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Lubaina Himid Solo Exhibitions 2011 Tailor Striker Singer Dandy Lubaina Himid Solo Exhibitions 2011 Tailor Striker Singer Dandy Platt Hall, Manchester Museums 2010 Jelly Mould Pavilion Sudley House Liverpool and Liverpool Museums 2008 Kangas and Other Stories Peg Alston Gallery New York 2007 Talking On Corners Speaking In Tongues Harris Museum &Art Gallery Preston 2007 Swallow Hard Judges Lodgings Lancaster 2006 Swallow Judges Lodgings Lancaster 2004 Naming The Money Hatton Gallery Newcastle. 2001 Double Life Bolton Museum & Art Gallery. 2001 Inside The Invisible St. Jorgens Museum Bergen Norway 1999 Plan B Tate St Ives. 1999 Zanzibar Oriel Mostyn Llandudno. 1997 Venetian Maps Harris Museum & Art Gallery Preston. 1996 Portraits & Heroes Peg Alston Gallery, New York. 1995 Beach House Wrexham Arts Centre & Tour 1994 Vernets Studio 5th Havana Bienniale Cuba 1994 Vernets Studio Transmission Gallery Glasgow. 1993 African Gardens Black Art Gallery London. 1992 Revenge Rochdale Art Gallery + South Bank Centre London 1989 The Ballad of the Wing Chisenhale Gallery London 1987 New Robes for MaShulan Rochdale Art Gallery 1986 A Fashionable Marriage Pentonville Gallery London. Group Exhibitions 2012 Migrations Tate Britain London 2012 Cotton: Global Threads Whitworth Art Gallery, London 2011/12 Thin Black Line(s) Tate Britain London 2011 Hunter Gatherer Project Space Leeds 2011 Jelly Pavilions - Northern Art Prize Leeds Art Gallery 2009 Myth + History The Bristol Gallery 2007 Uncomfortable Truths Victoria & Albert Museum London 2006 Migratory Aesthetics Leeds University Yorkshire 2004/5 Distance No Object Bowes Museum Barnard Castle 2002 Fabrications C.U.B.E. Manchester 2002 Games People Play Castlefield Gallery Manchester 2001 Nothing But Facts Lavatoio Contumaciale Rome. 2001 Representing Britain Tate Britain London 1999 1980s Figurative Painting Birmingham City Art Gallery. 1998 Memory Walking City Art Gallery Wellington NZ 1997-98 Transforming the Crown Studio Museum New York. 1997-99 Crossings Track 17 & USA Tour Los Angeles 1997 M.A.G. Collection Ferens Gallery Hull & Touring. 1997 Representing Women Nottingham Trent University 1997 Hogarth on Hogarth Victoria & Albert Museum London. 1995 Word Not Found Trier Germany 1995 Photogenetic Streetlevel Gallery, Glasgow & Tour 1994 Group Show Corr Contemporary Art London 1994 Memories of Childhood Steinbaum Kraus Gallery New York. 1994 Seen/Unseen Bluecoat Gallery Liverpool. 1994 Vernet’s Studio 5th Havana Biennale Cuba. 1993 Greetings Steinbaum Kraus Gallery New York 1992 Columbus Drowning Rochdale Art Gallery. 1992 Women’s Art At New Hall New Hall College Cambridge. 1991 Treatise on The Sublime University of California USA 1990 The Transformation of the Object Grazer Kunstverein & Vienna Fine Art Academy 1990-91 Heritage Impressions Gallery York & British Tour 1989-90 The Other Story Hayward Gallery, London & British Tour 1988-89 Along The Lines of Resistance Cooper Art Gallery Barnsley & British Tour 1988 Passion The Elbow Room London 1988 Blackwomansong Sisterwrite Gallery London 1988 Gold Blooded Warrior Tom Allen Centre, London. 1988 Depicting History For Today Mappin Art Gallery Sheffield & British Tour 1987 Palaces of Culture Stoke Art Gallery & British Tour. 1987 The State of the Art I.C.A London. 1986 From Two Worlds Whitechapel Art Gallery London 1985 The Thin Black Line I.C.A. London 1984 Heroes and Heroines Black Art Gallery London 1984 Into The Open Mappin Art Gallery Sheffield. 1983 Black Woman Time Now Battersea Arts Centre London. 1983 Five Black Women Africa Centre London. Collections Between The Two Tate Britain London Between the Two my Heart is Balanced Tate Britain London Ankledeep Tate Britain London Toussaint l’Ouverture Arts Council Collection Fashionable Marriage Victoria & Albert Museum London Plan B Birmingham City Art Gallery Hannibal’s Sister Harris Museum & Art Gallery Spinster Salt’s Collection New Hall College Cambridge Selected Curatorial work includes work as Director Elbow Room 1986 – 1990 1990 Claudette Johnson Rochdale Art Gallery 1989 Critical, Donald Rodney Rochdale Art Gallery. 1986 Unrecorded Truths Elbow Room London 1985 The Thin Black Line I.C.A. London 1984 Into The Open Mappin Gallery Sheffield. 1984 Black Woman Time Now Battersea Arts Centre. 1983 Five Black Women Africa Centre London. .
