A major survey including new and celebrated works by Turner Prize–winning artist Chris Ofili. Set to accompany the first major museum show in the United States of contemporary British artist Chris Ofili, this richly illustrated volume surveys two decades of artworks that meld figuration, abstraction, and decoration to yield hybrid juxtapositions of high and low culture. Best known for intricately constructed works featuring beadlike dots of paint, elephant dung, and images culled from popular media, Ofili’s unique lexicon combines African culture, Western art history, and hip-hop music, spanning a wide variety of sources which include the Bible, Zimbabwean cave paintings, Blaxploitation films, and William Blake’s poems. Animated by exotic characters, outlandish landscapes, and folkloric myths, Ofili’s most recent work resonates with references to the paintings of Henri Matisse and Paul Gauguin. This compelling new book offers a fresh perspective on the artist’s vital practice, which both celebrates and calls into question the power of images and their ability to address fundamental questions of representation.

Othello remains one of Shakespeare's most contemporary and moving plays, with its emphasis on race, revenge, murder, and lost love. Chris Ofili’s new edition highlight’s the tragedy of Othello’s plight in ways no other volume of this play has. In twelve etchings Ofili has produced to illustrate this play, Othello is depicted with tears in his eyes, which flow below various scenes visualized in his forehead. Ofili asks us to see in Othello the great injustices that still plague the world today. These images add feeling to Shakespeare’s words, and together they form their own hybrid object—something between a book and a visual retelling of the tragedy. With a foreword by the renowned critic Fred Moten, this edition is the first of its kind and puts Othello’s blackness and interiority front and center, forcing us to confront the complex world that ultimately dooms him. The first play in the Seeing Shakespeare Series, Othello is illustrated by English contemporary artist Chris Ofili. Future titles in the series include A Midsummer Night’s Dream illustrated by Marcel Dzama and The Merchant of Venice with images by Jordan Wolfson.

Two and a half years in the making, 'The Caged Bird's Song' is a monumental tapestry by the celebrated British artist, Chris Ofili. Accompanying 'Chris Ofili: Weaving Magic', the artist's ambitious presentation of the tapestry within a specially conceived environment in the Sunley Room at the National Gallery, this publication tells the story of the work?s evolution and documents the close collaboration between Ofili and master weavers who have interpreted his designs with astonishing nuance. A suite of previously unseen preparatory watercolours and works on paper and a revealing essay by the exhibition's curator, Minna Moore Ede, further illuminate this extraordinary project by one of the most acclaimed artists working today.

Installation of 13 paintings of rhesus macaque monkeys in a large walnut-panelled room designed by architect David Adjaye. The room is approached through a dimly-lit corrridor, which is designed to give a sense of anticipation. Each painting depicts a monkey based around a different colour theme (grey, red, white etc.). The twelve smaller paintings show a monkey from the side and they are based on a 1957 Andy Warhol drawing. The larger monkey is depicted from the front. Each painting is individually spotlit in the otherwise darkened room. The room is designed to create an impressive and contemplative atmosphere. The paintings each rest on two round lumps of elephant dung, treated and coated in resin. There is also a lump of the dung on each painting. Strictly speaking, each work is mixed media, comprising paint, resin, glitter, mapping pins and elephant dung. The Upper Room as a whole is described by the Tate (which bought the piece in 2005) as an "installation". The Upper Room is a reference to the Biblical Last Supper of Jesus and his disciples, hence the thirteen paintings. Ofili states the work is not intended to be offensive, but rather to contrast the harmonious life of the monkeys with the travails of the human race.

The British painter Chris Ofili was born in Manchester in 1968 and is one of the most notable painters of his generation. This book illustrates works from throughout Ofili's career.

Black artists have been making major contributions to the British art scene for decades, since at least the mid-twentieth century. Sometimes these artists were regarded and embraced as practitioners of note. At other times they faced challenges of visibility - and in response they collaborated and made their own exhibitions and gallery spaces. In this book, Eddie Chambers tells the story of these artists from the 1950s onwards, including recent developments and successes. Black Artists in British Art makes a major contribution to British art history. Beginning with discussions of the pioneering generation of artists such as Ronald Moody, Aubrey Williams and Frank Bowling, Chambers candidly discusses the problems and progression of several generations, including contemporary artists such as Steve McQueen, Chris Ofili and Yinka Shonibare. Meticulously researched, this important book tells the fascinating story of practitioners who have frequently been overlooked in the dominant history of twentieth-century British art.

In the Black Fantastic assembles art and imagery from across the African diaspora that embraces ideas of the mythic and the speculative. Neither Afrofuturism nor Magic Realism, but inhabiting its own universe, In the Black Fantastic brings to life a cultural movement that conjures otherworldly visions out of the everyday Black experience and beyond looking at how speculative fictions in Black art and culture are boldly reimagining perspectives on race, gender, identity and the body in the 21st century. Transcending time, space and genre to span art, design, fashion architecture, film, literature and popular culture from African myth to future fantasies and beyond, this vital, timely and compelling publication is an expressive exploration of Black popular culture at its most wildly imaginative, artistically ambitious and politically urgent.