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Creative Conversations: Black Women Artists Making & Doing Influences

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Creative Conversations: Black Women Artists Making & Doing Influences 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.
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