DOCSLIB.ORG

Eddie Chambers, Spring 2015. Visual Arts of the English

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eddie Chambers, Spring 2015. Visual Arts of the English Eddie Chambers, Spring 2015. Visual Arts of the English-speaking Caribbean (class ARH 345M, LAS 327, AFR 374F M-W-F 3:00 to 4:00 2.204 Office hours, Mondays, 1:00 – 3:00 pm Consistently framed, in some quarters, as little more than a holiday destination, the Caribbean is in actuality one of the world’s most fascinating and complex regions. The countries of the Caribbean, at once united and divided by the great expanse of the Caribbean Sea, are home to a wide range of religions, cultures, nationalities, ‘races’, and peoples. Whilst Spanish- speaking Cuba and French-speaking Haiti are in some ways the artistic giants of the region, equal stature can be attached to the biggest English- speaking island of the Caribbean, Jamaica. Together with its neighbors such as Trinidad and Tobago, Barbados, and Guyana, the English-speaking Caribbean has produced much of the most dynamic art to come out of the region during the course of the 20th century. This class will look at the work of a fascinating group of modern and contemporary Caribbean artists. The history of the region is a compelling and fascinating one, embracing as it does a variety of factors including the trans-Atlantic slave trade, 20th century patterns of migration and travel, and ‘New World’ sensibilities. This class will examine the work of a range of Caribbean artists whose practice came to the fore over the course of the 20th century, from the 1920s right up to the present time. Artists to be studied include practitioners such as Edna Manley, Barrington Watson, Albert Chong, and artists with substantial links to the Caribbean such as Jean-Michel Basquiat. In addition, the class will critically explore the visual culture of the region, through the mediums of film, documentaries, record sleeves, and tourist imagery. Visual Arts of the English-speaking Caribbean will be invaluable to those students looking to broaden their understanding and familiarity with Caribbean artists, those living within the region and those who have moved away and are now practicing in countries such as the United Kingdom and the United States. (Week of) Wednesday January 21 Introduction: What’s Caribbean, Who’s Caribbean. Text: Veerle Poupeye, Introduction, Caribbean Art, Thames and Hudson World of Art, London, 1998, pp. 9 – 24 (Week of) Monday January 26 Slavery, Racial Identity and visual art in the Caribbean and its Diaspora Text: James Walvin, The African Diaspora, Chapter 4 of Slavery and the Slave Trade: A Short Illustrated History, University Press of Mississippi, Jackson, 1983, pp.40-63 (Week of) Monday February 2 Edna Manley and the Creation of ‘Jamaican Art’ Text: David Boxer, Edna Manley – sculptor, Jamaica Journal 18/1 nd pp. 25- 40 (Week of) Monday February 9 (no class on Wednesday and Friday of this week) Ronald Moody: a Jamaican Abroad Text: Guy Brett, A Reputation restored: The Rediscovery of sculptor Ronald Moody, Tate Magazine, March-April 2003: 78-80 (Week of) Monday February 16 Aubrey Williams, World Painter Text: Guy Brett Introduction, catalog essay in Aubrey Williams, exhibition at Shibuya Tokyu Plaza, Japan, 1988, unpaginated (Week of) Monday February 23 Tam Joseph, Urban Griot Text: Nancy Hynes in conversation with Tam Joseph, in catalog for exhibition This is History, Gallery II, University of Bradford, 1998, unpaginated. (Week of) Monday March 2 Intuitive art, Folk art, Outsider art: a problem with labels Text: David Boxer, Introducing Fifteen Intuitives. The transcript of a lecture delivered at the National Gallery [of Jamaica] on July 10th, 1987, pp. 2-12 of the exhibition catalog ‘Fifteen Intuitives’, National Gallery of Jamaica, July 12 – October 31, 1987 (Week of) Monday March 9 Eugene Palmer: From Jamaica to London Text: Richard Hylton, catalog essay for Index, Wolsey Art Gallery, Ipswich, 2004, unpaginated. SPRING BREAK (Week of) Monday March 23 Denzil Forrester: From Grenada to London Text: John Lyons, Denzil Forrester’s Art in Context, catalog essay for Dub Transition, Harris Museum and Art Gallery, Preston, 1990, pp.16 - 21 (Week of) Monday March 30 Albert Chong: from Jamaica to Colorado Text: Jeff Hoone, catalog introduction to Across the Void, Menschell Photography Gallery, Syracuse University, 2000, pp. 4 – 5 (Week of) Monday April 6 Barrington Watson: Jamaica’s Popular Artist Text: Petrine Archer –Straw The Dynamic Sixties, in Jamaican Art: An Overview, Kingston Publishers, 1990, pp.57 – 61. (Week of) Monday April 13 12 inch square messages: the art of the reggae record Text: tbc (Week of) Monday April 20 What Place for Jean-Michel Basquiat? Voodoo’s Gleeful, Ambassador Text: Leonard Emmerling, Basquiat and The 1980s Art Scene, in Basquiat, Taschen, 2003, pp. 7 – 9 (Week of) Monday April 27 Not Quite Sun, Sea and Sand: Films, Life and Debt and Jamaica for Sale Text: tbc (Week of) Monday May 4 The Caribbean Exhibited: A History Texts: New World Imagery: Jamaican Art (1995) and Infinite Island: Contemporary Caribbean Art (2007) catalog essays Friday May 8 Submission of 3500 word paper Particulars Students are required to produce response papers, relating to the previous week’s classes. The first response paper is due Monday January 26. The reaction papers should be no longer than a word length of 500 words. A 3500 word paper, relating to some aspect of the class, must be submitted no later than 10.00am on Friday May 8. .