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  • 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.
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  • Lubaina Himid Invisible Strategies Exhibition Notes
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  • Lubaina Himid
    Lubaina Himid Hollybush Gardens launches its new space with an exhibition by Lubaina Himid, a painter and installation artist who has dedicated much of her thirty-year long career to uncovering marginalised and silenced histories, figures and cultural moments. Born in Zanzibar, Lubaina Himid was then brought up in North London by her mother, a Royal College of Art educated textile designer whose keen interest in patterns inspired her to follow an artistic path. Himid first took a BA in Theatre Design at Wimbledon College of Art in the mid-1970s, choosing this discipline for the connections it bore with radical politics, and in particular Black politics. While studying Cultural History at the Royal College of Art six years later, and by then deeply engaged in a struggle against the absence of representation of Black and Asian women in the art world, Lubaina Himid became committed to showing the work of her contem- poraries Sutapa Biswas, Sonia Boyce, Claudette Johnson, Ingrid Pollard, Veronica Ryan and Maud Sulter, alongside her own. She curated significant group exhibitions such as Five Black Women at the Africa Centre in 1983, Black Women Time Now at Battersea Arts Centre in 1983-84 and The Thin Black Line at the Institute for Contemporary Art in 1985, all of which were revisited in the temporary display Thin Black Line(s) at Tate Britain in 2011-12. In 1986, Himid exhibited her iconic installation A Fashionable Marriage at the Pentonville Gallery in London. Inspired by William Hogarth’s Marriage à-la-mode (1743), a series of six paintings satirising an arranged marriage gone wrong, Himid’s piece produced a biting critique of contemporary art and politics, and of their collusion.
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  • Press Release
    Hollybush Gardens 1-2 Warner Yard London EC1r 5ey Tel: +44 (0)207 837 5991 www.hollybushgardens.co.uk lubaina himid Exhibition: 7 June - 15 August 2019 Preview: Thursday, 6 June 2019, 6:30 - 8:30 pm Hollybush Gardens is pleased to present a selection of drawings by Lubaina Himid that are being exhibited for the first time. This body of work was produced as part of the research process for what became Tailor, Striker, Singer, Dandy, a series of five painted portraits of black men that developed out of Himid’s encounter with the West African textiles held in the Manchester City Galleries’ extensive collection of historical fashion and clothing. Himid, whose mother was a textile designer, has been fascinated by patterns in garments since childhood. Patterns have populated her work from the 1980s to today, enlivening the visual surface and weaving together disparate threads—cultural, geographical, historical. Himid explains, ‘I love the language of pattern, its immense potential for movement, illusion, colour experiments and subliminal political messaging.' In developing the life-size portraits of Tailor, Striker, Singer, Dandy, Himid produced a body of drawings that interpret and re-contextualise the textiles she found in the collection. Colour, shape, and repetition are taken as devices embedded in clothing that are mobile and malleable, shifting in meaning across contexts. The drawings re-embed historical textile samples and clothing designs in the imagined male figures in anachronistic ways, animating the multi-directional and cross-historical flow of patterns in self-fashioning and identity. Lubaina Himid lives and works in Preston, UK and is a professor at the University of Central Lancashire.
