Njideka Akunyili Crosby (1983) is a Nigerian-born visual artist working in Los Angeles, California. Akunyili Crosby's art "negotiates the cultural terrain between her adopted home in America and her native Nigeria, creating collage and photo transfer-based paintings that expose the challenges of occupying these two worlds". In 2017, Akunyili Crosby was awarded the prestigious Genius Grant from the John D. and Catherine T. MacArthur Foundation.
Njideka Akunyili was born in 1983 and raised in Enugu, Nigeria. She is of Igbo descent. One of six siblings, Akunyili Crosby's father was a surgeon and her mother, Dora Akunyili, was a professor of pharmacology at the University of Nigeria, and the director of the National Agency for Food and Drug Administration. Njideka moved to Lagos when she was ten years old to attend the secondary school Queen's College (QC) Yaba, Lagos. Her mother won the U.S. green card lottery for the family enabling Akunyili Crosby and her siblings to study abroad.
In 1999, at the age of 16, she left home with her sister, Ijeoma, and moved to the United States. She spent a gap year studying for her SAT's and taking American history classes before returning to Nigeria to serve a year of National Service. After she completed her service, she returned to the United States to study in Philadelphia. She took her first oil painting class at the Community College of Philadelphia where her teacher Jeff Reed encouraged her to apply to Swarthmore College. She graduated Swarthmore College in 2004, where she studied art and biology as a Mellon Mays Undergraduate Fellow. She was at first getting pre-medical requirements to pursue a career in medicine before deciding to pursue art. She didn't pursue art until her senior year at Swarthmore after realizing she enjoyed her art classes more than her Organic Chemistry and Advanced Biology classes. She felt the urgency to tell her experience as a Nigerian in the diaspora through her art.
After graduating from Swarthmore in 2004, she studied at the Pennsylvania Academy of Fine Arts. This is where she earned a post-baccalaureate certificate in 2006. She later attended the Yale University School of Art, where she earned a Master of Fine Arts degree.
After graduating from Yale in 2011, Akunyili Crosby was selected as artist-in-residence at the highly regarded Studio Museum in Harlem, known for promoting and supporting emerging African artists. During this residency she met her mentor, New-York based artist, Wangechi Mutu. She spent her year of residence experimenting with drawing, figure painting, studying contemporary art, postcolonial history and diasporic studies.
In 2015, Jamillah James, a former Studio Museum in Harlem curator and at the time, assistant curator at the Hammer Museum in Los Angeles, organized Akunyili Crosby's first solo exhibition at the Hammer Museum. That same year, James organized another exhibition of Akunyili Crosby's work at Art and Practice in Los Angeles.
In 2016, Akunyili Crosby was named Financial Times Woman of the Year. That same year, a solo exhibition of Akunyili Crosby's work was held at the Norton Museum of Art in West Palm Beach, Florida.
In 2017, Akunyili Crosby won the MacArthur Fellowship Genius grant.
In 2018, Akunyili Crosby designed the mural that wrapped the Museum of Contemporary Art, Grand Avenue, Los Angeles. The mural features her signature style of combining painting with collage, printmaking, and drawing to create intricate, layered scenes. She was the second artist to create a mural for the site under a new initiative by the museum.
By 2016, demand for Akunyili Crosby’s work, which she produces slowly, far outweighed supply, prompting her prices to soar at auction. She became one of the artists featured in Nathaniel Kahn's 2018 documentary The Price of Everything where she discusses her career and attitude to her art market. It culminated with her painting Drown being sold at Sotheby's contemporary art auction in November 2016 for $900,000. Her first painting to come to market was Untitled which sold for $93,000 in September 2016 at Sotheby's New York.
In March 2017, a work by Akunyili Crosby titled The Beautyful Ones (Series #1c), the first painting of five belonging to The Beautyful Ones Series, was sold by a private collector for $3 million at Christie's London.
In May 2018, Akunyili Crosby set a new auction record with the sale of her painting Bush Babies for nearly $3.4 million at Sotheby's New York.
While attending Queen's College, Akunyili Crosby was exposed to more Nigerian, British, and American popular culture which contributed to the similarities between her work and the work of pop-culture artists. She draws on her personal experience as a Nigerian woman living in America in her work.This concept of integrating African intimacy with Western painting, was introduced to her through the work of Kerry James Marshall.
Artist Wangechi Mutu influenced her to use many images to create built another. Mutu uses images to speak to a fracture while Akunyili Crosby's approach focuses more on syncretism. She has incorporated photo transfers and fabrics to bring in different aspects such as hair styles, fashions, architecture, and furnishings from the two cultures Photo transferring reduces the visual sharpness of a photograph which Akunyili Crosby likes. To her, it seems symbolic of how information is lost as people move between cultural spaces.
She is influenced by writer Chinua Achebe whose focus on changing the English language to fit his culture is interpreted through Akunyili Crosby's artwork. Achebe said that when the English language is altered, it can be used to bear the burden of his African experience. In her work, Akunyili Crosby cracks English and uses it to create a transcultural, syncretic space.
She uses photos she has taken herself in Nigeria along with family photos and pages from popular Nigerian magazines. The photos "are layers in her work by collage and acetone-transfer prints, creating a fabric of images throughout her paintings". Her primary mediums include collage, photo transfer, acrylic paint, charcoal, fabric, and colored pencil. Along with strong Nigerian influence, her style is also derived from pop culture, personal experience, and Western academia. While creating, she thinks of her dual audience: American and Nigerian. However, her work cannot be categorized as either American nor Nigerian, but rather the work is an autobiography based on her "character that doesn't fit into a box."
Women are in a position of power in most of her work. She believes a woman's agency is to not be questioned and she is an active participant. Akunyili Crosby also wanted to create images of interracial marriage that she had never seen growing up in Nigeria. Her husband is a white man from Texas, which she represents in some of her work.
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|Ms. Njideka Akunyili Crosby|
| Njideka Akunyili Crosby at work|
|The Rest of Her Remains 2010|
|Nyado: The Thing Around Her Neck 2011|
|Re-branding My Love 2011|
|Witch Doctor Revisited 2011|
|5 Umezebi St., New Haven, Enugu 2012|
|Cradle Your Conquest 2012|
|The Beautiful Ones 2012|
|And We Begin to Let Go 2013|
|Something Split and New 2013|
|The beautyful ones are not yet born 2013|
|Then You Lost Me 2013|
|Mama, Mummy and Mamma (Predecessors #2) 2014|
|Sunday Morning (Predecessors #3 2014|
|“The Beautyful Ones” Series #1 2014|
|“The Beautyful Ones” Series #3 2014|
|Cassava Garden 2015|
|I Still Face You 2015|
|“The Beautyful Ones” Series #4 2015|
|Grandmother’s Parlour 2016|
|Ike ya 2016|
|Mother and Child 2016|
| Super Blue-Omo 2016 |
|Wedding Souvenirs 2016|
|As We See You: Dreams of Jand 2017|
| Bush Babies 2017 |
| Dwell: Aso Ebi 1 2017|
|Dwell: Aso Ebi (detail) 2017|
|Home: As You See Me 2017|
|When the Going Is Smooth and Good 2017|
|“The Beautyful Ones” Series #7 2018|
|“The Beautyful Ones” Series #8 2018|