It was a pleasure to visit the James Hockey and Foyer Galleries at the University for the Creative Arts, Farnham, to view a solo exhibition of new paintings by the Jamaican-British contemporary figurative artist Eugene Palmer.
Curated by Richard Hylton, the exhibition “Eugene Palmer: Didn’t it Rain: New Paintings” (27 January – 24 March 2018) was divided into the following three series, and also featured a short documentary film showing the artist at work in his studio discussing the development of his portfolio:
(1) “In Between Black and White” was displayed at the main entrance to the gallery and comprised ten close-up portraits of a young black woman. Each one showed different variations in skin tone, either painted in shades of grey, or in full colour. This process of producing nearly identical, repeated portraits, displayed as multiples, is one of the artist’s signature techniques. Collectively, the images encouraged viewers to contemplate issues of race, constructions of identity, the politics of beauty considered in relation to ethnicity and skin tone, and importantly also the complexities of ‘colourism’ – particularly as regards the problematic history of European artists creating stereotyped representations of black women within Western portraiture over many centuries.
(2) “Baby Shower,” shown in the foyer area of the University’s library, comprised 12 sketches painted in oil on paper, each representing attendees at a real-life gathering of family and friends to celebrate the forthcoming arrival of a new baby girl.
(3) “Didn’t it Rain”was displayed in the main gallery and showcased ten, larger than life-sized portraits of black women dressed in smart, monochrome skirt suits with matching hats. These works were arranged in pairs, with each figure painted against a neutral background of either light blue, green, yellow, pink, grey or white.
BBC Radio 4’s ‘Black Art Matters’ (first broadcast on 29 June 2017) is available to listen to online via the BBC website http://www.bbc.co.uk. This 30-minute programme features Professor Sonia Boyce MBE (RA) in conversation with family members and friends of the British contemporary visual artist Donald Rodney (1961-1998) – one of the most central and important founding figures involved in the Midlands-based ‘Blk Art Group’ during the 1980s, who sadly passed away two decades ago (due to the illness Sickle Cell).
Boyce begins her reflective voice-over with a review of Donald Rodney’s visceral and racially charged installation piece “The House that Jack Built” (1987). Her perceptive commentary is layered and interspersed with other art-historical observations taken from interviews with several contributing artists and guests who attended the exhibition launch reception for “The Place is Here” (Nottingham Contemporary, 4 February – 30 April 2017).
Rodney’s complex, hard-hitting and unsettling mixed-media installation features a set of x-rays of the artist’s body arranged against the gallery wall to form the silhouetted structure of a house, overlaid with white-painted text and pictorial imagery commenting on the traumas and enduring legacies of enslavement, racial segregation, the brutalities of apartheid and other forms of racialized, anti-black violence throughout world history. Prominently positioned on a chair in front of the “house” is a seated figure, with a large tree-like structure sprouting from the neck of a paint-splattered striped shirt to create the slumped frame of a man’s body. Continue reading BLACK ART MATTERS: Reflecting on the life, works and art-political legacy of Donald Rodney, 1961-1998
My proposal to present a research paper about the life and work of Cuban surrealist artist Wifredo Lam (1902-1982) at the forthcoming 2nd CARISCC Postgraduate Conference on Caribbean In/securities and Creativity (University of Leeds, UK, 8th March 2017) has been accepted. The presentation – titled, “Reading Issues of In/Security and Creativity through the Life and Artworks of Wifredo Lam: a Cuban ‘Passeur’ in Paris” – will form part of a broad conference programme themed around ‘Reading’ Caribbean In/securities for Creativity. Through this theme my fellow conference contributors and I will seek to examine the links between precariousness and creativity within the context of Caribbean cultural, area and diaspora studies.
When art scholar Catherine Grenier recently curated the exhibition “Multiple Modernities, 1905-1970”* for the Pompidou in Paris, she made reference to the French term “passeur” [“go-between”] to describe the activities of selected pioneering and influential modernists whose travels and artistic practices throughout the 20th century supported global artistic syncretism and dynamic cultural exchanges across a range of art forms, movements, genres and media. For Grenier, the role of the passeur was an important aspect of ‘thirding’ the Pompidou’s gallery spaces so as to displace and replace false Enlightenment era polarities of Self/Other binarism in favour of more fluid and pluralist ‘both/and also’ exhibiting practices – as advocated by cultural theorists such as Homi K. Bhabha, Gayatri Spivak and Ed Soja.
One person celebrated and valorised in this thematic display as an influential passeur of Caribbean heritage – who (in Grenier’s words) “propagated the modern spirit throughout the world” – was the Cuban surrealist artist Wifredo Lam (1902-1982).
In this conference presentation, archival documents and past exhibitions detailing the artist’s portfolio of works and his biography will be showcased as the prelude to addressing underlying questions about the extent of Wifredo Lam’s ‘borderless fluidity’ and ‘hybrid identity’ as a passeur ‘of colour’ – negotiating complex spaces and structures normalised as white within avant-garde Europe during the inter-war period. This spatio-temporal survey and mapping of his lived experiences – as an artist deeply influenced by his African, Asian and European ancestry, just as much as his connections to fellow artists in the Surrealist Movement of ‘Jazz Age’ Paris (most notably, Pablo Picasso) – will also serve as the prelude to deeper, critical reflections on the politics of in/security within the observed aesthetic characteristics and narrative interpretations of Lam’s visual poetics by contemporary art critics, scholars and wider publics.
Public exhibition from November 11 through November 21 at Gary Nader NY, 24 West 57th Street, New York City. This show will include works from the Nader Art Museum Latin America (NAMLA) as well as Several Prestigious Private Collections Nader Art Museum Latin America and Gary Nader NY are pleased to announce the upcoming exhibition […]
The Cy Grant Trust – working in partnership with the education charity Windrush Foundation and London Metropolitan Archives (LMA) – recently received a grant from the Heritage Lottery Fund (HLF) to catalogue the archives of the writer, actor, musician, barrister and equalities campaigner, Cy Grant (1919-2010).
Cyril Ewart Lionel Grant (known as ‘Cy’) was born in Guyana in 1919 and served as a Flight Lieutenant and navigator in the Royal Air Force during the Second World War before settling in the UK to train and qualify as a barrister. As a result of the extreme racism encountered in post-war Britain, Cy was unable to pursue his chosen career in the legal sector, so instead sought work in the entertainment industry using his talents as a singer/songwriter, actor and musician – quickly rising to national prominence in the 1950s and 1960s as one of the few people of Caribbean descent to regularly appear on British television at that time. Over several decades Cy Grant made a substantial contribution to the arts and to broadcasting in Britain, always actively supporting fellow diasporan arts practitioners from Africa and the Caribbean to help them secure professional positions and contracts within British theatre, the UK film and music industries, and the wider literary and performing arts arenas. Continue reading Navigating the Dreams of an Icon: The Cy Grant Archives at the LMA – a new heritage initiative for 2016/17