DOCSLIB.ORG

Creative Conversations: Black Women Artists Making & Doing Influences

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Creative Conversations: Black Women Artists Making & Doing Influences and Inspirations of Literature and Language on Black Women’s Creativity Lubaina Himid, Five (from the Revenge series), 1991, Acrylic on canvas, 60 ins x 48 ins Image courtesy the artist and Griselda Pollock. On permanent loan/display at Leeds Art Gallery University of Central Lancashire, 16-17 January 2020 1 Two-day Symposium at UCLAN, 16-17 January 2020. Organised in celebration of the many achievements of Prof. Lubaina Himid, CBE, RA. 35 years of art making, curating and creating conversations, and the first black woman to win the Turner Prize (2017). 2 ACKNOWLEDGEMENTS These events have been sponsored by the University of Central Lancashire (UCLan), the Institute for Black Atlantic Research (IBAR), the UCLan Research Centre for Migration, Diaspora and Exile (MIDEX), the Making Histories Visible Archive (MHV), and UCLan’s School of Humanities, Language & Global Studies and Faculty of Culture and Creative Industries. MHV MIDEX 3 DAY ONE: THURSDAY 16TH JANUARY 11.00am - 17.30pm Media Factory ME 414 11.00 - 11.30 - Registration (refreshments provided) 11.30 - 11.40 - Welcome Address by Prof. Alan Rice 11.40 - 13.15 - Panel One (Chair: Dr Ella S. Mills) • Prof. Lubaina Himid: Maupassant to May Sarton via Essex Hemphill and Toni Cade Bambara: Navigating Madness, Activating Change through painting and reading • Christine Eyene: Making Histories Visible: the George Hallett project • Marlene Smith: Bad Housekeeping: key works, key texts 13.15 - 14.15 - Lunch (provided) in ME414 ***Lunchtime slideshow of artworks by Joy Labinjo in ME414*** ***Visit Fauziya Johnson and Amber Akaunu at their ROOT-ed Zine stand*** 14.15 - 15.50 - Panel Two (Chair: Dr Raphael Hoermann) • Dr Ingrid Pollard: There is the Word, The Sound of the Voice • Evan Ifekoya: Ka is Rising; Take Root Among the Stars • Jade Montserrat: Her body, alone, concealed, an act of rebellion 15.50 - 16.10 - Tea/Coffee Break 16.10 - 17.10 - Roundtable discussion (Convened by Marlene Smith) Ego Ahaiwe Sowinski Amber Akaunu from ROOT-ed Zine Christine Eyene Prof. Lubaina Himid Evan Ifekoya Fauziya Johnson from ROOT-ed Zine Jade Montserrat Dr Ingrid Pollard 4 17.15 - 17.30 - Closing remarks 17.30 - Finish Those attending the evening ‘In Conversation’ event with Lubaina Himid and Jackie Kay will be escorted to the Harrington Building Lecture Theatre. 18.00 - 20.00 - ‘In Conversation’ with Prof. Lubaina Himid and Prof. Jackie Kay (Harrington Lecture Theatre) 20.00 - 21.00 - Reception in Harrington Building Social Space *** DAY TWO: FRIDAY 17th JAN, 10am - 16.30pm Foster Building, Scholars Restaurant 10.00 - 10.20 - Registration (refreshments provided) 10.20 - 10.30 - Welcome by Prof. Alan Rice 10.30 - 12.30 - Panel One (Chair: Jade Montserrat) • Dr Ella S. Mills: Claudette Johnson. Doing the Discourse: Spaces of Belonging in Black Women’s Creativity and British History of Art • Dr Anna Arabindan-Kesson: Landscape Interrupted: Ingrid Pollard’s Photographic Practice • Prof. Alan Rice: Black Identitities and Memorialisation: Jade Montserrat’s Making Homespace in Alien Landscapes • Dr Zoe Whitley: WE > me: sisterhood in black British contemporary art practice 5 12.30 - 13.30 - Lunch (provided) in Scholars Bar ***During the lunch break in Scholars Bar there will be a book launch*** for Inside the Invisible: Memorialising Slavery and Freedom in the Life and Works of Lubaina Himid (Liverpool UP, 2019), by Celeste-Marie Bernier, Alan Rice, Lubaina Himid & Hannah Durkin. 13.30 - 15.30 - Panel Two (Chair: Prof. Alan Rice) • Prof. Griselda Pollock: Haunted by Voices and Challenged by Representations: Postcolonial Feminist Pedagogies between Art and Literature • Dr Catherine Grant: A letter sent, waiting to be received: queer correspondence, feminism and Black British art • Prof. Celeste-Marie Bernier: ‘Rituals of reclaiming lost artefacts, refusing oppression and looking for ancestors' in Lubaina Himid's “Heroes and Heroines” (1984) • Ego Ahaiwe Sowinski: Respite & Resolve in the Archive: A Black Women’s Artist Retreat 15.30 - 15.45 - Break 15.45 - 16.15 - Roundtable: Q & A session with today’s speakers. Chaired by Prof. Dorothy Price 4.15pm - Closing speeches 4.30pm - End of conference ** ***Optional visit to Making Histories Visible archive + ArtLab in Victoria Building*** Those who wish to visit the archive will be escorted to Victoria Building. 