May 2013 Exhibitions & Events Keywords
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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 -
Capital Case Study: Rivington Place Shoreditch
Capital case study: Rivington Place Shoreditch, London Borough of Hackney 1 Contents 7 Planning and project development Capital case study: 2 Executive summary 8 Design and delivery 3 Project background and history 9 Opening the new gallery Rivington Place 4 The company 10 The gallery in operation Shoreditch, Hackney 5 Vital statistics 11 Wider lessons 6 Rationale for the project 12 Credits 1 Contents 2 Executive summary 3 Project background and history 4 The company 5 Vital statistics 6 Rationale for the project 7 Planning and project development 8 Design and delivery 9 Opening the new gallery 10 The gallery in operation 11 Wider lessons 12 Credits 1 Contents 7 Planning and project development Capital case study: 2 Executive summary 8 Design and delivery 3 Project background and history 9 Opening the new gallery Rivington Place 4 The company 10 The gallery in operation Shoreditch, Hackney 5 Vital statistics 11 Wider lessons 6 Rationale for the project 12 Credits Executive summary Rivington Place is a new gallery in The total cost of the project was just Hackney, east London, housing two under £8 million. It was funded by organisations: Iniva and Autograph. grants from the Arts Council Lottery Both are dedicated to the development Capital programme, Barclays Trust, and presentation of black visual arts the London Borough of Hackney, LDA at a national and international level. (London Development Authority), Designed by award-winning architect ERDF (European Regional Development David Adjaye, the building opened to Fund) and the City Fringe -
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Reframing the moment LEGACIES OF 1982 BLK ART GROUP CONFERENCE hoto of Eddie Chambers by John Reardon 1980 p Saturday 27th October 2012 On Thursday 28th October 1982, a group of black art students hosted The First National Black Art Convention at Wolverhampton Polytechnic. Their purpose was to discuss ‘the form, function and future of black art’. Lecture Theatre Thirty years later almost to the Millenium Campus (MC) day, on Saturday 27th October 2012 artists, curators, art historians Building and academics gather, once again University of Wolverhampton in Wolverhampton, to share scholarship and research the Wulfruna St ‘black art movement’ of the 1980s, its core debates, precursors and WV1 1LY legacies. Reframing the moment legacies ofSaturday the 1982 Blk 27th Art GroupOctober Conference 2012 09:00 Registration Tea/Coffee Programme 09:45 Welcome & Introductions 10:00 Kobena Mercer: Keynote Perforations: Mapping the BLK Art Group into a diasporic model of art history by looking at ‘translations’ of US Black Arts Movement ideas and the prevalence of a cut-and-mix aesthetic. PART ONE 11:00 RAIDING THE ARCHIVE: introduced and moderated by Paul Goodwin Keith Piper Pathways to the 1980s In a video-essay first presented as work in progress at the February 2012 Blk Art Group Symposium, Keith Piper will present a brief history of the Blk Art Group and discuss the socio-political moment of 1980s that heralded the cultural explosion of UK born and educated black artists. Courtney J Martin Art and black consciousness In 1982, Rasheed Araeen was invited by the Wolverhampton Young Black Artists to speak at the First National Black Art Convention in Wolverhampton. -
Stuart Hall and Black British Art 62
von Rosenberg: Stuart Hall and Black British Art 62 Stuart Hall and Black British Art INGRID VON ROSENBERG Technische Universität Dresden, Germany Introduction: A Sidelined Area of Hall’s Work The following article deals with a somewhat neglected aspect of Stuart Hall’s manifold activities and its relevance for his theoretical work: his interest in and commitment to the promotion of black British art. To start with, a brief definition seems helpful as, in the course of time, the term ‘black’ has been charged with various meanings. Once used in a disparaging racist sense from the colonialists' position, it was later adopted by black people with self-confidence, first in an essentialist sense, later in more differentiating ways. It was Stuart Hall who highlighted the importance of cultural differences between the various groups living in diasporic conditions in Britain, most famously in his seminal article “New Ethnicities” of 1989. Yet when he wrote or spoke