LOCKE, DONALD. Donald Locke Papers, 1953-2016
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Frank Bowling Cv
FRANK BOWLING CV Born 1934, Bartica, Essequibo, British Guiana Lives and works in London, UK EDUCATION 1959-1962 Royal College of Art, London, UK 1960 (Autumn term) Slade School of Fine Art, London, UK 1958-1959 (1 term) City and Guilds, London, UK 1957 (1-2 terms) Regent Street Polytechnic, Chelsea School of Art, London, UK SELECTED SOLO EXHIBITIONS 1962 Image in Revolt, Grabowski Gallery, London, UK 1963 Frank Bowling, Grabowski Gallery, London, UK 1966 Frank Bowling, Terry Dintenfass Gallery, New York, New York, USA 1971 Frank Bowling, Whitney Museum of American Art, New York, New York, USA 1973 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1973-1974 Frank Bowling, Center for Inter-American Relations, New York, New York, USA 1974 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1975 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, William Darby, London, UK 1976 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, Watson/de Nagy and Co, Houston, Texas, USA 1977 Frank Bowling: Selected Paintings 1967-77, Acme Gallery, London, UK Frank Bowling, Recent Paintings, William Darby, London, UK 1979 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA 1980 Frank Bowling, New Paintings, Tibor de Nagy Gallery, New York, New York, USA 1981 Frank Bowling Shilderijn, Vecu, Antwerp, Belgium 1982 Frank Bowling: Current Paintings, Tibor de Nagy Gallery, -
Frank Bowling Obe, Ra Cv
FRANK BOWLING OBE, RA CV Born February 1934 Bartica, Essequibo, British Guiana Education 1959-1962 Royal College of Arts, London Slade School of Arts, London University 1957-1959 Regent Street Polytechnic, Chelsea School of Art Solo Exhibitions 2019 Retrospective, Tate Britain, London, UK (forthcoming) More Land then Landscape, Hales London, UK (forthcoming) 2018 Towards the Light, Christian Larsen, Stockholm, Sweden Make it New, Alexander Grey Associates, New York, USA Mappa Mundi, Irish Museum of Modern Art, Dublin, Ireland; Sharjah Art Foundation, Sharjah, UAE 2017 Mappa Mundi, Haus der Kunst, Germany Fishes, Wishes in Summertime Blue, Hales Gallery, London, UK Metropolitanblooms, Hales Project Room, New York, USA 2016 New White Paintings, Hampstead School of Art, London, UK 2015 Frank Bowling: The Poured Paintings, Hales Gallery, London Frank Bowling: Map Paintings, Dallas Museum of Art, USA Frank Bowling: Right Here. Right Now. Triangle Space and Cookhouse Galleries, Chelsea College of Art, London, UK Frank Bowling, Marc Selwyn Fine Art, California, USA 2014-2015 Traingone, Paintings by Frank Bowling 1979-96, Spritmuseum, Stockholm, Sweden 2014 Frank Bowling: At 80, Spanierman Modern, New York, USA 2013 The Map Paintings 1967-1971, Hales Gallery, London Paintings 1967-2012, Spanierman Modern, New York, USA 2012 Drop, Roll, Slide, Drip… Frank Bowling’s Poured Paintings 1973–8, Focus Display, Tate Britain, London, UK Frank Bowling New Paintings, Spanierman Modern, New York, NY, USA London, 7 Bethnal Green Road, E1 6LA. + 44 (0)20 7033 -
Black British Art History Some Considerations
New Directions in Black British Art History Some Considerations Eddie Chambers ime was, or at least time might have been, when the writing or assembling of black British art histories was a relatively uncom- Tplicated matter. Historically (and we are now per- haps able to speak of such a thing), the curating or creating of black British art histories were for the most part centered on correcting or addressing the systemic absences of such artists. This making vis- ible of marginalized, excluded, or not widely known histories was what characterized the first substantial attempt at chronicling a black British history: the 1989–90 exhibition The Other Story: Asian, African, and Caribbean Artists in Post-War Britain.1 Given the historical tenuousness of black artists in British art history, this endeavor was a landmark exhibi- tion, conceived and curated by Rasheed Araeen and organized by Hayward Gallery and