6 TITLES/ABSTRACTS DAY ONE, PANEL ONE: 16th Jan, 11.40-13.15 Prof. Lubaina Himid TITLE: Maupassant to May Sarton via Essex Hemphill and Toni Cade Bambara: Navigating Madness, Activating Change through painting and reading Christine Eyene TITLE: Making Histories Visible: the George Hallett project This presentation will focus on research developed as part of Making Histories Visible and inspired by the vision instilled by Lubaina Himid to document, excavate, and preserve the contribution of black visual artists to Britain’s cultural landscape, and share these historically marginalised practices and narratives to broader audiences in Britain and internationally. A self-taught photographer, George Hallett (born 1942 in Cape Town, South Africa) came to London in 1970s where he lived in exile as part of the South African community that found refuge in the UK during the Apartheid regime (1948 - early 1990s). In England, Hallett, who was relatively novice at the time, honed his craft as portrait and street photographer. He notably landed regular assignments from the Times Educational Supplement. Two major themes define Hallett’s British period: his book cover designs for the African Writers Series commissioned by Heinemann’s then editor James Currey in the 1970s and early 1980s, and the documentation of the South African creative community, more particularly the Jazz musicians. These two aspects of Hallett’s work will be discussed in a way that highlights the alternative forms and spaces where black culture thrived in the 1970s, in the absence of recognition and acceptance within mainstream, public art institutions in Britain. The presentation will also show unexpected yet compelling interactions between photography processes, graphic design, literature, and music, a cross-disciplinary approach that defies a fixed interpretation of Hallett’s practice. 7 Marlene Smith TITLE: Bad Housekeeping: key works, key texts I shall re-visit the writing that has influenced my work and speculate on why reading and writing is central to my practice. DAY ONE, PANEL TWO: Thursday 16th Jan, 14.15 - 15.50 Dr Ingrid Pollard TITLE: There is the Word, The Sound of the Voice Words are very musical Did you hear that. Do you feel that Getting louder. Can you hear that Can you feel that, Getting louder Evan Ifekoya TITLE: Ka is Rising; Take Root Among the Stars This presentation considers the role of speculation and world building in my practice via the poetry of Maud Sulter and Science Fiction writing by Octavia Butler. I’ll be drawing on archival research I have done on both Butler and Sulter’s work and how their use of language to invoke the spirit of change and transformation continues to be an inspiration for my work. Jade Montserrat TITLE: Her body, alone, concealed, an act of rebellion “Her body, alone, concealed, an act of rebellion” This excerpt taken from Untitled (The Last Place They Thought Of, ICA Philadelphia, 2018), an iteration of performance drawing installation No Need For Clothing (Two Night Stands, Cooper Gallery DJCAD, 7 - 8 April 2017) by Jade Montserrat is reminiscent of Harriet Jacobs’ story, a women who escaped slavery, in part by stowing away and effectively imprisoning herself in her grandmother’s attic in “the last place they thought of” (Jacobs [1861] 2001, 98). Jean Fagan Yellin reminds 8 us, in her introduction to “Incidents in the life of a Slave Girl,” that Jacob's “did nothing but read and sew” (vi) in her isolation. This act of creativity, of giving voice to and exchanging experiences, that is the “memories within” (25), the fictional and imaginary, suggests not escapism here but survival, not internalisation but testimony. This giving voice speaks of the urgency of creativity and culture to be renewed, transformed, treasured, shared, and embedded as life-giving. How we equip ourselves to emerge as containers for the screams of slavery, for reading testimonials like Jacobs’s is a coursing scourge. How do we listen when the pains are gagged and internalized? - When the words terrify our minds from the vulnerabilities that seep from empathy or maybe even forgiveness for perpetrators and profiteers? How does one begin to find language for indescribable abuse: “The degradations, the wrongs, the vices, that grow out of slavery, are more than I can describe” (Jacobs [1861] 2001, 26). By refining a textured aesthetic that can travel within the context of art institutions, organisations and performance spaces Montserrat's practice makes visible note taking and converses with the texts and other bodies that might occupy the space. The texts outlined in this presentation convey the longing that annotating subjectivities in the context of the Black Atlantic implies. DAY TWO, PANEL ONE: Friday 17th Jan, 10.30 - 12.30 Dr Ella S. Mills TITLE: Claudette Johnson. Doing the Discourse: Spaces of Belonging in Black Women’s Creativity and British History of Art ‘I am a Blackwoman and my work is concerned with making images of Blackwomen. Sounds simple enough – but I’m not interested in portraiture or its tradition. I’m interested in giving space to Blackwomen presence. A presence which has been distorted, hidden and denied. I’m interested in our humanity, our feelings and our politics; some things which have been neglected … I have a sense of urgency about our ‘apparent’ absence in a space we’ve inhabited for several centuries.’ (Claudette Johnson, Claudette Johnson: Pushing Back the Boundaries, exhibition catalogue, Rochdale Art Gallery, 1990, p.2.) 9 Dr Anna Arabindan-Kesson TITLE: Landscape Interrupted: Ingrid Pollard’s Photographic Practice My paper will reflect on Ingrid Pollard’s practice and its relationship to histories of British landscape representation, colonialism and photography.
Recommended publications
  • Gallery Guide Is Printed on Recycled Paper

