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Gallery Guide Is Printed on Recycled Paper
THE PLACE IS HERE 22 JUN – 10 SEP 2017 MAIN & FIRST FLOOR GALLERIES ADMISSION FREE EXHIBITION GUIDE THE PLACE IS HERE LIST OF WORKS 22 JUN – 10 SEP 2017 MAIN GALLERY The starting-point for The Place is Here is the 1980s: For many of the artists, montage allowed for identities, 1. Chila Kumari Burman blends word and image, Sari Red addresses the threat a pivotal decade for British culture and politics. Spanning histories and narratives to be dismantled and reconfigured From The Riot Series, 1982 of violence and abuse Asian women faced in 1980s Britain. painting, sculpture, photography, film and archives, according to new terms. This is visible across a range of Lithograph and photo etching on Somerset paper Sari Red refers to the blood spilt in this and other racist the exhibition brings together works by 25 artists and works, through what art historian Kobena Mercer has 78 × 190 × 3.5cm attacks as well as the red of the sari, a symbol of intimacy collectives across two venues: the South London Gallery described as ‘formal and aesthetic strategies of hybridity’. between Asian women. Militant Women, 1982 and Middlesbrough Institute of Modern Art. The questions The Place is Here is itself conceived of as a kind of montage: Lithograph and photo etching on Somerset paper it raises about identity, representation and the purpose of different voices and bodies are assembled to present a 78 × 190 × 3.5cm 4. Gavin Jantjes culture remain vital today. portrait of a period that is not tightly defined, finalised or A South African Colouring Book, 1974–75 pinned down. -
Bruges Triennial 2021: T RAUMA
PRESS KIT Bruges Triennial 2021: T RAUMA 08.05.2021 – 24.10.2021 Bruges Triennial 2021: TraumA PRESS KIT In a nutshell 3 Introduction 4-5 Artists & architects 6-17 Exhibition at the Porter’s Lodge: ‘The Porous City’ 18 About Bruges Triennial 2021 19 Public Programme, Activities for Children & Guided Tours 20 Practical information 21 Press contact 22 08.05.2021 - 24.10.2021 Bruges Triennial 2021: TraumA PRESS KIT IN A NUTSHELL Bruges Triennial 2021: TraumA ... is the third edition of Bruges Triennial and runs from May 8 to October 24, 2021. is a freely accessible contemporary art and architecture trail in the city centre of Bruges. is a thematic exhibition bringing together the work of 13 artists and architects — including 3 Belgians— in the public space. showcases artists and architects who respond to the complexity, versatility and dynamics of the city of Bruges. shifts its focus this year from the public space to some of the hidden dimensions of the city and its inhabitants. treads a balance between the present and the concealed, between private and public, between dream and nightmare. is complemented by a group exhibition at the Poortersloge (Porter’s Lodge) presenting about 40 sculptures, photographs, drawings, paintings and videos by national and international artists. is curated by the curatorial team consisting of Till-Holger Borchert, Santiago De Waele, Michel Dewilde, and Els Wuyts. is accompanied by a public programme packed full with an extensive range of engaging activities. 3 08.05.2021 - 24.10.2021 Bruges Triennial 2021: TraumA PRESS KIT INTRODUCTION From 8 May to 24 October 2021, Bruges once again becomes the host city for an exploration of contemporary art and architecture. -
CVAN Open Letter to the Secretary of State for Education
Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country. -
Donald Rodney (1961-1998) Self-Portrait ‘Black Men Public Enemy’ 1990
