Britain Black British art Everything in this strange country was hard to believe Joan Riley The Unbelonging Jackie Kay In My Country ID: 537503
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Slide1
Multicultural Britain, Black British artSlide2
„Everything in
this
strange
country
was
hard
to
believe
”
(
Joan
Riley
:
The
Unbelonging
) Slide3
Jackie Kay: In My Country
In
my
country
Walking
by
the
waters
Down
where
an honest
river
shakes
hands
with
the
sea
,
a
woman
passed
round
me
in
a
slow
,
watchful
circle
,
as
if
I
were
a
superstition
;
or
the
worst
dregs
of
her
imagination
,
so
when
she
finally
spoke
her
words
spliced
into
bars
of an old
wheel
. A
segment
of air.
Where
do
you
come
from
?
ʻHere’, I
said
. ʻHere,
these
parts
.’
(
from
Other
Lovers
,
Bloodaxe
, 1993)Slide4
Black British art
Blk
Art Group (Keith
Piper
, Donald
Rodney
):
shows
in
mid-198ís
1985
:
The
Thin
Black Line
exhibition
,
held
in
the
corridors
and
stairwells
of
London’s
Institute of
Contemporary
Arts
(ICA)
1989:
The
Other
Story
the
first
historical
survey
of
black
and
Asian
artists
in
post-WW2
Britain
(
Hayward
Gallery
) Slide5
Anish Kapoor: Cloud GateSlide6
Lubaina Himid:
Naming
the
Money
(2004)Slide7
Naming the MoneySlide8
My name is
Walukaga
They call me Sam
I used to chase wild boar
Now the dogs do it for me
And they have the meat
My name is
Nnamdi
They call me Dan
I used to have six drums
Now I borrow these
And it takes some skill
My name is
Asiza
They call me Sally
I loved to work the clay
Now I sweep the yard
But I love the mudSlide9
Hew Locke: Natives and Colonials (Capt. Cook, Victoria)Slide10
Hew Locke: Natives and Colonials (Cromwell, Churchill)Slide11
Hew Locke interview
"These works are a kind of ‘mindful vandalism’ I do think carefully about which statues I’m working with. For example any army general is for me fair game. But several times I’ve walked by a statue such as the Emily Pankhurst memorial, and I think ‘what can I do with that?’ She doesn’t have a history of any dubiousness at all - I had better leave her in peace.
"The colour is vital because for me it’s about reinvigorating these sculptures and putting across an idea that they could be brightly painted. This also hints at a constant concern of mine: namely addressing the idea that sculpture, particularly in monumental sculpture, in the West is still shaped by the fact that all the colour came off the Greek statues. If all the Greek statues had maintained their colour then we’d have a completely different view of what a monumental sculpture should look like, what colour it should be, and not this whole idea of the purity of marble or the elegant quality of the bronze. I could go back as well to cathedrals in Britain, in medieval times particularly, when the statues were brightly painted."Slide12
Maud Sulter
Calliope
(1992,
herself
)
Terpsichore
(Delta
Streete
)Slide13
Maud Sulter
Hysteria
(2001)
Jeanne
Duval
(2003)Slide14
Chris Ofili:
The Holy Virgin MarySlide15
Yinka Shonibare
“
Historically
the
people
who
made
huge
,
unbroken
modernist
paintings
were
middle-class
white
American
men
. I
don't
have
that
physique
;
I
can't
make that work. So I fragmented it, in a way which made it both physically manageable and emphasizes the political critique.”uses jazzy (West) African fabrics (batik) purchased in Brixton market that turn out to be manufactured in Korea or Indonesia - hinting at the trade routes Slide16
Yinka Shonibare: The
Swing
(
after
Fragonard
), 2001Slide17Slide18
Yinka
Shonibare
:
Sir Foster
Cunliffe
,
PlayingSlide19
Yinka Shonibare: The Three GracesSlide20
Yinka Shonibare:
Leisure
Lady
with
OcelotsSlide21
Shonibare: Diary of a Victorian DandySlide22Slide23
William Hogarth: The Rake’s ProgressSlide24
Fred Wilson: Regina AtraSlide25
Hew Locke: House of Windsor seriesSlide26
Hew Locke: House of Windsor seriesSlide27
Chris Ofili:
No Woman No Cry
(1998)
Tribute to Stephen Lawrence, teenage victim of a racist killingSlide28
Chris Ofili: No Woman No Cry (Tate Gallery)Slide29
Ingrid Pollard:Pastoral InterludeSlide30
Ingrid Pollard: Pastoral InterludeSlide31
Ingrid Pollard: PostcardSlide32
Keith Piper: A Ship Called Jesus;The Ghost of ChristendomSlide33
Keith Piper: The Nanny of the Nation Gathers Her Flock (1987)Slide34
Keith Piper: Virtual MigrantSlide35
Sonia Boyce: Missionary Position II (1985)Slide36
„They say keep politics out of religion and religion out of politics
Laard but look my trials nuh – But when were they ever separate – Laard give me strength Slide37
Boyce: Black Female Hairsyles (50 prints) 1995Slide38
Sonia Boyce:
From
Tarzan
to
Rambo
:
English
Born
‘
Native
’
Considers
her
Relationship
to
the
Constructed
/
Self
Image and
her
Roots
in
Reconstruction
(1987)Slide39
Music
Cornershop
,
Brimful
of
Asha
Monsoon
,
Ever
So
Lonely
1982
Asian
Dub
Foundation
, Real Great
Britain
Bhangra
(
Valaiti
Bhabian
)
Nitin
Sawhney
,
Sunset
Nitin
Sawhney
,
Homelands
Talvin Singh, Jaan