    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.
  • Donald Rodney (1961-1998) Self-Portrait ‘Black Men Public Enemy’ 1990

    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.
  • Lubaina Himid OUR KISSES ARE PETALS

    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.
  • Lubaina Himid Invisible Strategies Exhibition Notes

    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.
  • 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)

    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.
  • Lubaina Himid

    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.
  • Re Imaging Donald Rodney

    Re Imaging Donald Rodney

    Re imaging Donald Rodney 1 Introduction Reimaging Donald Rodney explores the work of Black British artist Donald Rodney (1961 – 1998). It is the first UK exhibition to examine Rodney’s digital practice, and through new commissions expands on the potential of Rodney’s archive as a resource for challenging our conceptions of cultural, physical and social identity. Donald Rodney was considered to be He developed his artistic skills during one the most significant artists of his prolonged periods of hospitalisation, generation. Mark Sealy, Director of resulting in him regularly missing Autography ABP stated in an online school, due to his sickle cell condition. interview with TATE Britain for their After taking an arts foundation collection of Rodney’s work; course at Bournville School of Art in Birmingham he went on to Nottingham “[Along] with Donald, Keith Piper, Eddie Trent, where he met Keith Piper and Chambers and people like Sonia Boyce, Eddie Chambers. Chambers and Piper Lubaina Himid. Those characters in my espoused the notion of Black Art/Black view are really quite seminal in terms of Power, which derived largely from beginning to create an articulate voice… the USA through black writers and he was really interested in working with activists like Ron Karenga. Becoming Exhibition new media and new technologies. One a prominent member of the Blk Arts of the great tragedies is that he was Group, RRodney highlighted the Reimaging Donald Rodney aims to The new works developed for the becoming very articulate within this sociopolitical condition of Britain in Donald Rodney, from encapsulate the digital embodiment exhibition include doublethink (2015), space around the end of his career”.
  • Lubaina Himid Warp and Weft