Donald Rodney (1961-1998) Self-Portrait ‘Black Men Public Enemy’ 1990 Medium: Lightboxes with Duratran prints Size: 5 parts, total, 190.5 x 121.9cm Collection: Arts Council ACC7/1990 1. Art historical terms and concepts Subject Matter Traditionally portraits depicted named individuals for purposes of commemoration and/or propaganda. In the past black figures were rarely portrayed in Western art unless within group portraits where they were often used as a visual and social foil to the main subject. Rodney adopted the portrait to explore issues around black masculine identity - in this case the stereotype of young black men as a ‘public enemy’. The title ‘Black Men Public Enemy’ comes from the writings of cultural theorist Stuart Hall about media representations of young black men as an ‘icon of danger’, a metaphor for all the ills of society. Rodney said of this Art History in Schools CIO | Registered Charity No. 1164651 | www.arthistoryinschools.org.uk work: “I’ve been working for some time on a series…about a black male image, both in the media and black self-perception. I wanted to make a self-portrait [though] I didn’t want to produce a picture with an image of myself in it. It would be far too heroic considering the subject matter. I wanted generic black men, a group of faces that represented in a stereotypical way black man as ‘the other’, a black man as the enemy within the body politic” (1991). Rodney is asking the question: ‘Is this what people see when they see me?’ He has created a kind of ‘everyman’ for every black man, a heterogeneous identity. -
Read the Introduction
BLOODFLOWERS The Visual Arts of Africa and Its Diasporas A series edited by Kellie Jones and Steven Nelson ii / Exposure One W. Ian Bourland BLOODFLOWERS ROTIMI FANI- KAYODE, PHOTOGRAPHY, AND THE 1980S Duke University Press / Durham and London / 2019 © 2019 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by Mindy Basinger Hill Typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Names: Bourland, W. Ian, [date] author. Title: Bloodfl owers : Rotimi Fani-Kayode, photography, and the 1980s / W. Ian Bourland. Other titles: Rotimi Fani-Kayode, photography, and the 1980s Description: Durham : Duke University Press, 2019. | Series: The visual arts of Africa and its diasporas | Includes bibliographical references and index. Identifi ers:lccn 2018032576 (print) lccn 2018037542 (ebook) isbn 9781478002369 (ebook) isbn 9781478000686 (hardcover : alk. paper) isbn 9781478000891 (pbk. : alk. paper) Subjects: lcsh: Fani-Kayode, Rotimi, 1955 – 1989 — Criticism and interpretation. | Photography of men. | Photography of the nude. | Homosexuality in art. | Gay erotic photography. | Photographers — Nigeria. | Photography — Social aspects. Classifi cation:lcc tr681.m4 (ebook) | lcc tr681.m4 b68 2019 (print) | ddc 779/.21 — dc23 lc record available at https://lccn.loc.gov/2018032576 Frontispiece: Rotimi Fani-Kayode, Untitled (1985). © Rotimi Fani-Kayode / Autograph abp. Courtesy of Autograph abp. Cover art: Rotimi Fani- Kayode, Tulip Boy -
Natural Materials Pancho Jiménez Nnenna Okore Cameron Welch
FOR IMMEDIATE RELEASE Natural Materials Pancho Jiménez Nnenna Okore Cameron Welch April 10 – May 8, 2021 #naturalmaterialsexhibition #jenkinsjohsongallery #minnesotastreetproject @pancho_jimenez @nnennaokore @welch_cameron @jenkinsjohnsongallery @ minnesotastreetproject Cameron Welch, Hot Head, 2021, marble, glass, ceramic, oil, acrylic and spray enamel on panel in artist frame, 47.5 x 37.5 in. Jenkin Johnson Gallery, San Francisco, is pleased to present Natural Materials, a group exhibition featuring new works by Pancho Jiménez, Nnenna Okore and Cameron Welch. This exhibition explores three artists’ use of natural material and found objects in their practice. Each artist approaches materials differently creating a captivating discussion on materiality, texture, and shape. Jiménez rebuilds and recontextualizes found trinkets and objects. Okore weaves fibers and found material to create ethereal sculptures. Welch adds a contemporary perspective to traditional mosaic techniques with motifs and imagery found throughout history. Natural Materials opens Saturday, April 10, 2021 and will be on view through Saturday, May 8. The exhibition is by appointment only. Please visit our website to schedule a viewing. www.jenkinsjohnsongallery.com. Francisco (Pancho) Jiménez (lives