DOCSLIB.ORG

Lubaina Himid Invisible Strategies Exhibition Notes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. Its roots are in the collective antiquities amassed by the renowned This work was included in the group the sea and of drowning. I used to mourning transfigured into a new phase. out of history our contribution / she Black struggle of our history. […] We British Egyptologist Henry Salt exhibition Palaces of Culture: The Great constantly look at new ways of ‘The women are always talking, who writes herstory rewrites history.’ will remember those who are seen to (1780–1827), and with its numbered Museum Exhibition at Stoke-on-Trent City painting it as if it had never been sometimes to each other. […] They have – Maud Sulter, 1990 die at the hands of the state but also objects alludes to British colonial Museum and Art Gallery in 1987. It painted. The reading of narratives several strategies, they expand to fill Freedom and Change is a bold example bear witness and will testify to the lives trading routes, overseas excavations, depicts various items referencing the about/by people being taken forcibly the situation. The women take revenge; of Himid’s ‘rewriting of history’, as and the deaths of so many others collecting and connoisseurship. As museum’s collections. The words from west-coast Africa to the coasts their revenge is that they are still here proposed by the poet, curator and whose lives touch ours. The warrior Maud Sulter wrote in 1992 of this ‘Success to the Africa Trade’ are taken of America in trading ships to be later they are still artists, that their creativity artist Maud Sulter, via the reference takes many guises. The educator series: ‘the paintings playfully from an eighteenth-century Liverpool- used as slaves made an impact during is still political and committed to to Picasso – the epitome of masculine uses many tools.’ illuminate the role museology plays in produced punchbowl, on display in the the early part of my painting career.’ change, to change for the good.’ painterly energy. These women are contemporary cultural consumption. Stoke-on-Trent ceramics gallery at the – Artist’s statement, 1992 personifications of freedom and Historical “truths” are questioned time of the exhibition. Part of the text change: they look to the future by and ancient fables reworked.’ inscription reads: ‘Our memories/our embracing the past, yet overturning heroines/our contributions/our creativity’. oppressive colonial histories. By It is a declaration of ownership and quoting a painting from Picasso’s 2. 3. 4. 5. 6. of reclamation, an intensely personal ‘return to order’ neoclassical period quest for some kind of reparative justice. (1918–25), Himid comments on the 7. rampant political conservatism at 15. 16. the height of the Thatcher era. 1. 10. 8. 20. 22. 19. 18. 17. 9. 25. 13. 12. 11. 23. 14. Plan B, 1999/2000 25. Swallow Hard: The Lancaster Dinner Upper Gallery 11. Everybody Is 24. Service, 2007 21. 12. The Glare of the Sun Himid defines Swallow Hard: The Piper Gallery Lancaster Dinner Service as ‘an 13. Yellow Pool Middle Galleries intervention, a mapping and an The Plan B series was produced as the excavation. It is a fragile monument to result of two month-long residencies in an invisible engine working for nothing in an amazingly greedy machine. It St Ives, where Himid used a lifeguard 14. Metal/Paper, Beach House, 1995 Kangas 21. Zanzibar – Sea: Wave Goodbye Say Negative Positives, 2007–ongoing remembers slave servants, sugary food, hut as her studio. Looking out to the Hello, 1999 beach and sea, she completed The Beach House paintings, first 15. Shelter in the Shade of Deep 22. Negative Positives (x20) mahogany furniture, greedy families, hundreds of preparatory works on exhibited at Wrexham Library Arts Friendship, 2011 Painted at the same time as Plan B, 23. Negative Positives (x14) tobacco and cotton fabrics but then paper. The resulting paintings depict Centre in 1995, are a biographical the Zanzibar canvases are diaphanous, mixes them with British wild flowers, 16. Safety is the Lost Territory, 2011 24. Negative Positives (x27) imaginary spaces that contain echoes fusion of many experiences, journeys light-filled works whose abstraction elegant architecture and African 17. Reminder of an Ancient Fetish, 2016 of real places, contorted by multiple and places, including Ghana, Zanzibar, belies a very emotional and personal For ten years, Himid has over-painted patterns. […] This work is not a perspectives and spatial distortions. Lytham St Annes, Los Angeles and 18. Freedom and Change, 2016 story. Himid’s father died of malaria in her regular newspaper to highlight memorial but more an encouraging Cuba. In the artist’s text Beach House Zanzibar, her birthplace, when she was incentive for everyone committed to The initial impression of peace, 19. Have Courage in the Crisis/Set images of black people that she feels she writes: ‘I was born on an island in just four months old. In respect of his restoring the balance, revealing the stillness and tranquillity in these Yourself Free, 2016 are implicitly prejudicial. It is a form paintings masks the creeping incursion the Indian Ocean and lived for the first family’s traditions, her mother spent a of visual research, examining visual truths and continuing the dialogues.’ of war and trauma. With this series, four months of my life two hundred 20. The Source of the Tears is Long Run period of 40 days and 40 nights alone, culture through artistic means, to Himid has claimed: ‘Everything shifted; yards from the beach in a house at Beit Dry, 2016 mourning. The interlocking diamond- provoke a conversation about how the safe ideas became more el Ras in Zanzibar. When my mother This series of works on paper is named shaped patterns evoke the mosquito racial biases (subconscious or dangerous and the risky strategy and I arrived in England on Christmas after the everyday cotton garments long nets and shutters of the room in which conscious) persist in maintaining became the blueprint.’ Despite a Eve, 1954, we flew into Blackpool manufactured and worn by women in her mother spent that time. The out-dated power relations. Please ask our Visitor Assistants if you preoccupation with the sea, the Airport. One grandmother had waved East Africa. Their influence reached the memories and sounds of the island Acknowledging the profound feelings have any questions. composition of Yellow Pool focuses good-bye with the sound of the warm nineteenth-century textile production in infuse the abstract shapes and liquid of anger and frustration that underline on sharp angles, illusionary space, sea around her; another welcomed me the north of England, an industry that colours of blue, green, white, grey and this daily process of reading, selecting This exhibition guide is available in a illogical perspectives, and a room to her seaside home in the chilly north relied heavily upon cotton from slave turquoise. Himid has described the and making visible, Himid explains: large print format. Please ask at the empty of people. of England.’ plantations in the southern United making of these paintings as ‘an ‘The invented and borrowed patterns Information Desk located in the cafe. States. Himid’s painted Kangas feature exercise in speed, daring, calm on each page are painted to highlight thought-provoking aphorisms devised and panic.’ this strange and inappropriate use of by the artist or taken from the abolition people as signifiers and finally to vent and civil rights movements, echoing the my spleen. Everyday in Britain even Swahili sayings often incorporated into the “liberal” press is simultaneously the printed fabric designs. visualising and making invisible black Invisible Strategies is supported by Designed by narratestudio.co.uk peoples’ lives.’ Arts Council England Strategic Touring fund. I am not a painter in the strictest sense painting is seen in the intense dialogue taking place in the 1920s … I am a political strategist who uses a Parisian bistro scene of Five. For Himid, these characters take visual language to encourage conversation, action in response to their experiences of oppression, not through #LubainaHimid argument, change – Lubaina Himid violence but by continuing to survive and by making possible new conversations.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Black Art, Black Power: Responses to Soul of a Nation
    Black Art, Black Power: Responses to Soul of a Nation Friday 13 October 2017 Starr Cinema, Tate Modern Programme 10.30 Welcome: Richard Martin (Tate) Californian Scenes 10.40 Kellie Jones (Columbia University), ‘South of Pico’ 11.00 Sampada Aranke (School of the Art Institute of Chicago), ‘Death’s Futurity’ 11.20 Discussion, chaired by Zoe Whitley (Tate) 11.50 Break; refreshments in Starr Foyer From Chicago and Washington to Lagos 12.20 Margo Natalie Crawford (University of Pennsylvania), ‘Black Public Interiority, Chicago-Style’ 12.40 Tuliza Fleming (National Museum of African American History and Culture), ‘Jeff Donaldson, FESTAC, and the Washington, D.C., Delegation’ 13.00 Discussion, chaired by Daniel Matlin (King’s College London) 13.30 Lunch New York Photography 14.30 Sherry Turner DeCarava (art historian) and Mark Godfrey (Tate) British Contexts: The Black Arts Movement and Beyond 15.10 Lubaina Himid (artist) and Marlene Smith (artist and curator), chaired by Melanie Keen (Iniva) 16.20 Break; refreshments in Starr Foyer Art in the Age of Black Lives Matter 16.50 Introduction: Mark Godfrey and Zoe Whitley 17.00 Barby Asante (artist), Kevin Beasley (artist) and Luke Willis Thompson (artist), chaired by Elvira Dyangani Ose (Creative Time and Goldsmiths, University of London) 18.00 Close; reception in Starr Foyer Biographies Sampada Aranke (PhD, Performance Studies) is an Assistant Professor in the Art History, Theory, and Criticism Department at the School of the Art Institute of Chicago. Her research interests include performance theories of embodiment, visual culture, and black cultural and aesthetic theory. Her work has been published in e-flux , Artforum , Art Journal , Ecquid Novi: African Journalism Studies , and Trans-Scripts: An Interdisciplinary Online Journal in the Humanities and Social Sciences at UC Irvine.
