The Treatment 8A

Description

Toyin Ojih Odutola’s multimedia drawings are informed by her experience of coming of age as an African woman in the American South. Early in her career, she began creating vivid portraits that investigate the social and political dynamics of skin color, the malleability of identity, and the nature of the color black.

The Treatment was prompted by an invitation to participate in the 2015 group exhibition Young, Gifted and Black. Ojih Odutola used the title of the exhibition to direct the creation of a series of 43 portraits that was ultimately completed in 2017. In drafting each image she employed her signature black ballpoint pen as a tool for negotiating the formal and social implications of blackness as both skin color and surface treatment. She sourced public headshots and media images of prominent, or “gifted,” Caucasian men in their youth, and then outlined their silhouettes in pencil before filling in their faces with black ballpoint pen. Ojih Odutola redacts the socioeconomic status and white privilege of these subjects through her destabilizing treatment, as “black” becomes the primary identifier for otherwise recognizable men. Portraits from this series are shown in sequence or as a grid to underscore, in the artist’s words, “how an individual can claim one’s identity when rendered in the sameness of a group.”

Provenance

The artist; sold through Jack Shainman, New York, to the Society for Contemporary Art, Chicago, 2019; given to the Art Institute of Chicago, 2019.

The Treatment 8A

Toyin Ojih Odutola

2015

Accession Number

250620

Medium

Pen and black ink, graphite, and white pastel pencil on white wove paper

Dimensions

Paper: 30.5 × 22.9 cm (12 × 9 in.); Frame: 41.3 × 33.4 × 4.2 cm (16 1/4 × 13 1/8 × 1 5/8 in.)

Classification

N/A

Museum

The Art Institute of Chicago

Chicago, United States

Credit Line

Gift of the Society for Contemporary Art

Background & Context

Background Story

"The Treatment 8A" is a 2015 pen and black ink, graphite, and white pastel pencil drawing by Toyin Ojih Odutola that demonstrates the Nigerian-American artist's mastery of the drawing medium and her commitment to the ongoing narrative exploration of her "Treatment" series. The composition is a small drawing—30.5 × 22.9 centimeters—showing a figure or scene rendered with the same meticulous networks of pen and ink and the subtle modeling of graphite and white pastel on white wove paper, the technique creating a surface of extraordinary detail and emotional resonance. The white pastel highlights on the white paper create a play of light and shadow that suggests both the physical reality of the figure and the psychological depth of the narrative, the technique suggesting both the richness of the skin and the complexity of the lived experience. The 2015 date places this work in the early period of the "Treatment" series, when Odutola was establishing the visual vocabulary and narrative approach that would define her mature work. Art historians have compared this drawing to the portrait traditions of the Old Masters and the contemporary explorations of identity, noting that Odutola's treatment is more focused on the narrative complexity and the visual pleasure, the transformation of the portrait into a site of storytelling and aesthetic delight, than the formal analysis or the political polemic of these other traditions.

Cultural Impact

This 2015 pen-ink drawing established Treatment vocabulary through small 30cm meticulous black-ink network white-paper light-shadow play and graphite emotional resonance, using early-series narrative approach to transform portrait into storytelling aesthetic-delight site beyond Old Master formal analysis.

Why It Matters

It matters because Odutola drew a moment of treatment and made the paper feel like it was caring for someone—proving that even a drawing could be an act of love if the lines were tender enough.