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.

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.

In 2017, Chris Ofili photographed chain-link fences throughout the island of Trinidad in order to explore notions of beauty, community, liberation, and constraint. This series of arresting images—“pocket photography,” as described by the artist—is the first body of photography ever published by Ofili. Through these entrancing black-and-white photographs, the artist engages with the diverse sources that inspired his critically acclaimed Paradise Lost exhibition at David Zwirner, New York in the fall of 2017. Since moving to Trinidad in 2005, Ofili has continued to engage with the surrounding environment and culture, which has found its way into many of his colorful paintings. In these deceivingly simple black-and-white photographs, he captures a wide cross section of Trinidad as he highlights the encounter between natural and man-made settings, and the different aesthetic possibilities each brings out in the other. In focusing on a ubiquitous and seemingly unremarkable piece of equipment, Ofili is able to comment on our interactions with space and each other, using a near-universal subject as the fence slices the sky, melds into a tree, frames a basketball game, or reveals an opening. In a new essay by the critically acclaimed author of Island People: The Caribbean and the World (2016), Joshua Jelly-Schapiro charts the history of chain-link fences; focusing on a selection of Ofili’s photographs, he then begins to explore what this imagery tells us about Trinidad in particular and the Caribbean as a whole. These two essays—one visual, the other literary—open onto a whole new set of interpretive possibilities for this groundbreaking artist.

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.

Volume covers the Collection of Prints and Illustrated Books, not the collection of artists' books.

A brilliantly original, landmark retelling of Greek myths, recounted as if they were actual scenes being woven into textiles by the women who feature prominently in them—including Athena, Helen, Circe and Penelope “Greek myths were full of powerful witches, unpredictable gods and sword-wielding slayers. They were also extreme: about families who turn murderously on each other; impossible tasks set by cruel kings; love that goes wrong; wars and journeys and terrible loss. There was magic, there was shape-shifting, there were monsters, there were descents to the land of the dead. Humans and immortals inhabited the same world, which was sometimes perilous, sometimes exciting. “The stories were obviously fantastical. All the same, brothers really do war with each other. People tell the truth but aren’t believed. Wars destroy the innocent. Lovers are parted. Parents endure the grief of losing children. Women suffer violence at the hands of men. The cleverest of people can be blind to what is really going on. The law of the land can contradict what you know to be just. Mysterious diseases devastate cities. Floods and fire tear lives apart. “For the Greeks, the word muthos simply meant a traditional tale. In the twenty-first century, we have long left behind the political and religious framework in which these stories first circulated—but their power endures. Greek myths remain true for us because they excavate the very extremes of human experience: sudden, inexplicable catastrophe; radical reversals of fortune; and seemingly arbitrary events that transform lives. They deal, in short, in the hard, basic facts of the human condition.” —from the Introduction

Published to accompany the exhibition held at the Museum of Modern Art QNS, New York, 17 October 2002 - 6 January 2003.

This visually stunning publication celebrates a unique collaboration between two of the UKs leading cultural institutions, the National Gallery and The Royal Ballet. Together they commissioned three contemporary artists Chris Ofili, Conrad Shawcross and Mark Wallinger to work with international choreographers and composers to create three new ballets inspired by Titian's paintings Diana and Actaeon, 'The Death of Actaeon' and 'Diana and Callisto'. As well as designing all the sets and costumes, the artists also produced entirely new works in response to Titians masterpieces for a show at the National Gallery. The book tells the story of this extraordinary, complex project from conception to stage and gallery. The artists notebooks, sketches and other material from the studio are reproduced to show how they evolved their initial ideas into working designs. Exhibition: National Gallery, London, UK (11.7.-23.9.2012).

Essays by Louis Antwi, Bazon Brock, Carolina Grau and Greg Tate. Introduction by Christoph Zuchlag.

A laugh-out-loud story of artistic expression, told in direct speech and adorable manga-inflected illustrations by Charlotte Mei. ''The author and illustrator, Charlotte Mei, provides beautifully simplistic artwork to accompany her uplifting and inspirational story of self-discovery''. -- Seattle Book Review ''I love that this book talks about famous artists but ultimately Pippin finds his own way of creating. Perfect for budding artists''. -- Picturebook Playdate ''This is an ideal introduction to famous artists and some of their most celebrated works for young readers''. -- Library Girl and Book Boy ''This successful debut dips into artistic mediums, and shows that there is much fun and mileage to be had in imitating old masters, as well as managing to ace your own style''. -- Good Reads ''Charlotte Mei provides playful illustrations that contrast with the fine art at the heart of the book''. -- The Great British Bookworm ''This beautifully illustrated picture book will not only inspire children to want to create art but also feel confident and determined to do it''. -- School Reading List "Today I am going to paint a portrait. It is a portrait of someone very important. That someone is ME (it is a self-portrait). All famous artists paint pictures of themselves, and I am a famous artist. Or at least I will be when I've finished my portrait." Pippin is painting his self-portrait, but his friends think he's got a lot to learn about painting. They take him to see Angelique's portrait, which takes inspiration from Cubism, Dudley's portrait, which is inspired by the work of Chris Ofili, Momo's portrait, which draws from the work of Yayoi Kusama, and Franklin and Aaliya's portrait, which is a colour field painting in the style of Mark Rothko. Pippin is feeling very deflated, but his little friend Minky helps him to dig deep and find the artist inside himself. Packed with information about famous artists, their approaches and their mediums, this book simultaneously engages, informs and asks young readers to question how they themselves 'read' and create art.