and works in Santa Clara, CA) explores the elusiveness of dreams and memory. Joining together molded forms in unlikely combinations, Jiménez transforms kitsch elements into complex pieces with a rich and relevant focus. The juxtaposition of shapes in his sculptures may at first seem haphazard, but is intentionally crafted to mimic the illusiveness of memory as it advances and recedes over time. Jiménez holds an M.F.A. in Sculptural Ceramics from San Francisco State University, and his BA degree from Santa Clara University. He has exhibited extensively in the San Francisco Bay Area and nationally at universities, private galleries and civic spaces. -
Lubaina Himid OUR KISSES ARE PETALS
Media Release: 5 April 2018 PRESS PREVIEW Thursday 10 May 2018 EXHIBITION 11 May – 30 September 2018 Lubaina Himid OUR KISSES ARE PETALS Lubaina Himid, Why are you Looking, 2018. Image courtesy the artist and Hollybush Gardens BALTIC Centre for Contemporary Art will launch the first in a series of exhibitions for the UK’s largest public event of 2018, the Great Exhibition of the North (22 June – 9 September), with a solo show of new work by Turner Prize-winning artist Lubaina Himid. Our Kisses are Petals will run from 11 May – 30 September, and will feature a community-focussed outdoor commission beginning in June. Our Kisses are Petals originates from new paintings on cloth that employ the patterns, colours and symbolism of the Kanga, a vibrant cotton fabric traditionally worn by East African women as a shawl, head scarf, baby carrier, or wrapped around the waist. Typically, kangas consist of three parts: the pindo (border), the mji (central motif), and the jina (message or ‘name’), which often takes the form of a riddle or proverb. For Himid, these multicoloured fabrics are ‘speaking clothes’, which employ ‘the language of image, pattern and text through which one woman’s outfit talks to another’s’. Himid’s works engage in a dialogue with each other and with the viewer, both through their individual jina, borrowed from influential writers just as James Baldwin, Sonia Sanchez, Essex Hemphill and Audre Lorde, and through the invitation for visitors to rearrange the hanging works by a system of pulleys to form their own poetry. The suspended Kangas take on a flag-like quality, which, together with the colours and patterns of the fabrics, evoke regimental and ceremonial colonial flag-bearing. -
ART of the CARIBBEAN ‘A Wonderful Set of Images Which Helps to Re-Define the Boundaries of the Caribbean for a British Onlooker
PartGOODWILL 1 — Caribbean TEACHING art history GUIDE — the essential teaching resource for craft, design and culture LIST OF CONTENTS ART OF THE CARIBBEAN ‘A wonderful set of images which helps to re-define the boundaries of the Caribbean for a British onlooker. The visual art is supported by concise and effective background material, both historical and textual’. Dr. Paul Dash, Department of Education, Goldsmith’s College. LIST OF CONTENTS PART 3 This set explores Caribbean culture Looking at the pictures and its arresting visual art Unknown Taino Artist, Jamaica, Avian Figure Introduction Isaac Mendes Belisario, Jamaica, House John Canoe Map of the Caribbean Georges Liautaud, Haiti, Le Major Jonc Time-line Annalee Davis, Barbados, This Land of Mine: Past, Present and Future John Dunkley, Jamaica, Banana Plantation Wifredo Lam, Cuba, The Chair PART 1 Raul Martinez, Cuba, Cuba Caribbean art history Edna Manley, England/Jamaica, The Voice Colonial Cuba Unknown Djuka Artist, Suriname, Apinti Drum Cuban art since1902 Everald Brown, Jamaica, Instrument for Four People Stanley Greaves Caribbean Man No. 2 Colonial Saint-Domingue Aubrey Williams, Guyana/England, Shostakovich 3rd Symphony Cecil Baugh, Jamaica, Global Vase with Egyptian blue running glaze Haitian art since 1811 Stephanie Correia, Guyana, Tuma 1 Dutch West-Indian colonies Philip Moore, Guyana, Bat and Ball Fantasy British West Indies Ronald Moody, Jamaica/England, Midonz (Goddess of Transmutation) English-speaking Caribbean: Jamaica, Stanley Greaves, Guyana/Barbados, Caribbean Man No. 2 Barbados, Guyana, Trinidad, Wilson Bigaud, Haiti, Zombies Ras Aykem-i Ramsay, Barbados, Moses For easy navigation blue signals a link to a Caribbean-born artists in Britain Pen Cayetano, Belize, A Belizean History: Triumph of Unity relevant page. -
