Contemporary British Artists Of African Descent And The Unburdening Of A Generation
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Contemporary British Artists of African Descent and the Unburdening of a Generation by Monique Kerman Pdf
This book explores the notable roles that contemporary British artists of African descent have played in the multicultural context of postwar Britain. In four key case studies— Magdalene Odundo, Veronica Ryan, Mary Evans, and Maria Amidu—Monique Kerman charts their impact through analysis of works, activities, and exhibitions. The author elucidates each of the artists’ creative response to their unique experience and examines how their work engages with issues of history, identity, diaspora, and the distillation of diverse cultural sources. The study also includes a comparative discussion of art broadly defined as “black British,” in order to question assumptions concerning racial and ethnic identities that the artists often negotiate through their works—particularly the expectation or “burden” of representing minority or marginalized communities. Readers are thus challenged to unburden the artists herein and celebrate their work on its own terms.
The sculptural history of the long 1980s has been dominated by New British Sculpture and Young British Artists. Arguing for a more expansive history of British sculpture and its supporting infrastructures, these twenty-three vivid and enthralling interviews with artists, curators, dealers and facilitators working then demonstrate the interconnected networks, diversity of ideas and practices, energy, imagination and determination that transformed British art from being marginal to internationally celebrated. With a substantial introduction, this timely volume provides valuable new insights into the education, work, careers, studios, infrastructures and exhibitions of the artists and facilitators, substantially enlarging our understanding of the era.
A beautifully illustrated look at how the acclaimed ceramicist draws on the postcolonial experience in her work Magdalene Odundo (b. 1950) is a Kenyan-born British ceramicist whose extraordinary works have been widely celebrated for their beauty and universality. Her studies of classical forms across many global traditions—from Greek and Chinese to Aztec and African—are evident in her intimate, evocative shapes. Sequoia Miller sheds light on the colonial and material traditions that inform Odundo's ceramics, showing how the artist deftly blends cultural and ethnographic sources to give expression to the postcolonial experience. This beautifully illustrated book discusses Odundo’s innovative method and puts her ceramic forms into conversation with global contemporary art. This close examination allows for a careful look at the artist’s works on paper—her prints and sketchbook drawings, published here in depth for the first time—demonstrating how they are a fundamental aspect of her creative practice. The book also features an in-depth Q&A with Odundo, in which she shares rare insights into her sense of self as an artist. With an incisive foreword by Susan Jefferies and illuminating contributions by Nehal El-Hadi, Elizabeth Harney, and Barbara Thompson, Magdalene Odundo provides new perspectives on an incomparable artist of our time, revealing the profound complexities of her work while deepening our understanding of modernism more broadly. Published in association with the Gardiner Museum of Ceramic Art, Toronto
Art, Borders and Belonging by Maria Photiou,Marsha Meskimmon Pdf
Art, Borders and Belonging: On Home and Migration investigates how three associated concepts-house, home and homeland-are represented in contemporary global art. The volume brings together essays which explore the conditions of global migration as a process that is always both about departures and homecomings, indeed, home-makings, through which the construction of migratory narratives are made possible. Although centrally concerned with how recent and contemporary works of art can materialize the migratory experience of movement and (re)settlement, the contributions to this book also explore how curating and exhibition practices, at both local and global levels, can extend and challenge conventional narratives of art, borders and belonging. A growing number of artists migrate; some for better job opportunities and for the experience of different cultures, others not by choice but as a consequence of forced displacement caused economic or environmental collapse, or by political, religious or military destabilization. In recent years, the theme of migration has emerged as a dominant subject in art and curatorial practices. Art, Borders and Belonging thus seeks to explore how the migratory experience is generated and displayed through the lens of contemporary art. In considering the extent to which the visual arts are intertwined with real life events, this text acts as a vehicle of knowledge transfer of cultural perspectives and enhances the importance of understanding artistic interventions in relation to home, migration and belonging.
Ceramics and the Museum interrogates the relationship between art-oriented ceramic practice and museum practice in Britain since 1970. Laura Breen examines the identity of ceramics as an art form, drawing on examples of work by artist-makers such as Edmund de Waal and Grayson Perry; addresses the impact of policy making on ceramic practice; traces the shift from object to project in ceramic practice and in the evolution of ceramic sculpture; explores how museums facilitated multisensory engagement with ceramic material and process, and analyses the exhibition as a text in itself. Proposing the notion that 'gestures of showing,' such as exhibitions and installation art, can be read as statements, she examines what they tell us about the identity of ceramics at particular moments in time. Highlighting the ways in which these gestures have constructed ceramics as a category of artistic practice, Breen argues that they reveal gaps between narrative and practice, which in turn can be used to deconstruct the art.