Load more

Recommended publications
  • Decolonising Knowledge
    DECOLONISING KNOWLEDGE Expand the Black Experience in Britain’s heritage “Drawing on his personal web site Chronicleworld.org and digital and print collection, the author challenges the nation’s information guardians to “detoxify” their knowledge portals” Thomas L Blair Commentaries on the Chronicleworld.org Users value the Thomas L Blair digital collection for its support of “below the radar” unreported communities. Here is what they have to say: Social scientists and researchers at professional associations, such as SOSIG and the UK Intute Science, Engineering and Technology, applaud the Chronicleworld.org web site’s “essays, articles and information about the black urban experience that invite interaction”. Black History Month archived Bernie Grant, Militant Parliamentarian (1944-2000) from the Chronicleworld.org Online journalists at the New York Times on the Web nominate THE CHRONICLE: www.chronicleworld.org as “A biting, well-written zine about black life in Britain” and a useful reference in the Arts, Music and Popular Culture, Technology and Knowledge Networks. Enquirers to UK Directory at ukdirectory.co.uk value the Chronicleworld.org under the headings Race Relations Organisations promoting racial equality, anti- racism and multiculturalism. Library”Govt & Society”Policies & Issues”Race Relations The 100 Great Black Britons www.100greatblackbritons.com cites “Chronicle World - Changing Black Britain as a major resource Magazine addressing the concerns of Black Britons includes a newsgroup and articles on topical events as well as careers, business and the arts. www.chronicleworld.org” Editors at the British TV Channel 4 - Black and Asian History Map call the www.chronicleworld.org “a comprehensive site full of information on the black British presence plus news, current affairs and a rich archive of material”.
    [Show full text]
  • Black Internationalism and African and Caribbean
    BLACK INTERNATIONALISM AND AFRICAN AND CARIBBEAN INTELLECTUALS IN LONDON, 1919-1950 By MARC MATERA A Dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in History Written under the direction of Professor Bonnie G. Smith And approved by _______________________ _______________________ _______________________ _______________________ New Brunswick, New Jersey May 2008 ABSTRACT OF THE DISSERTATION Black Internationalism and African and Caribbean Intellectuals in London, 1919-1950 By MARC MATERA Dissertation Director: Bonnie G. Smith During the three decades between the end of World War I and 1950, African and West Indian scholars, professionals, university students, artists, and political activists in London forged new conceptions of community, reshaped public debates about the nature and goals of British colonialism, and prepared the way for a revolutionary and self-consciously modern African culture. Black intellectuals formed organizations that became homes away from home and centers of cultural mixture and intellectual debate, and launched publications that served as new means of voicing social commentary and political dissent. These black associations developed within an atmosphere characterized by a variety of internationalisms, including pan-ethnic movements, feminism, communism, and the socialist internationalism ascendant within the British Left after World War I. The intellectual and political context of London and the types of sociability that these groups fostered gave rise to a range of black internationalist activity and new regional imaginaries in the form of a West Indian Federation and a United West Africa that shaped the goals of anticolonialism before 1950.
    [Show full text]
  • 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.