about ‘black art’ or ‘black artists’, he used the term black in the same “broad and inclusive way” as the politically active artists in the 1970s and 1980s had done, referring “to all those communities, of whatever ethnic or ‘racial’ origin, who were regarded as ‘other’ – different – and thus racially excluded” (Hall, 2001a: 35). The following study is based on this definition. In the later part of his life Stuart Hall became institutionally involved in black art, dedicating much of his time to this engagement: for 15 years he held the chairs of the boards of both Iniva (Institute of International Visual Art) and Autograph ABP (a non- profit making arts agency promoting photographers from ethnic minorities), two leading institutions focusing on ‘black art’ in the defined sense, i.e. -
PDF Stuart Hall Events
+ Department of Media + and Communications Stuart Hall Mon 24th 25th + Events Week 26th Conference November 2014 27th Fri 28th + #ProfStuartHall + Contents Pages - Introductions 1 The Unfisnished Conversation 2-3 by John Akomfrah Stuart Hall in the Field of Vision 4-5 Learning from Stuart Hall: An Architectural Analysis 6-7 of the Transformations of Higher Education Stuart Hall Key Texts Discussion 8-9 Stuart Hall Film Screenings 10-11 Writing in Light: Jess Hall 12-13 Cinematography Masterclass International Conference: Stuart Hall - 14-15 Conversations, Projects + Legacies The Naming of the Professor 16-17 Stuart Hall Building [PSH] Stuart Hall Fanfare 18 The Voice of Stuart Hall 19 Acknowledgements 20-21 End Notes 22 1 Professor Stuart Hall Introductions - - For Stuart thinking and working together were critical to the ways in which we all learn and gain understanding of the world and our place in it. Becky, Jess and I are very appreciative of the enthusiasm for Stuart’s work that has inspired this extraordinary set of events at Goldsmiths during the week of 24th to 28th November. It is heart-warming to see the ways in which his legacies live on across disciplines and generations. Stuart always had connections with Goldsmiths and he admired its commitment to the study of culture in its broadest sense - as a way of life. We hope to be able to join you in this celebratory week and would like to thank all those who have made it possible. Professor Catherine Hall, University College London - - Professor Stuart Hall Events Week - - Professor Stuart Hall Events Week The Stuart Hall Week of events, international conference and the naming of the Professor Stuart Hall Building could not have come together without the considerable effort of a very broad range of people across the university. -
Althea Mcnish
Art and Design The Place Welcome to The Place is Here online educational resource. This website is designed to support learning and conversations around race, politics, activism, and the arts in the context of British history and The Black Arts Movement. https://theplaceishere.org Syed Haider Raza Born: February 22, 1922; Babaria, India Nationality: French, Indian Art Movement: Art Informel Genre: abstract Field: painting https://www.wikiart.org/en/s-h-raza Yinka Shonibare Yinka Shonibare CBE, RA is a British-Nigerian artist living in the United Kingdom. His work explores cultural identity, colonialism and post-colonialism within the contemporary context of globalisation. A hallmark of his art is the brightly coloured Dutch wax fabric he uses. https://www.royalacademy.org.uk/art-artists/name/yinka-shonibare-ra Sokari Douglas Camp Sokari Douglas Camp CBE is a London-based artist who has had exhibitions all over the world and was the recipient of a bursary from the Henry Moore Foundation. She was honoured as a Commander of the Order of the British Empire in the 2005 Birthday Honours list. Born: 1958 (age 62 years), Buguma, Nigeria Education: California College of the Arts Known for: Steel sculpture Books: Sweeping: Sculpture by Sokari Douglas Camp, Knots of the Human Heart: Sculpture https://sokari.co.uk/ The Singh Twins The Singh Twins are contemporary British artists of international standing whose award-winning paintings have been acknowledged as constituting a unique genre in British Art and for initiating a new movement in the revival of the Indian miniature tradition within modern art practice – something which, in 2010, was officially recognized at the highest level of British Establishment when they each received an MBE from the Queen “for Services to the Indian Miniature Tradition of Painting in Contemporary Art”.