Wangechi Mutu

In September 2019, four female bronze sculptures by Mutu, "Seated I, II, III, and IV", were placed to occupy the empty niches always intended to house free standing sculpture in the facade of the Metropolitan Museum of Art in the first instillation and exhibition ("The New Ones Will Free Us" September 9 – June 8, 2020) of what will be an annual commission meant to feature work by contemporary artists. Mutu has described the bronze statues as having been inspired by caryatids.

In January of 2020, Mutu was part of Artpace’s exhibit titled Visibilities: Intrepid Women of Artpace. Curated by Erin K. Murphy, Visibilities not only kicks off Artpace’s 25th anniversary celebration, but also highlights past artists from their International Artist-in-Residency program, such as Mutu who was a resident there in Fall of 2004. Mutu's 12-panel series Histology of the Different Classes of Uterine Tumors, made up of collaged digital prints, was exhibited in the Hudson Showroom.

In 2016, her film The End of Carrying All was exhibited at the Museum of Fine Arts, Houston, Texas. The film depicts Mutu herself crossing a landscape with a basket filling up with consumer goods as the landscape changes, ending with a volcanic eruption. In 2016, she also participated in several group exhibits, including "Blackness in Abstraction," at the Pace Gallery in New York, "Black Pulp!" at the International Print Center in New York, and "Africans in America" at the Goodman Gallery in Johannesburg.

In 2015, Mutu participated in the 56th Venice Biennale's International Art Exhibition titled All The World's Futures, curated by Okwui Enwezor at the Giardini and the Arsenale venues. She also participated in the Dak'Art Biennial, the Kochi-Muziris Biennial, the Paris Triennial: Intense Proximity, the International Center of Photography's Triennial, and the Moscow Biennale.

In 2014 she participated in The Divine Comedy. Heaven, hell, purgatory from the perspective of African contemporary artists at the Museum of Modern Art (MMK), Frankfurt / Main, curated by Simon Njami. Mutu was awarded the 2014 United States Artist Grant.

In 2014, Mutu's art was on display at an exhibition entitled Nguva na Nyoka, at Victoria Miro Gallery in London. At the exhibition's opening night, Mutu displayed a performance piece, wherein guests were encouraged to consume custom-made Wangechi Mutu chocolate mermaids. The guests could obtain a mermaid only by "snapping a photo of their first bite, lick, taste," operating as a commentary on "the public consumption of brown bodies."

Mutu's work has been exhibited at galleries and museums worldwide including the San Francisco Museum of Modern Art, The Contemporary Austin (Texas), the Miami Art Museum, Tate Modern in London, Centre for Fine Arts in Brussels the Studio Museum in Harlem in New York, Museum Kunstpalast in Düsseldorf, Germany the Centre Georges Pompidou in Paris, and the Nasher Museum of Art at Duke University. Her first solo exhibition at a major North American museum opened at the Art Gallery of Ontario in March 2010. Her first U.S. solo exhibition, Wangechi Mutu: A Fantastic Journey in the United States opened at Nasher Museum of Art on 21 March 2013. A Fantastic Journey subsequently traveled to the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art in October 2013. She has held recent one-person shows at the Museum of Contemporary Art Australia; Deutsche Guggenheim, Berlin; the Brooklyn Museum of Art; Montreal Museum of Contemporary Art; San Francisco Museum of Modern Art; Staatlichen Kunsthalle Baden-Baden, Germany; Wiels Contemporary Art Center, Brussels; the Nasher Museum of Art at Duke University, North Carolina; the Block Museum of Art at Northwestern University, Illinois; and Miami Art Museum.

In Fall 2013, the creative team of Wangechi Mutu took part in the main project of the 5th Moscow Biennale of Contemporary Art.

In 2013, Mutu was awarded the BlackStar Film Festival Audience Award for Favorite Experimental Film in Philadelphia, PA for her film The End of Eating Everything, as well as the Brooklyn Museum Artist of the Year, Brooklyn, NY.

In 2013, Wangechi Mutu's first-ever animated video, The End of Eating Everything, was created in collaboration with recording artist Santigold, commissioned by the Nasher Museum of Art. The video was animated by Awesome + Modest.

Mutu's work has been called "firmly Afrofuturist," as exemplified in her piece, The End of Eating Everything. In her 2013–2014 installation at the Brooklyn Museum, the curatorial placard accompanying her work A'gave described Afrofuturism as "an aesthetic that uses the imaginative strategies of science fiction to envision alternate realities for Africa and people of African descent." For critics, Mutu's imagined alternate realities for Africa through the medium of science fiction definitively situated Mutu in the genre of Afrofuturism.

On 23 February 2010, Wangechi Mutu was honoured by Deutsche Bank as their first "Artist of the Year". The prize included a solo exhibition at the Deutsche Guggenheim in Berlin. Titled My Dirty Little Heaven, the show traveled in June 2010 to the Wiels Center for Contemporary Art in Forest, Belgium.

She participated in the 2008 Prospect 1 Biennial in New Orleans and the 2004 Gwangju Biennale in South Korea. Her work has been featured in major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and the Museum of Modern Art in New York, Black President: The Art and Legacy of Fela Anikulapo-Kuti at the New Museum of Contemporary Art in New York and the Barbican Centre in London, and USA Today at the Royal Academy in London.

Another installation of Mutu, Suspended Playtime (2008) is a series of bundles of garbage bags, wrapped in gold twine as if suspended in spiders' webs, all suspended from the ceiling over the viewer. The installation makes reference to the common use of garbage bags as improvised balls and other playthings by African children.

More recently, Mutu has exhibited sculptural installations. In 2006, Mutu and British architect David Adjaye collaborated on a project. They transformed the Upper East Side Salon 94 townhouse in New York into a subterranean dinner-party setting titled Exhuming Gluttony: A Lover's Requiem. Furs and bullet holes adorned the walls while wine bottles dangled in a careless chandelier-like form above the stained table. The table's multiple legs resembled thick femurs with visibly delicate tibias, and the whole space had a pungent aroma. The artists strove to show a moment of gluttony. This vicious hunger was seen as a connection between images of The Last Supper, the climate of the current art-buying world, and the war in Iraq.

Wangechi Mutu (born 1972) is a Kenyan-American visual artist known primarily for her painting, sculpture, film and performance work. Born in Kenya, she has lived and established her career in New York for over twenty years. Mutu's work has directed the female body as subject through collage painting, immersive installation, and live and video performance all the while exploring questions of self-image, gender constructs, cultural trauma and environmental destruction.

Mutu was born in 1972 in Nairobi, Kenya. She was educated at Loreto Convent Msongari (1978–1989) and later studied at the United World College of the Atlantic, Wales (I.B., 1991). Mutu moved to New York in the 1990s, focusing on Fine Arts and Anthropology at The New School for Social Research and Parsons School of Art and Design. She earned a BFA from Cooper Union for the Advancement of the Arts and Science in 1996 and a master's degree in sculpture from Yale School of Art in 2000.