Ofili and his collaborators on Diana and Actaeon-choreographers Liam Scarlett, Will Tuckett, and Jonathan Watkins composer Jonathan Dove and librettist Alasdair Middleton-drew inspiration directly from Ted Hughes’s retelling of the poem “Actaeon” in his Tales from Ovid (1997) rather than from Titian’s visual interpretation of the myth, which is itself an adaptation of centuries-old mythological accounts of the world. Titian considered these paintings, of which there are seven in total, to be his own “painted poems” of select myths from the Roman poet Ovid’s magnum opus: Metamorphoses. The production was commissioned by London’s National Gallery and the Royal Ballet, which invited Ofili and fellow artists Conrad Shawcross and Mark Wallinger to each develop a ballet-and an associated body of work for exhibition-that responded to one of three paintings by the Renaissance master Titian: Diana and Actaeon (1556–59), Diana and Callisto (1556–59), and The Death of Actaeon (1559–75). This Resource Center presentation, “When Shadows Were Shortest,” looks at Ofili’s own engagements under the proscenium arch, featuring materials from Diana and Actaeon, an original ballet performed in 2012 at the Royal Opera House, London, for which Ofili created the set and costumes. Chris Ofili joins a long list of visual artists who have famously crossed into the theater and dance worlds, including Sonia Delaunay, who created costumes for Sergei Diaghilev’s Cleopatra (1918) Donald Judd, who oversaw the visual design of Trisha Brown’s Son of Gone Fishin’ (1981) and, more recently, William Kentridge, who directed and designed a production of Dmitri Shostakovich’s opera The Nose (2010).
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