    Lubaina Himid Warp and Weft

    Lubaina Himid Firstsite Lewis Gardens, High Street, Colchester, Essex, CO1 1JH +44 (0) 1206 713 700 | www.firstsite.uk Warp and Weft Naming the Money, 2004, life-size painted cut-out plywood figures, audio. Loaned by the National Museums Liverpool, International Slavery Museum, and the artist. Photo: Spike Island Information Firstsite, Colchester, is delighted to present Warp and Weft, a survey of works by the 2017 Turner Prize nominee, Lubaina Himid. 1 July – 1 October 2017 A key figure in the Black Arts Movement, Himid first came to prominence in the 1980s when Opening event: Friday 30 June, 6 – 9pm she began organising exhibitions of work by her peers, who were underrepresented in the contemporary art scene. Her diverse approach disrupts preconceptions of the world by introducing historical and contemporary stories of racial bias and acts of violence inflicted upon oppressed communities. Himid is best known as a painter, and Warp and Weft is comprised of three bodies of work in which the artist adopts the mantel of the History painter to question its imperialist tradition. By reinserting black figures into this arena of power and prestige, Himid foregrounds the contribution of people of the African diaspora to Western culture and economy. The exhibition’s title, Warp and Weft, refers to the process by which threads are held in tension on a frame or loom to create cloth. Himid chose the title for its reference to Colchester’s important position in the wool trade between the 13th and 16th centuries, and its complex history of race and migration that is reflected in the productive tensions of Himid’s work.
  • Photography and Britishness

    Photography and Britishness

    international conference Photography and Britishness November 4–5, 2016 Yale Center for British Art, New Haven, CT This conference is co-organized by the Yale Center for British Art, New Haven; the Paul Mellon Centre for Studies in British Art, London; and The Huntington Library, Art Collections, and Botanical Gardens, San Marino friday, november 4, 2016 The leveling aesthetic of photography—its capacity to draw heterogeneous peoples into what Christopher Pinney has termed a “common epistemological space”—meant that it could serve as a visual register for the elusive conn- session 1 | 11 am–12:30 pm ective tissue of imperial subjecthood, effectively reifying a useful political abstraction. Yet, as much as British sovereign authority could be embodied Imperial Britishness by this visual logic, British identity could simultaneously be dissolved by the homogenizing grammar of the medium. This paper therefore examines how colonials grappled with photography’s technical and formal possibilities in chair Martina Droth, Yale Center for British Art ways that attempted to forge a viable imperial polity while preserving a sense martina droth is Deputy Director of Research and Curator of Sculpture of privileged Britishness. Looking in particular at the palliative, diplomatic role at the Yale Center for British Art, and co-editor of British Art Studies, an played by the photographic portraiture of Dr. John Nicholas Tresidder in the open-access online journal jointly published by Center and the Paul Mellon immediate aftermath of the Indian Rebellion (1857–58), this paper assesses Centre for Studies in British Art. Her work as an art historian and curator how the new visual technology inflected imperial Britishness in complex and focuses on sculpture and questions about interdisciplinary approaches to unpredictable ways.
  • 1 Curriculum Vitae EDDIE CHAMBERS