Southbank Centre, London. Araeen also did pretty much all of the catalogue’s heavy lifting, providing its major chapters. A measure of the importance of The Other Story can be gauged if and when we consider that, Journal of Contemporary African Art • 45 • November 2019 8 • Nka DOI 10.1215/10757163-7916820 © 2019 by Nka Publications Downloaded from http://read.dukeupress.edu/nka/article-pdf/2019/45/8/710839/20190008.pdf by guest on 26 September 2021 Catalogue cover for the exhibition Transforming the Crown: African, Asian, and Caribbean Artists in Britain 1966–1996, presented by the Caribbean Cultural Center African Diaspora Institute, New York, and shown across three venues between October 14, 1997, and March 15 1998: Studio Museum in Harlem, Bronx Museum of the Arts, and Caribbean Cultural Center African Diaspora Institute. -
GCA Newsletter
Guyana Cultural Association of New York Inc.Newsletter Aug 20, 2011 Volume 2 Issue 6 TM TM Letter from the Editor NY PREMIERE OF FILMS PRODUCED BY GUYANESE FILM MAKERS The Guyana Cultural Association of New York is proud to welcome Dr. Paloma Mohamed, Director of the Center of Commu- nications Studies, in the University of Guyana, and a team of filmmakers. Our board members would like to congratu- late CineGuyana as they premier eight inspiring and thought-provoking narrative films, in collab- oration with GCA’s 10th Folk Festival Anniver- sary celebrations. Films such as, Luck Beat Handsome, Three Cards, and The Back Yard, are just three of a cat- egory of short-length documentaries and Videos GCA Summer Heritage Campers singing “Small Days” at Camp Finale. that will showcase the talents of students in the Viewing the art from the Guyana Diaspora at the Art Exhibition. mass-communications program at the Universi- ty of Guyana. We salute these students, and wish them every success in their careers. As our celebrations kicks into high gear, we would like to thank you our patrons for support- ing us over the past ten years. And to you our new friends, thanks for joining our Face Book group. We feel honored that you have made the same commitment to keep our cultural and her- itage alive in North America. It is hard to believe that this is the sixth issue of our Newsletter. We are delighted that you have taken the time to give us such positive feed- back. We will continue to inspire you, and capti- vate you with our articles and images of our diverse cultural heritage. -
Frank Bowling Obe, Ra Cv
FRANK BOWLING OBE, RA CV Born February 29, 1936 Bartica, Essequibo, British Guiana Education 1959-1962 Royal College of Arts, London Slade School of Arts, London University 1957- 1959 Regent Street Polytechnic, Chelsea School of Art Solo Exhibitions 2017 Mappa Mundi, Haus der Kunst, Germany (forthcoming) 2016 New White Paintings, Hampstead School Art, London, UK 2015 Frank Bowling: The Poured Paintings, Hales Gallery, London Frank Bowling: Map Paintings, Dallas Museum of Art, USA Frank Bowling: Right Here. Right Now. Triangle Space and Cookhouse Gal- leries, Chelsea College of Art, London, UK Frank Bowling, Marc Selwyn Fine Art, California, USA 2014-2015 Traingone, Paintings by Frank Bowling 1979-96, Spritmuseum, Stockholm, Sweden 2014 Frank Bowling: At 80, Spanierman Modern, New York, USA 2013 The Map Paintings 1967-1971, Hales Gallery, London Paintings 1967-2012, Spanierman Modern LLC, New York, USA 2012 Drop, Roll, Slide, Drip… Frank Bowling’s Poured Paintings 1973–8, Focus Display, Tate Britain, London, UK Frank Bowling New Paintings, Spanierman Modern, New York, NY, USA Frank Bowling Recent Small Paintings, Chris Dyson Gallery, London, UK Frank Bowling Recent Large Paintings, Hales Gallery, London, UK 2011 Frank Bowling Works on Paper, Royal Academy of Arts, UK (to celebrate the launch of Frank Bowling monograph by Mel Gooding) Recent Works, Rollo Contemporary Art, London, UK CROSSINGS – From New Amsterdam, Berbice to New Amsterdam, New York via Holland and London, Rollo Contemporary Art, London, UK London, 7 Bethnal Green Road, E1 -