Lubaina Himid Invisible Strategies Exhibition Notes
2. Le Rodeur: The Lock, 2016 Revenge – A Masque in Five Tableaux 7. Fishing, 1987 9. Mr Salt’s Collection – The Ballad of 3. Le Rodeur: Exchange, 2016 4. Ankledeep, 1991 Fishing was originally part of a larger the Wing series, 1989 After completing this most recent 5. Five, 1991 installation: a cast of cutout painted This work was first shown as part characters roaming across gallery walls. of Himid’s solo exhibition The Ballad series, the artist realised that these 6. Carpet, 1992 interiors were the odd, empty rooms Collectively titled Restoring the Balance, of the Wing at Chisenhale Gallery, of her earlier Plan B paintings, now 8. Unwrapped but not Untied, 1991 these figures appeared within the London, in 1989. It displays the artist’s first retrospective exhibition influence on her practice of populated with a full cast of characters, Himid asserts: ‘After the mourning New Robes for MaShulan, a caricature, particularly eighteenth- and always with a glimpsed view of comes revenge.’ Revenge is at once collaboration with Maud Sulter held at century satirical cartoonists such the sea. They reflect Himid’s complex a monument to the victims of the Rochdale Art Gallery in 1987. In Sulter’s as James Gillray, George Cruikshank 1. Freedom and Change, 1984 personal relationship to water and the transatlantic slave trade, a critique of 10. Bone in the China: Success to the curatorial text, ‘Surveying the Scene’, and William Hogarth. The painting sea: ‘I have never been able to swim the patriarchy, and a space for dialogue. Africa Trade, c.1985 ‘Discourse is a primary tool against the she declared: ‘The show does not stand references the vast collection of properly and am very frightened of This series is a lamentation, an act of weapons used to marginalise and write in isolation. -
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PHOTO LONDON ANNOUNCES 2019 TALKS PROGRAMME Photo London has announced details of the Talks Programme for the fifth edition of the Fair, which will take place from 15 - 19 May 2019 at Somerset House. The Programme will showcase the rich and diverse history of photography up until the present day, and explore the current and future direction of the medium in a dynamic format. It will feature talks, debates and discussions with some of the world’s most important and innovative photographers, artists, curators, critics and authors. As well as featuring many celebrated practitioners including Erwin Olaf, Susan Meiselas, Ralph Gibson, Hannah Starkey, Tim Walker, Maja Daniels, Ed Templeton and Vanessa Winship, the Talks Programme includes: • The Photo London Master of Photography 2019 Stephen Shore in conversation with curator David Campany • Martin Parr discusses British identity in his work with historian and broadcaster Dominic Sandbrook • The acclaimed biographer Ann Marks in conversation with the author Anna Sparham on the legacy of Vivian Maier • Gavin Turk discusses his Photo London project Portrait of an Egg with Matthew Collings • Zackary Drucker discusses her work on transgender identities in photography with Chris Boot, Executive Director of Aperture Foundation • Contemporary portrait photographer Martin Schoeller in conversation with publisher Gerhard Steidl • Liz Johnson Artur in conversation with Hans Ulrich Obrist • Photographer, electronic music producer and DJ, Eamonn Doyle discusses his special Photo London installation Made in Dublin with collaborators David Donohoe and Niall Sweeney • Panel discussions on subjects such as representations of the body; collecting photography; the future of photography curation and the legacy of the pioneering early photographer Roger Fenton • Tickets on sale now at photolondon.org/tickets – Fair tickets are not required to attend talks The Photo London Talks Programme is curated by William A. -