The Art of Feminism by Lucinda Gosling,Hilary Robinson,Amy Tobin Pdf
A survey of feminist art from suffrage posters to The Dinner Party and beyond: “Lavishly produced images . . . indispensable to scholars, critics and artists.” —Art Monthly Once again, women are on the march. And since its inception in the nineteenth century, the women’s movement has harnessed the power of images to transmit messages of social change and equality to the world. From highlighting the posters of the Suffrage Atelier, through the radical art of Judy Chicago and Carrie Mae Weems, to the cutting-edge work of Sethembile Msezane and Andrea Bowers, this comprehensive international survey traces the way feminists have shaped visual arts and media throughout history. Featuring more than 350 works of art, illustration, photography, performance, and graphic design—along with essays examining the legacy of the radical canon—this rich volume showcases the vibrancy of the feminist aesthetic over the past century and a half.
The Art of Feminism, Revised Edition by Helena Reckitt Pdf
Featuring a new package and an additional 60 pages of material, this revised edition of The Art of Feminism covers an even more impressive range of artworks, artists, movements, and perspectives. Since the debut of the original volume in 2018, The Art of Feminism has offered readers an in-depth examination of its subject that is still unparalleled in scope. The comprehensive survey traces the ways in which feminists—from the suffragettes and World War II–era workers through twentieth-century icons like Judy Chicago and Carrie Mae Weems to the contemporary cutting-edge figures Zanele Muholi and Andrea Bowers—have employed visual arts in transmitting their messages. With more than 350 images of art, illustration, photography, and graphic design, this stunning volume showcases the vibrancy of the feminist aesthetic over two centuries. The new, updated edition of the book features revised and expanded material in each of the book's original sections, as well as entirely new material dedicated to the art pieces that have shifted the landscape of feminist art today. This new material includes: women artists of the Bauhaus; grassroots and experimental curatorial efforts; a broader range of performance artists; and recent art shows and works, such as Kara Walker's Fons Americanus, which debuted at London's Tate Modern museum in 2020. UNIQUE IN SCOPE: The breadth and inclusiveness of this volume sets it apart and makes it the definitive book on international feminist art. The new edition brings the book into the current moment, ensuring that this groundbreaking volume remains relevant and fresh. It features an astonishing roster of artists, including: Barbara Kruger Sophie Calle Marina Abramovic Judy Chicago Faith Ringgold Cindy Sherman Ana Mendieta Zanele Muholi Mickalene Thomas Louise Bourgeois Shirin Neshat Andrea Bowers Pina Bausch JEB Amrita Sher-Gil Luchita Hurtado Ayana Jackson Patrisse Cullors EXPERT AUTHORS: Lead author Helena Reckitt has assembled a team of experts who are superbly qualified to unpack the rich history, power, and symbolism of feminist art for a new modern-day audience. UPDATED AND INCLUSIVE: This edition of the book features an even more diverse array of artists and artworks than the original, from the beautiful figurative paintings of Hungarian-Indian artist Amrita Sher-Gil to the thoroughly researched and extravagantly costumed self-portraits of American photographer Ayana Jackson. Perfect for: Feminists and activists Art history lovers College and graduate students
Black Artists in British Art by Eddie Chambers Pdf
Black artists have been making major contributions to the British art scene for decades, since at least the mid-twentieth century. Sometimes these artists were regarded and embraced as practitioners of note. At other times they faced challenges of visibility - and in response they collaborated and made their own exhibitions and gallery spaces. In this book, Eddie Chambers tells the story of these artists from the 1950s onwards, including recent developments and successes. Black Artists in British Art makes a major contribution to British art history. Beginning with discussions of the pioneering generation of artists such as Ronald Moody, Aubrey Williams and Frank Bowling, Chambers candidly discusses the problems and progression of several generations, including contemporary artists such as Steve McQueen, Chris Ofili and Yinka Shonibare. Meticulously researched, this important book tells the fascinating story of practitioners who have frequently been overlooked in the dominant history of twentieth-century British art.
How did a distinct and powerful Black British identity emerge? In the 1950s, when many Caribbean migrants came to Britain, there was no such recognised entity as "Black Britain." Yet by the 1980s, the cultural landscape had radically changed, and a remarkable array of creative practices such as theatre, poetry, literature, music and the visual arts gave voice to striking new articulations of Black-British identity. This new book chronicles the extraordinary blend of social, political and cultural influences from the mid-1950s to late 1970s that gave rise to new heights of Black-British artistic expression in the 1980s. Eddie Chambers relates how and why during these decades "West Indians" became "Afro-Caribbeans," and how in turn "Afro-Caribbeans" became "Black-British" - and the centrality of the arts to this important narrative. The British Empire, migration, Rastafari, the Anti-Apartheid struggle, reggae music, dub poetry, the ascendance of the West Indies cricket team and the coming of Margaret Thatcher - all of these factors, and others, have had a part to play in the compelling story of how the African Diaspora transformed itself to give rise to Black Britain.
