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Prints and Drawings
Photo credit: Yale University Art Gallery
Full-size image not available for download. Please contact Rights and Reproductions.
Artist: Njideka Akunyili Crosby, Nigerian and American, born 1983, M.F.A. 2011

The Rest of Her Remains

2010

Charcoal, acrylic, ink, collage, and Xerox transfers on paper

207.33 × 279.88 cm (81 5/8 × 110 3/16 in.)
framed: 218.92 × 291.94 × 9.37 cm (86 3/16 × 114 15/16 × 3 11/16 in.)
Purchased with a gift from the Arthur and Constance Zeckendorf Foundation
2011.114.1

Nigerian-born artist Njideka Akunyili Crosby appropriated the placement and pose of the figure from Édouard Manet’s painting The Dead Toreador (probably 1864, National Gallery of Art, Washington, D.C.) to create The Rest of Her Remains, a multicultural, boldly feminist statement. She replaced the male body in Manet’s work with a female body, located in a modern bedroom and surrounded by a patchwork of images drawn from Akunyili Crosby’s Nigerian culture. Using charcoal, acrylic, ink, collage, and Xerox transfers, she bridged old traditions with new technologies and methods of image making. The resulting large-scale composition defies classification and challenges the Eurocentric art-historical canon.

Geography: 
Made in United States
or made in Nigeria
Status: 
Not on view
Culture: 
Nigerian and American
Period: 
21st century
Classification: 
Works on Paper - Drawings and Watercolors
Bibliography: 

Frauke V. Josenhans, Yale University Art Gallery Bulletin 2016 (New Haven, CT: Yale University Art Gallery, 2016), ill.

Yale University Art Gallery Yale Art Gallery Bulletin (2016): 111, ill.

Frauke V. Josenhans, “Painting with Fragments: Njideka Akunyili Crosby’s The Rest of Her Remains,” Yale University Art Gallery Bulletin (2016): 110, fig. 1.

Lisa Hodermarsky et al., On the Basis of Art: 150 Years of Women at Yale, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2021), 304–5, no. 79, fig. 1.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.