Phillips, M. the Case of the Absent Artist. a Body Of
The Case of the Absent Artist A Body of Evidence of Mike Phillips 1 The Case for the Defence. On the seventeenth of April 1962 Perry Mason, the legendary defence attorney, faced one of his most pataphysical cases. ‘The Case of the Absent Artist’ (CBS 1962) is an account of a transmogrification that resonates through digital arts practice to this day. The author of the popular comic strip ‘Zingy’, Gabe Philips, transforms from a cartoon- ist to a ‘serious’ painter, bifurcating in the process to become Otto Gervaert. This transformation is only completed when he (both Philips and Gervaert) is/are murdered, the artist(s) remains as a body of evi- dence and a body of work. Mason is faced with the absence left by the transformation of the artist; the absent artist (or artists) defines a new space, not emptiness but a place resonant with potential. The following is a re-investigation of this resonant place left by the artist – Philips/Gervaert and how this transformation of the artist is be- ing enacted with increasing frequency. This manifestation of trans- formation, duality and disappearance is symptomatic of a technologi- cal performativity evident in a series of projects and relationships that have informed the development of frameworks, articulated below as ‘Operating Systems’. As forensic tools these Operating Systems are ‘instruments’ or provocative prototypes that enhance our understand- ing of the world and our impact on it. In the case of the absent artist they probe the space that once held the artist to build a new body of evidence. This body of evidence itself builds on an evolutionary thread that has run through the collaborative work of i-DAT.org. -
Re-Recordings | List of Materials ------9 1) Selection of Material from the Recordings Project Archive, Policy 6 Documents and Art Documentation (ACAA)
Re-Recordings | List of Materials --------------------------------------------------------------------------- 9 1) Selection of material from the Recordings Project Archive, policy 6 documents and art documentation (ACAA) Recordings: a Select Bibliography of Contemporary African, Afro-Caribbean and Asian 5 British Art. London: INiva, 1996. Race, Sex and Class 5. Multi-Ethnic Education in further, Higher and Community Education, 1983 8 Box of Recordings Research Project and Drafts. Chelsea College of Art & Design Library Archive. Anti-Racist Film Programme. London, GLC, March/April 1985. London GLC/ London 3 Against Racism. 1985. The Arts and Ethnic Minorities: Action Plan. London: Arts Council of Great Britain, 1986 4 Ward, Liz. St.Martin’s School of Art Library: Collection Development, ILEA Muti-Ethnic 1 Review,Winter/Spring 1985 Chambers, Eddie. Blk Art Group Proposal to Art Colleges, 1983 Black Art in Britain: A bibliography of material held in the Library, Chelsea School of Art, 1986 Asian and Afro-Caribbean British art: a Bibliography of Material Held in the Library, 2 Chelsea College of Art & Design,1989. Art Libraries Journal, The Documentation of Black Artists, v.8, no.4 (Winter 1983) Black Arts in London no.50, 4-17 March 1986 7 African and Asian Visual Artists Archive (Flyer and cards) [Bristol],1990. Arts Council Arts & Ethnic Minorities Action Plan. London, February, 1996 ------------------------------------------------------------------------------------------------- 2) Artists’ multiples, artists’ books, ephemera and video Araeen, Rasheed. The Golden Verses: a Billboard Artwork… Artangel Trust, 1990 Chambers, Eddie. Breaking that Bondage: Plotting that Course. London: Black Art Gallery, 1984 Us and ‘Dem, The Storey Institute , Leicester, 1994. Postcard/Virginia Nimarkoh, 1993. Artist Book. The Image Employed, the use of narrative in Black art.