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Creator:
Yinka Shonibare CBE (RA), born 1962, British
Published by The Foundling Museum
Title:

Party Boy

Date:
2014
Medium:
Digital pigment print with collaged fabric and hand-gilded with gold leaf on Somerset enhanced 255gsm white wove paper
Dimensions:
22 5/8 × 16 3/4 inches (57.5 × 42.5 cm)
Inscription(s)/Marks/Lettering:

Lettered inside image, lower right: "Party Boy"

Signed in black marker, lower left: "Yinka Shonibare 7/30 2014"

Credit Line:
Yale Center for British Art, Friends of British Art Fund
Copyright Status:
© Copyright Yinka Shonibare CBE RA, 2014.
Accession Number:
B2016.2
Classification:
Prints
Collection:
Prints and Drawings
Subject Terms:
balloons | boy | drinking | fabrics | genre subject | man | party | textiles
Associated People:
William Hogarth
Access:
View by request in the Study Room [Request]
Note: The Study Room is open by appointment. Please visit the Study Room page on our website for more details.
Link:
https://collections.britishart.yale.edu/catalog/tms:72424
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Yinka Shonibare MBE (RA) was born in London, but lived in Lagos, Nigeria, between the ages of three and nineteen. Making art in various media—including paintings, sculpture, textiles, photography, and film—Shonibare regularly subverts familiar visual motifs and traditions in order to explore questions about class, race, and globalization. Party Boy is a digital print, with hand-decorated elements, made to accompany Progress, an exhibition at the Foundling Museum in London in 2014 that explored the legacy of William Hogarth. The silhouetted figure is derived from the third plate of William Hogarth’s popular series of engravings, A Rake’s Progress (1732–34), which depicts the drunken rake at a party, surrounded by prostitutes. Shonibare’s solitary rake, however, is black and is held aloft by balloons, decorated with the brightly colored batik fabric that appears throughout the artist’s oeuvre. This fabric, which incorporates Indonesian designs, was mass-produced by the Dutch, and sold to the colonies in West Africa, where it became a symbol of independence in the 1960s. Shonibare has noted, "People always want to categorize things: I’m much more interested in this idea of a hybrid."

Gallery label for installation of YCBA collection, 2016

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