    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.
  • Critique D'art, 53

    Critique D'art, 53

    Critique d’art Actualité internationale de la littérature critique sur l’art contemporain 53 | Automne/hiver CRITIQUE D'ART 53 The Landscape of African Art: Transformations at the Venice Biennale Dagara Dakin Translator: Phoebe Clarke Electronic version URL: http://journals.openedition.org/critiquedart/53747 DOI: 10.4000/critiquedart.53747 ISBN: 2265-9404 ISSN: 2265-9404 Publisher Groupement d'intérêt scientifique (GIS) Archives de la critique d’art Printed version Date of publication: 26 November 2019 Number of pages: 43-53 ISBN: 1246-8258 ISSN: 1246-8258 Electronic reference Dagara Dakin, « The Landscape of African Art: Transformations at the Venice Biennale », Critique d’art [Online], 53 | Automne/hiver, Online since 26 November 2020, connection on 01 December 2020. URL : http://journals.openedition.org/critiquedart/53747 ; DOI : https://doi.org/10.4000/critiquedart.53747 This text was automatically generated on 1 December 2020. EN The Landscape of African Art: Transformations at the Venice Biennale 1 The Landscape of African Art: Transformations at the Venice Biennale Dagara Dakin Translation : Phoebe Clarke “Although I try and put things into perspective, I believe that the reason I have become so spiritually foreign to my native country, while remaining preoccupied by it – while it remains a preoccupation –, is for a great part its refusal to acknowledge the existence of this skull.”1 1 The Venice Biennale, to a greater extent than any other international event, offers a summary of the current global art scene, which could opportunely be re-questioned regarding the visibility of contemporary African art. Throughout the 1990s, the scant participation of African artists in the ritual art gathering was interpreted as the sign of the Western scene’s lack of open-mindedness.
  • Bibliothèque Le Cube

    Bibliothèque Le Cube

    titre de l'exposition artistes curateur auteurs lieu de l'exposition éditeurs nombre de pages année langue exposition d'artistes marocains nombre d'exemplaires Villa Delaporte / Fouad Bellamine, Mahi Binebine, Mustapha Boujemaoui, James Brown, Safâa Erruas, Sâad Hassani, Aziz Lazrak / Bernard Collet Villa Delaporte - Casablanca 48p 2009 français x 1 art contemporains Villa Delaporte Après la pluie Pierre Gangloff / Bernard Collet Villa Delaporte - Casablanca 52p 2011 français 1 art contemporains Villa Delaporte Jacques Barry Angel For Ever / Bernard Collet Villa Delaporte - Casablanca 48p 2009 français 1 art contemporains Yusur-Puentes espagnol - Paysage et architecture au Maroc et en Emilia Hernández Pezzi, Joaquín Ibáñez Montoya, Ainhoa Díez de Pablo, El Montacir Bensaïd, Iman Benkirane. Programmation culturelle de la Présidence espagnole de l’Union européenne Madrid 62p 2010 x 1 français Espagne Chourouk Hriech, Fouad Bellamine, Azzedine Baddou, Hassan Darsi, Ymane Fakhir, Faisal Samra, Fatiha Zemmouri, Mohamed Arejdal, Mohamed El Baz, Philippe Délis, Saad Tazi, Younes Baba Ali, Between Walls Abdelmalek Alaoui, Yasmina Naji Yasmina Naji Rabat Integral Editions 44p 2012 français x 1 Amande In, Anna Raimondo, Mohammed Fettaka, Ymane Fakhir, Mustapha Akrim, Hassan Ajjaj, Hassan Slaoui, Mohamed Laouli, Mounat Charrat, Tarik Oualalou, Fadila El Gadi Regards Nomades Mohamed Abdel Benyaich, Hassan Darsi, Mounir Fatmi, Younes Rahmoun, Batoul S'Himi Anne Dary Frédéric Bouglé Musée des Beaux Arts de Dole - France Ville de Dole 42p 1999 français