    [Show full text]
  • Impact Case Study
    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.
    [Show full text]
  • Friendship and Strength
    Still Lively 20 Today’s challenge from Sam Hale Friendship and Strength During the pandemic we have all found ways to sustain ourselves through very demanding times. Our collective creative endeavour and the friendships forged through Still Lively have sustained and inspired me. I would like us to explore the idea of strength and friendship this week. As a starting point you might like to look at the work of Lubaina Himid, one of the artists featured in Stellar: Stars of our Contemporary Collection, on show at Wolverhampton Art Gallery until 17th January 2021. The exhibition presents an overview of recent, current and ongoing developments in British Art, through the lens of Wolverhampton Art Gallery’s collection. The Tate website says that Himid “wants to tell us beautiful stories about friendship and strength.” Lubaina Himid CBE (b. 1954) is a British artist and curator. She is a professor of contemporary art at the University of Central Lancashire. Her art focuses on themes of cultural history and reclaiming identities. Himid was one of the first artists involved in the UK's Black Art movement in the 1980s and continues to create activist art which is shown in galleries in Britain, as well as worldwide. Himid was appointed MBE in June 2010 for "services to Black Women's Art". She won the Turner Prize in 2017 and was made a CBE in the 2018 Queen's Birthday Honours, "for services to art." Born in Zanzibar, Himid moved to the UK with her mother when she was only four months old. Her Mother was a textile designer.
    [Show full text]
  • Lubaina Himid
    Lubaina Himid Preview: Thursday 10 October 6 – 8 pm Exhibition: 11 October - 9 November 2013 We are pleased to announce our inaugural exhibition at Warner Yard by Lubaina Himid. Coming to prominence in the 1980s as a protagonist within the Black British Art Movement, Lubaina Himid has curated and taken part in pivotal exhibitions, research and writing. Since then, museum collections have held particular interest for Himid, as a space to address, reflect and challenge these containers of history, memory and hidden experiences. Initially studying to become a theatre designer, the language of scenography is evident across Himid’s work - from the seminal pieces such as A Fashionable Marriage, 1987 through to large scale installations Naming the Money (2004), a work comprising 100 cut out figures. Criss crossing a multitude of references, painting and installation have become Himid’s preferred mediums to express questions around art, authorship, illusion and politics - often exploring issues surrounding Black identity. Conscious of the fact that painting has a history as adornment of architecture, homes, bodies and fabrics, often involving cultures and artists that are marginalised, Himid has situated her practice at the intersection between design and art and between Western and African artistic traditions. In her work she proposes historical narratives often excluded from mainstream accounts, giving names and voices to the unheard. This exhibition will include Carrot Piece, 1985, a work initially exhibited in the 1980s at the ICA, London. The work, one of Himid’s signature cutouts, depicts a scene of two figures that plays out cultural and racial hierarchies of the past and today.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Further Reading
    Andrea Büttner Grids,Vases,and Plant Beds July 17 – August 28, 2021 [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 ` David Kordansky Gallery is pleased to present Grids, Vases, and Plant Beds, an exhibition of new work by Andrea Büttner, on view July 17 through August 28. The exhibition features several new bodies of work, including a group of hand-blown glass vases based on floral bulb forms; a series of photographs of former plant beds at the Dachau Concentration Camp Memorial Site; a monumental painting installation housed in an aluminum structure; reverse glass paintings; and Karmel Dachau, a video about a convent of Carmelite nuns established on land that abuts the Dachau memorial. Andrea Büttner uses different mediums, materials, and conceptual approaches to explore a range of inter-related themes. Her exhibitions are places where emotions and intellect are synthesized in highly visual, often tactile, works that are notable for their rich colors and formal directness. Projects born of historical research exist alongside those in which the presence of the artist’s hand is the most prominent element. In the exhibition, nine new glass vases combine several of these tendencies and are a notable addition to Büttner’s overall project. Their forms recall Delftware and other vases designed to hold flowers grown from bulbs, such as tulips. They also respond to the organic shapes of flowers. Many feature globular protrusions; on three of the works, the protrusions function as feet. These elements are in turn reflective of Büttner’s own watercolor sketches, as well as her long-standing interest in humble, natural things like potatoes, stones, and moss.
    [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]