    [Show full text]
  • 1 Curriculum Vitae EDDIE CHAMBERS
    Curriculum vitae EDDIE CHAMBERS www.eddiechambers.com African Art/African American Art/African Diaspora art history, Field Editor, caa.reviews, (http://www.caareviews.org / http://www.caareviews.org/reviews/2969#.VxlZGaX_R94) appointed August 2014, now serving a second three-year term Member of the editorial board of caa.reviews for a four-year term, from July 1, 2018, to June 30, 2022. Art Monthly Foundation Honorary Patron, (together with Liam Gillick, Hans Haacke, Alfredo Jaar, and Martha Rosler) Appointed June 2018 The University of Texas at Austin Department of Art and Art History 2301 San Jacinto Blvd. Stop D1300 Austin, Texas 78712-1421 EDUCATION Historical and Cultural Studies Department, Goldsmiths College, University of London, (Supervisor, Professor Sarat Maharaj, Internal Examiner, Dr. Carol McKay, External Examiner, Professor Stuart Hall) Black Visual Arts Activity in England 1981-1986: Press and Public Responses, PhD awarded March 31, 1998 Sunderland Polytechnic, Faculty of Art and Design, Fine Art Department, 1980 - 1983. BA (Hons.) Fine Art, 2:1 UT-AUSTIN APPOINTMENT Assistant Professor, Art History, January 2010 – August 2013 Associate Professor, Art History, September 2013 – August 2016 Professor, Art History, September 2016 onwards Inaugural Curatorial Fellow at the John L. Warfield Center for African and African American Studies, Fall Semester 2013/Spring Semester 2014 Assistant Chair, Art History Division, Fall 2015 – Summer 2017, two-year term OTHER TEACHING Emory University, Atlanta, Georgia. Visiting Professor, Art History department, spring semester 2008, and spring semester and fall semester 2009. 1 Emory University, Atlanta, Georgia. Visiting Professor, Art History department, spring semester and fall semester, 2005 and fall semester 2006.
    [Show full text]
  • Denzil Forrester Hyperallergic 12.16.16
    white columns December 16, 2016 online A Painter Who Captured London’s 1980s Reggae Scene Th e British painter Denzil Forrester, who is currently showing at White Columns, talks about how he made art and was a fl y on the wall at reggae and dub music venues. By Chris Cobb Denzil Forrester, “SAMPLE THE B SIDE” (1982), oil on canvas, 66.93 x 89.37 in. It’s no secret that London in the 1980s was segregated. Th ere was, for one, a stark contrast between the punk rock–obsessed white youth culture and the black youth culture that was madly in love with reggae. In that world, the legendary DJ Jah Shaka and his dub Sound System reigned supreme and would perform live mixes all night long. Th e British painter Denzil Forrester (then in his 20s) saw it as an opportunity not only to dance but also to make his own art. He then became a fl y on the wall at the venues where huge crowds 4 would sway to the beats. 45.476 } . In this way he could use what he was learning at the Royal College of Art to tell the story of that community and the energy he felt all around him. He would typically set up in a corner with his art supplies and sketch what he called “energy that can’t be controlled.” entrance on Horatio St g { During the day, he would be back in his studio transforming those drawings of dancers and club patrons and use them as the basis for large paintings, many of which are now on view at White Columns.
    [Show full text]
  • Opens New Window
    EDDIE CHAMBERS CV Curriculum vitae EDDIE CHAMBERS www.eddiechambers.com College Art Association Art Journal Editor-in-Chief July 1, 2021 - June 30, 2024 Art Monthly Foundation Honorary Patron, (together with Liam Gillick, Hans Haacke, Mona Hatoum, Alfredo Jaar, and Martha Rosler) Appointed June 2018 The University of Texas at Austin Department of Art and Art History 2301 San Jacinto Blvd. Stop D1300 Austin, Texas 78712-1421 Holder of the David Bruton, Jr. Centennial Professorship in Art History, approved by the university administration, effective September 1, 2021 EDUCATION Historical and Cultural Studies Department, Goldsmiths College, University of London, (Supervisor, Professor Sarat Maharaj, Internal Examiner, Dr. Carol McKay, External Examiner, Professor Stuart Hall) Black Visual Arts Activity in England 1981-1986: Press and Public Responses, Ph. D. awarded March 31, 1998 Sunderland Polytechnic, Faculty of Art and Design, Fine Art Department, 1980 - 1983. BA (Hons.) Fine Art, 2:1 UT-AUSTIN APPOINTMENT Professor, Art History, September 2016 onwards Holder of the David Bruton, Jr. Centennial Professorship in Art History, approved by the university administration, effective September 1, 2021. Affiliate faculty member of the Department of American Studies. Inaugural Curatorial Fellow at the John L. Warfield Center for African and African American Studies, Fall Semester 2013/Spring Semester 2014 1 EDDIE CHAMBERS CV Assistant Chair, Art History Division, Fall 2015 – Summer 2017, two-year term OTHER TEACHING Emory University, Atlanta, Georgia. Visiting Professor, Art History department, spring semester 2008, and spring semester and fall semester 2009. Emory University, Atlanta, Georgia. Visiting Professor, Art History department, spring semester and fall semester, 2005 and fall semester 2006.