Jean Fisher, 'The Other Story and the Past Imperfect', Tate Papers, No. 12
Tate Papers Issue 12 2009: Jean Fisher http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/fisher... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL The Other Story and the Past Imperfect Jean Fisher Little could be more antithetical than the premises of the two most contentious European exhibitions of 1989, Magiciens de la Terre at the Centre Georges Pompidou and La Villette, Paris, and The Other Story in London’s Hayward Gallery. A mix of Western gallery art and folkloric art from the global elsewhere, Magiciens , curated by museum director Jean-Hubert Martin, pursued the anthropological notion of pre-modern cultural ‘authenticity’ in which intercultural aesthetic borrowing by the non-European was perceived as illegitimate ‘contamination’; whilst The Other Story , curated by the artist Rasheed Araeen , sought to demonstrate and legitimise the suppressed history of a modernist aesthetic among British visual artists of African, Caribbean and Asian ancestry.1 If Magiciens was instrumental in drawing global cultures into the orbit of Western institutions, initiating a ‘postmodern’ wave of neo-imperial ‘explorations’ of the exotic, the somewhat ironically titled The Other Story was understood internationally, if not domestically, as a major breakthrough in ‘de-imperialising’ the institutional mind. Couched as a ‘celebration of achievement’, Araeen’s catalogue text leaves us in no doubt that the absence of Black and Asian artists from the history of British modernism and national patrimony could only be attributed to racist discrimination. Guy Brett’s catalogue essay suggested this exclusion was symptomatic of a wider malaise in the British art establishment, which he describes as ‘an antiquated and still basically beaux-arts model’ that consistently failed to recognise the experimental and transnational in its midst. -
And the 1993 Whitney Biennial
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2010 Difference as identity in "The other story" and the 1993 Whitney biennial. Vanessa Faye Johnson University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Johnson, Vanessa Faye, "Difference as identity in "The other story" and the 1993 Whitney biennial." (2010). Electronic Theses and Dissertations. Paper 697. https://doi.org/10.18297/etd/697 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. DIFFERENCE AS IDENTITY IN “THE OTHER STORY” AND THE 1993 WHITNEY BIENNIAL By Vanessa Faye Johnson B.A., University of Kentucky, 2005 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville In Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of Art History University of Louisville Louisville, Kentucky April 2010 DIFFERENCE AS IDENTITY IN “THE OTHER STORY” AND THE 1993 WHITNEY BIENNIAL By Vanessa Faye Johnson B.A., University of Kentucky, 2005 A Thesis Approved on April 23, 2010 By the following Thesis Committee: Dr. Susan Jarosi _______________________________ Thesis Director Dr. Karen Britt _______________________________ Dr. Kaila Story _______________________________ ii DEDICATION This paper is dedicated to my late mother Andrea P. -
Recordings: a Select Bibliography of Contemporary African, Afro-Caribbean and Asian British Art ■
Recordings: A Select Bibliography of Contemporary African, Afro-Caribbean and Asian British Art ■ , Recordings: A Select Bibliography of Contemporary African, Afro-Caribbean and Asian British Art Institute of International Visual Arts and Chelsea College of Art and Design, London 1996 Written and Compiled by Melanie Keen and Elizabeth Ward Acknowledgements Published by the Institute of International Visual Arts (inIVA) in collaboration with Chelsea College of Art and Design, 1996 Copyright © the Institute of International Visual Arts (inIVA) and Chelsea College of Art and Design, 1996 Institute of International Visual Arts Kirkman House 12/14 Whitfield Street London W1P5RD All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any means electronic, mechanical, including