1980s Britain witnessed the brassy, multifaceted emergence of a new generation of young, Black-British artists. Practitioners such as Sonia Boyce and Keith Piper were exhibited in galleries up and down the country and reviewed approvingly. But as the 1980s generation gradually but noticeably fell out of favour, the 1990s produced an intriguing new type of Black-British artist. Ambitious, media-savvy, successful artists such as Steve McQueen, Chris Ofili, and Yinka Shonibare made extensive use of the Black image (or, at least, images of Black peo¬ple, and visuals evocative of Africa), but did so in ways that set them apart from earlier Black artists. Not only did these artists occupy the curatorial and gallery spaces nominally reserved for a slightly older generation but, with aplomb, audacity, and purpose, they also claimed previously unimaginable new spaces. Their successes dwarfed those of any previous Black artists in Britain. Back-to-back Turner Prize victories, critically acclaimed Fourth Plinth commissions, and no end of adulatory media attention set them apart. What happened to Black-British artists during the 1990s is the chronicle around which Things Done Change is built. The extraordinary changes that the profile of Black-British artists went through are dis¬cussed in a lively, authoritative, and detailed narrative. In the evolving history of Black-British artists, many factors have played their part. The art world’s turning away from work judged to be overly ‘political’ and ‘issue-based’; the ascendancy of Blair’s New Labour government, determined to locate a bright and friendly type of ‘diversity’ at the heart of its identity; the emergence of the precocious and hegemonic yBa grouping; governmental shenanigans; the tragic murder of Black Londoner Stephen Lawrence – all these factors and many others underpin the telling of this fascinating story. Things Done Change represents a timely and important contribution to the building of more credible, inclusive, and nuanced art histories. The book avoids treating and discussing Black artists as practitioners wholly separate and distinct from their counterparts. Nor does the book seek to present a rosy and varnished account of Black-British artists. With its multiple references to Black music, in its title, several of its chapter headings, and citations evoked by artists themselves, Things Done Change makes a singular and compelling narrative that reflects, as well as draws on, wider cultural mani¬festations and events in the socio-political arena.
A Brief History of Black British Art by Rianna Jade Parker Pdf
Black artists of African and Caribbean descent and major contributions to the British art scene Black artists have been making major contributions to the global art scene since at least the middle of the 20th century. While some of these artists of African and Caribbean descent have been embraced at times by the art world, they have mostly been neglected or have not received the recognition they deserve. Taking its starting point as the Windrush-era Caribbean Artists Movement, and considering and contextualizing the political, cultural, and artistic climate from which it emerged, this concise introduction showcases the work of 70 Black-British artists from the 1930s to the present. Artwork in a range of media offer a lens through which to understand some of the events and issues confronted and explored, shedding light on the Black-British experience. Constructed around contemporary ideas on race, national identity, citizenship, gender, sexuality, and aesthetics in Britain, this book interrogates themes at the heart of Black-British art, revealing art in dialogue with a complex past and present. Featuring some of the most prominent and influential Black-British artists of recent decades, as well as less well-known artists, it also includes work from a new generation of artists on the cutting edge of contemporary art. At a time when visibility within the art world has taken on a renewed urgency, this is a timely and accessible introduction celebrating Black-British artists and their outstanding contribution to art history.
World is Africa brings together more than 30 important texts by Eddie Chambers, who for several decades has been an original and a critical voice within the field of African diaspora art history. The texts range from book chapters and catalogue essays, to shorter texts. Chambers focuses on contemporary artists and their practices, from a range of international locations, who for the most part are identified with the African diaspora. None of the texts are available online and none have been available outside of the original publication in which they first appeared. The volume contains several new pieces of writing, including a consideration of the art world 'fetishization' of the 1980s, as the manifestation of a reluctance to accept the majority of Black British artists as valid individual practitioners, choosing instead to shackle them to exhibitions that took place three decades ago. Another new text re-examines the 'map paintings' of Frank Bowling, the Guyana-born artist who was the subject of a major retrospective at Tate Britain in 2019. The third introduces the little-known record sleeve illustrations of Charles White, the American artist who was the subject of a major retrospective in 2018 at major galleries across the US. Among the other new texts is a critical reflection on the patronage the Greater London Council extended to Black artists in 1980s London. World is Africa makes a valuable contribution to the emerging discipline of black British art history, the field of African diaspora studies and African diaspora art history.
A Companion to Modern African Art by Monica Blackmun Visona,Gitti Salami Pdf
Offering a wealth of perspectives on African modern and Modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as exploring broader themes such as discoveries of new technologies and globalization. A pioneering continent-based assessment of modern art and modernity across Africa Includes original and previously unpublished fieldwork-based material Features new and complex theoretical arguments about the nature of modernity and Modernism Addresses a widely acknowledged gap in the literature on African Art
A collection of writings by Eddie Chambers, one of Britain's most controversial critics and curators. This collection maps out a key period of post-war British art which saw the emergence of an important generation of black British artists and curators who changed the face of the British art scene.