    [Show full text]
  • Writin' and Soundin' a Transnational Caribbean Experience
    Spring 2013 Dubbin’ the Literary Canon: Writin’ and Soundin’ A Transnational Caribbean Experience Warren Harding Candidate for Honors Africana Studies Africana Studies Honors Committee: Meredith Gadsby, Chair Gordon Gill Caroline Jackson Smith 2 ABSTRACT In the mid-1970s, a collective of Jamaican poets from Kingston to London began to use reggae as a foundational aesthetic to their poetry. Inspired by the rise of reggae music and the work of the Caribbean Artists Movement based London from 1966 to 1972, these artists took it upon themselves to continue the dialogue on Caribbean cultural production. This research will explore the ways in which dub poetry created an expressive space for Jamaican artists to complicate discussions of migration and colonialism in the transnational Caribbean experience. In order to do so, this research engages historical, ethnomusicological, and literary theories to develop a framework to analyze dub poetry. It will primarily pose the question, how did these dub poets expand the archives of Caribbean national production? This paper will suggest that by facilitating a dialogue among Jamaicans located between London and Kingston, dub poetry expanded the archives for Caribbean cultural production. In this expansion, dub poetry’s simultaneous combination of literary and sound genius not only repositioned geographical boundaries of Jamaican identity but also grounded the intersecting spaces of the written, spoken, recorded, and performed word. 3 Table of Contents Introduction………………………………………………………………………...4-9 Theories,
    [Show full text]
  • Denzil Forrester
    Denzil Forrester Born: Grenada, West Indies 1956 Lives and works in Cornwall, England Education 1981-1983 MA Fine Art, Royal College of Art, London, England 1976-1979 BA (Hons) Fine Art, Central School of Art, London, England 1975-1976 Foundation, Central School of Art, London, England Solo Exhibitions/Projects (selected) 2020–2021 Itchin & Scratchin, Nottingham Contemporary, Nottingham, England; travelling to Spike Island, Bristol, England (touring) 2020 Denzil Forrester in Rome, 30 Old Burlington Street, Stephen Friedman Gallery, London, England 2019 Brixton Blue, TFL Commission, Brixton Underground Station, London, England A Survey, Stephen Friedman Gallery, London, England 2018 From Trench Town to Porthtowan, Jackson Foundation, St Just, England 2016 White Columns, New York, USA Tramps, London, England 2002 Two Decades of Painting, The Edward Wilmot Blyden Project, 4 Victoria Street, Bristol, England 1996 Memory and Images, Peterborough Museum & Art Gallery, Peterborough, England 1995 Farewell to Shadowland, 198 Gallery, London, England 1990-1994 Dub Transition, Harris Museum & Gallery, Preston, England; travelled to Laing art Gallery, Newcastle, England; Smith Art Gallery, Stirling, England; Boundary Gallery, London, England; The Angel Row, Nottingham, England; and Lancaster Gallery, Coventry, England 1987 Limelight Club, New York, USA 25—28 Old Burlington Street London W1S 3AN T +44 (0)20 7494 1434 stephenfriedman.com 1986 Drawing Exhibition, Commonwealth Institute, London, England 1983 Pagan Echoes, Riverside Studios, London, England
    [Show full text]
  • Dental Historian About Ronald Moody and His Brothers
    Dental Historian 2021 66(1) 67 - 74 Ronald Clive Moody (1900- 1984), dentist and leading black sculptor, and his brothers Stanley Gelbier and Helen Nield Introduction pure science. Compulsory subjects were English, elementary mathematics, a language other than This story began on 12th April 2020 whilst English and one from history, physical science, watching an Antiques Road Show on BBC TV. geography, natural science, Latin, Greek, Hebrew, Someone brought along a wood carving. The expert French or Italian. Student candidates also needed mentioned that the sculptor, Ronald Moody, was a to pass exams in elementary physics and chemistry dentist. We needed to know more. Our research provided by or recognized by the medical licensing taught us not only about this gifted man but also bodies, including the Colleges of Surgeons. about his very talented family. Once these educational requirements were Ronald Clive Moody LDSRCS gained (probably some in Jamaica before coming Ronald was born in Kingston, Jamaica on 12 to London), Ronald could register as a dental August 1900. His parents were Christina Emmeline student. He was then required to engage in four Ellis and Charles Ernest Moody, a druggist and years of professional study and two of mechanical chemist. His siblings were brothers Harold, Charles, dentistry. Many students started their studies with Ludlow and Lockley and sister Elise. Ronald was a two to three years pupilage with a registered educated at the all-male Calabar College, practitioner to learn mechanical dentistry. established by the Jamaica Baptist Union in 1912 Following such a bona fide apprenticeship ‘after’ for the children of Baptist ministers and poor black registration, one year counted as one of the four families.