photocopying, recording, or otherwise, without the prior permission in writing from the publishers. ISBN 1899846 06 9 A catalogue record for this book is available from the British Library. Compiled and written by Melanie Keen and Liz Ward Design: 8vo, London Printed in the UK by G&B Printers, Middlesex Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publishers will be pleased to make the necessary arrangements at the first opportunity. institute of in te rn a tio n a l v isu a l a rts LONDON ARTS BOARD Preface: Stephen Bury, Chelsea College of Art & Design This publication would not have been possible without the work of Elizabeth Ward who created the archive at Chelsea and the previous in-house editions of this bibliography. -
Frank Bowling CV
F R A N K B O W L I N G Born 1934 Bartica, Essequibo, British Guiana; Lives and works in London, UK EDUCATION Royal College of Arts, London Slade School of Arts, London University Regent Street Polytechnic, Chelsea School of Art SOLO EXHIBITIONS 2021 Frank Bowling, Arnolfini, Bristol, UK (forthcoming) Hauser & Wirth, London, UK (forthcoming) 2019 Frank Bowling, Tate Britain, London, UK Frank Bowling: More Land than Landscape, Hales Gallery, London, UK 2018 Mappa Mundi, Irish Museum of Modern Art, Dublin, Ireland; traveling to Sharjah Art Foundation, Sharjah, United Arab Emirates Make It New, Alexander gray Associates, New York, NY Frank Bowling: Toward the Light, Christian Larsson, Stockholm, Sweden 2017 Mappa Mundi, Haus der Kunst, Munich, Germany Fishes, Wishes in Summertime Blue, Hales Gallery, London, UK Marc Selwyn Fine Art, Beverly Hills, CA Metropolitanblooms, Hales Project Room, New York, NY 2016 New White Paintings, Hampstead School of Art, London, UK 2015 Frank Bowling: Map Paintings, Dallas Museum of Art, Dallas, TX Frank Bowling: Right Here. Right Now. Triangle Space and Cookhouse Galleries, Chelsea College of Art, London, UK Frank Bowling: The Poured Paintings, Hales Gallery, London, UK Frank Bowling, Marc Selwyn Fine Art, Beverly Hills, CA Traingone, Paintings by Frank Bowling 1979-96, Spritmuseum, Stockholm, Sweden 2014 Frank Bowling: At 80, Spanierman Modern, New York, NY 2013 The Map Paintings 1967-1971, Hales Gallery, London, UK Paintings 1967-2012, Spanierman Modern LLC, New York, NY 2012 Drop, Roll, Slide, Drip… Frank -
Artist & Empire Room 6 out of Empire Large Print Guide
Artist & Empire 25 November 2015 – 10 April 2016 Room 6 Out of Empire Large Print Guide Please return after use 6 Out of Empire By 1900 the British Empire had created a vast interconnected culture of collecting. Objects from Asia, Oceania, Africa and the Americas were displayed in British and colonial museums and at international exhibitions, influencing the styles and techniques used by modern British painters and sculptors. In cosmopolitan cities such as those in the Indian Raj, art schools established on European principles encouraged a complex identity on the part of artists graduating within the colonial system. While some rejected Western illusionism in favour of indigenous traditions, others such as Rabindranath Tagore regarded art as a universal ideal that transcended divisions of nationhood, ethnicity and religion. After the Second World War, in the era of decolonisation, many young artists came from across the Empire to study and work in London. Aubrey Williams and Donald Locke arrived from British Guiana; Ben Enwonwu and Uzo Egonu from Nigeria; Avinash Chandra and Balraj Khanna from India; and Sidney Nolan from Australia. Employing a range of motifs and practices, they each developed a language of expression to evoke memories of the past while allowing for critical comment and introspection. This tendency was reflected in international careers that moved between the artists’ countries of origin, Britain and other locations. 1 Work captions and labels Clockwise from right of wall text 2 John Griffiths 1838–1918 The Temptation of the Buddha by Mara (copy of a mural inside Cave 1 at Ajanta) 1875–6 Oil paint on canvas Victoria and Albert Museum, London.