Memorialising Slavery and Freedom in the Life and Works of Lubaina Himid
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Köp båda 2 för 2216 krReviews'An extremely significant contribution to the art historical research focused on contemporary Black British visual artists.' Professor Earnestine Jenkins, University of Memphis While Inside the Invisible challenges us to face painful histories and their contemporary legacies, it also celebrates the possibilities of what can be achieved by reimagining these issues through Himids perspective. This is an important and generous publication, essential reading for scholars seeking to reframe the study of art through the lenses of anti-racism and decoloniality. Sabrina Rahman, Wasafiri Himids deft ability to link her artistic and academic gifts bridges a body of information that we take for granted: cultural visibility. Her work takes the stories of black men and women who have been systematically erased and makes them raw and visually accessible. Looking through these pages makes me ask why we do not currently use art and this book specifically to teach history. Lavinya Stennett (writer and founder of The Black Curriculum), The Guardian
Celeste-Marie Bernier is Professor of United States and Atlantic Studies, University of Edinburgh. Alan Rice is Professor in English and American Studies and Co-Director of the Institute for Black Atlantic Research, University of Central Lancashire. Lubaina Himid CBE is Professor of Contemporary Art and Co-Director of the Institute for Black Atlantic Research, University of Central Lancashire and 2017 Turner Prize winner. Hannah Durkin is Lecturer in Literature and Film, School of English Literature, Language and Linguistics, Newcastle University.
List of Illustrations Acknowledgements Foreword by Marlene Smith Introduction: Making Black Histories, Stories, and Memories Visible I - Gathering and Reusing by Lubaina Himid Part 1: Visualising the Politics of Representation Chapter 1: Humour, fury, celebration, and optimism: A Politics of Protest and Cut-Out Men (1981-85) Chapter 2: Rituals of reclaiming lost artefacts, refusing oppression and looking for ancestors in Heroes and Heroines (1984) Chapter 3: They who document / paint the History hold the Power: Retelling, Reimagining and Recreating New Narratives of Black Heroism in Toussaint I (1988) and Toussaint II (2002) II - Telling Invisible Stories by Lubaina Himid Part 2: Resistance, Reclamation and Revolutionary History Painting Chapter 4: No more Silent Victims: Agency, Authority and Artistry in the Black Womans Story in Revenge (1992) Chapter 5: Lost hope, abandoned lives, decimated civilisations: Sites of Cultural Struggle in Beach House (1995) Chapter 6: Safety and danger and how to tell the difference: Suffering, Struggle and Survival in Plan B (1999) III - Return to the Operatic by Lubaina Himid Part 3: Past, Present and Future Artistry, Activism and Agency Chapter 7: Imaging and Imagining Lost Lives of the Black Diaspora in Venetian Maps (1997) Chapter 8: Reimaging and Reimagining an Absent-Presence in Cotton.com (2003) Chapter 9: The Slave Servant: Guerrilla Memorialisation and Multi-accented Performances in Naming the Money (2004) Chapter 10: Intervention, Mapping and Excavation: White Caricatures versus Black Dehumanisation in Swallow Hard: The Lancaster Dinner Service (2007) IV - Painting over the British to reveal the British by Lubaina Himid Part 4: Imagining the ghosts and the traces Chapter 11: Tracing The living/ the dead/ the ancestors in London and Paris Guidebooks (2009) Chapter 12: Mapping Space, Debating Place: Jelly Mould Pavilions (2010) and Official Sites and Sights of Slavery and Memory Chapter 13: The Ghost of it all: Tragedy, Trauma and a People There and Not There in Le Rodeur (2016) V - Working on Paper by Lubaina Himid Its All about Action: An Interview with Lubaina Himid by Hannah Durkin Conclusion: Lives Depend on Accurate Histories Bibliography