    [Show full text]
  • 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.
    [Show full text]
  • Download Artspark Resource on Ronald Moody
    ArtSpark ignite ideas and imagine Discover ‘Male Standing Figure - The Priest’ a wood figurine from 1939 by the artist Ronald Moody. This is one of 14,000+ works of art from the Government Art Collection which are displayed in UK Government buildings in over 130 countries; that is nearly every capital city around the world! Ready to find out more? Ronald Moody (1910–1984) Read online, download or ‘pick and mix’ ‘Male Standing Figure – The Priest’ 1939 any activities that you like. Try them at wood figurine home, at school or with friends. palisandre (rosewood) ©️ Estate of the Artist You don’t have to do them all in one go! Look out for this icon for 10-minute quick 10 and easy activities… 10 facts about... Ronald Moody * Ronald Moody was described as ‘the most remained hidden in a friend’s studio until * Moody was deeply interested in the important Black artist in London of the Moody organised its return to London cultures indigenous to the Caribbean. His interwar decades’ by art writer, in 1949. 1963 commissioned sculpture for the Jean Fisher. * Moody’s career as a sculptor owes a lot to University of the West Indies in Jamaica, * His wood carvings, inspired by the human chance. Turning left instead of right one was inspired by West Indian folklore form, were not realistic. Simplified forms, day in 1928 at the British Museum (BM), stories on the origins of the world. they may have held symbolic meaning. he walked into the Egyptian Room. He * After his death, Moody’s niece Cynthia, * Arriving in London from Jamaica in 1923, later described the moment: ‘… a sudden a film-maker and editor, devotedly Moody originally studied dentistry - a revelation came to me and I felt that documented and promoted her uncle’s career he followed alongside being an sculpture was my real medium.’ work, securing his reputation in the art artist until the 1970s.
    [Show full text]
  • EDDIE CHAMBERS CV 1 Curriculum Vitae EDDIE CHAMBERS Www
    EDDIE CHAMBERS CV Curriculum vitae EDDIE CHAMBERS www.eddiechambers.com African Art/African American Art/African Diaspora art history, Field Editor, caa.reviews, (http://www.caareviews.org / http://www.caareviews.org/reviews/2969#.VxlZGaX_R94) August 2014 – July 2020, two consecutive three-year terms Member of the editorial board of caa.reviews for a four-year term, (abbreviated from July 1, 2018, to November 30, 2020) on account of my being appointed as Editor- in-Chief of Art Journal. College Art Association Art Journal Editor-in-Chief designate My term as Editor-in-Chief begins on July 1, 2021, and runs through June 30, 2024, though I will join the Art Journal editorial board as editor designate from December 1, 2020, to June 30, 2021 Art Monthly Foundation Honorary Patron, (together with Liam Gillick, Hans Haacke, Mona Hatoum, Alfredo Jaar, and Martha Rosler) Appointed June 2018 The University of Texas at Austin Department of Art and Art History 2301 San Jacinto Blvd. Stop D1300 Austin, Texas 78712-1421 EDUCATION Historical and Cultural Studies Department, Goldsmiths College, University of London, (Supervisor, Professor Sarat Maharaj, Internal Examiner, Dr. Carol McKay, External Examiner, Professor Stuart Hall) Black Visual Arts Activity in England 1981-1986: Press and Public Responses, Ph. D. awarded March 31, 1998 Sunderland Polytechnic, Faculty of Art and Design, Fine Art Department, 1980 - 1983. BA (Hons.) Fine Art, 2:1 UT-AUSTIN APPOINTMENT Professor, Art History, September 2016 onwards 1 EDDIE CHAMBERS CV Inaugural Curatorial Fellow at the John L. Warfield Center for African and African American Studies, Fall Semester 2013/Spring Semester 2014 Assistant Chair, Art History Division, Fall 2015 – Summer 2017, two-year term OTHER TEACHING Emory University, Atlanta, Georgia.
    [Show full text]