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    This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. MICHAELCLARK HETEROSPECTIVE 14 to 24 October Anthony d'Offay Gallery 23 Dering Street New Bond Street London W1 01-499 4100 This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. Performance No 58 Summer 1989 Contents Performance Editorial 3 295 Kentish Town Road, London NW5 2T J Simon And erson Flux-Hunting 11 tel 01-482 3843 The Uncertain in Pursuit of the fax 01-482 3841 Incomprehensible? © 1989 ISSN No. 0 144 5901 Marjorie Allthorp e-Guyt on The Big Dipper 23 The Legacy of Arte Povera Editor Gray Watson David Dunb ar The Pictureseque Ruins of the 31 Administrator Tonny Grey Situationist International Design Gabriella Le Grazie Printing /Layout Chrissie Iles Reflections 45 Bookmag , Inverness Video Sculpture Past and Present Publisher Performance Magazine Ltd Sigmar Gassert Glanz und Elend 55 Die Multi-media Kunst von Marie-Jo Lafontaine Brilliance and Misery The Multi-media Art of Marie-Jo All material is copyr ight Lafontaine and may not be reproduced without the writt en David H ughes Dance Away the Frontiers 67 permission of the Editor.
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    Impact case study (REF3b) Institution: University of Central Lancashire Unit of Assessment: UOA 34 Art & Design: History, Practice and Theory Title of case study: Making Histories Visible 1. Summary of the impact (indicative maximum 100 words) Making Histories Visible produces visual art projects with internationally recognised museums and galleries, in which new artworks and installations activate institutional and curatorial policies to re- examine collections and collecting. By investigating the historic through the contemporary, using the mechanisms of display and interventions, youth centred workshops, symposia, web-sites and publications; we help museums find new relevance within contemporary society. Thin Black Line(s) Tate Britain (2011/12), Cotton Global Threads Whitworth and Manchester Galleries (2011/2012), Jelly Mould Pavilions NML (2010), reflect collaborations and sustainable relationships with a wide, influential range of museum curators, directors and community leaders. 2. Underpinning research (indicative maximum 500 words) Professor Lubaina Himid and Ms Susan Walsh joined UCLan in 1990 and 1998 respectively. The researchers asked questions through visual art practice about how to show that the cultural contribution and participation of ethnically diverse communities, at every level, can develop and enrich the museum experience for a broad range of audiences, while encouraging a sense of belonging and a desire for engagement. Impact on Institutional Policy Himid‟s strategy of interweaving new artworks into the display of historical collections, and co- curating and recontextualising collections in new ways, allows previously invisible issues to surface. In 2004, Himid made Naming the Money having investigated work in the collection held at the Hatton gallery (Newcastle). It allowed discussion around forcible migration, whilst also initiating a dialogue between the museum and the local communities using neglected fabric samples from the collection.
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  • Friendship and Strength
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  • RMCA Occitanie Highlights Turner Prize Winner Lubaina Himid at Age 65
    www.smartymagazine.com RMCA Occitanie highlights Turner Prize winner Lubaina Himid at age 65 by smArty The title of this first exhibition in France by Lubaina Himid at the invitation of Sandra Patron, director of the RMCA Occitanie,"Gifts to Kings" refers to the installation that serves as the pivot of the whole, named"Naming the Money" (2004) based on a process borrowed from the theatre of painted plywood figures referring to those workers and small craftsmen from the contingents of slaves who paid their tribe throughout the British nation. This principle which also suggests a physical implication of the spectator had appeared in a previous and decisive play of 1986 " Un mariage à la mode " taken from the satirical vein of William Hogarth. the course starts from the enigmatic painting " Le Rodeur " of 2016 which instils a sort of unease in front of a group of 5 characters strangely disconnected from each other, of which one carries the mask of a bird. If everyone looks in a different direction, it is because this organ is the key to the story inspired by a dark news item, the tragic event that occurred on board the slave ship Rodeur in 1819, where some 160 slaves were deprived of their sight. Under a very refined aspect of colors and treatment, Lubaina Himid gives life to these hidden and violent parts of the great story, as with"Cotton.com" of 2002 where from the decorative ornamental and feminine motif, it is a question of the episode of Lubaina Himid, a French premiere at Mrac Occitanie the famine of cotton when in solidarity with the African- American slaves, the workers of Manchester went on strike during the Civil War.
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  • Further Reading
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