6. ↑ Udé, Iké (1995). "The Regarded Self". Nka: Journal of Contemporary African Art (Fall/Winter 1995). Retrieved 2014-08-13.
  7. ↑ Udé's elegant photographs recalls the practice of uli body and wall motifs of his Igbo heritage while simultaneously referencing high fashion." Inscribing Meaning : Writing and Graphic Systems in African Art exhibition's presentation text, 2007. http://www.fowler.ucla.edu/exhibitions/inscribing-meaning
  8. ↑ The Jack of All Trades - Iké Udé on naijaholic.blogspot.com, April 9th, 2010. http://naijaholic.blogspot.com/2010/04/jack-of-all-trades-ike-ude_09.html
  9. ↑ Carol Kino, Iké Udé at Leila Heller, Working Practice, p. 7, October 2013. http://www.1stdibs.com/introspective/working_practice/ike_ude_at_leila_heller/
  10. ↑ Anna Battista, Paris Hilton: Fantasy and Simulacrum by Iké Udé, Dazed digital, 2009. http://www.dazeddigital.com/artsandculture/article/2857/1/paris-hilton-fantasy-and-simulacrum-by-ike-ude
  11. ↑ Glenn Adamson, Tsunami Africa, Art in America, March 2007. http://www.artinamericamagazine.com/news-features/magazine/tsunami-africa/
  12. ↑ Roberta Smith, Visual Culture Out of Africa, Art Review, NYTimes.com, December 2nd 2010. http://www.nytimes.com/2010/12/03/arts/design/03mad.html?pagewanted=all&_r=0
  13. ↑ Jean Dykstra, Iké Udé: Style and Sympathies, October 28th 2013, News & Reviews, Photograph.com, http://photographmag.com/newsandreviews/view/259
  14. ↑ Carol Kino, Iké Udé at Leila Heller, Working Practice, p.4, October 2013. http://www.1stdibs.com/introspective/working_practice/ike_ude_at_leila_heller/
  15. ↑ Exit magazine, August 30th 2013. http://www.exitmagazine.co.uk/photography/ike-ude-style-and-sympathies
  16. ↑ Lisa and Monica, Anarchists of Style: Iké Udé, Worn Through, March 27th 2012. http://www.wornthrough.com/2012/03/27/anarchists-of-style-ike-ude/
  17. ↑ Leila Heller Gallery: Iké Udé - Style and Sympathies, re-title.com, September 2013, http://www.re-title.com/exhibitions/archive_leilahellergallery17302.asp
  18. ↑ Daniel Reynolds, Interview: The Difference Between Fashion And Style With Iké Udé, Editor of the CHIC INDEX, Guest of a Guest, May 16th 2012. http://s1.guestofaguest.net/new-york/interview/interview-the-difference-between-fashion-and-style-with-ike-ude-editor-of-the-chic-index
  19. ↑ Daniel Reynolds, Interview: The Difference Between Fashion And Style With Iké Udé, Editor of the CHIC INDEX, Guest of a Guest, May 16th 2012. http://s1.guestofaguest.net/new-york/interview/interview-the-difference-between-fashion-and-style-with-ike-ude-editor-of-the-chic-index
  20. ↑ Kino, Carol. "Iké Udé at Leila Heller". 1st Dibs. Retrieved 2014-08-13.
  21. ↑ Udé, Iké. "About". aRude Magazine. aRude Magazine. Retrieved 2014-08-13.
  22. ↑ Udé, Iké (October 27, 2008). Style File: The World's Most Elegantly Dressed. Harper Design. ISBN 0061464201.
  23. ↑ Anna Battista, Paris Hilton: Fantasy and Simulacrum by Iké Udé, Dazed digital, 2009. http://www.dazeddigital.com/artsandculture/article/2857/1/paris-hilton-fantasy-and-simulacrum-by-ike-ude
  24. ↑ Daniel Reynolds, Interview: The Difference Between Fashion And Style With Iké Udé, Editor of the CHIC INDEX, Guest of a Guest, May 16th 2012. http://s1.guestofaguest.net/new-york/interview/interview-the-difference-between-fashion-and-style-with-ike-ude-editor-of-the-chic-index
  25. ↑ In Style File: The Worlds Most Elegantly Dressed, Harper Collins, 2008
  26. ↑ Monica L. Miller, "An Interview with Artist Iké Udé," Style and Sympathies exhibition catalogue, Leila Heller Gallery, 2013.
  27. ↑ Monica L. Miller, "An Interview with Artist Iké Udé," Style and Sympathies exhibition catalogue, Leila Heller Gallery, 2013
  28. ↑ "Artsy: 10 Masters of the Self-Portrait, in Their Own Words".
  29. ↑ "Nigerian Artist Continues A Family Tradition With 'Sartorial Anarchy'".

External links

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