Three Interrelated Simultaneous Exhibitions: ‘Navigation Charts’, ‘Invisible Strategies’, ‘The Place is Here’
- Submitting institution
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University of Central Lancashire
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 18522
- Type
- M - Exhibition
- Venue(s)
- England, UK
- Open access status
- -
- Month of first exhibition
- January
- Year of first exhibition
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- "These exhibitions brought together important work from previous decades and juxtaposed it with new pieces made during 2016. The cultural landscape had clearly changed since my curatorial research project Thin Black Line(s) Tate Britain in 2011, but many of my large scale installations had only been on display once since being made. This raised questions about missed opportunities around national collecting policies, display strategies and museum acquisitions as well as urgent issues around audience development and the representation of artists from the black diaspora on the walls of British art galleries and museums.
At Nottingham Contemporary visual dialogues were set up between my installation Fashionable Marriage (1987) and a selection of the seminal works made by artists from the black diaspora working in the 1980s. Fashionable Marriage focuses upon the relationship and political alliances between Thatcher and Reagan, while finding similarities with the wilful neglect of the British art scene. This provided clear context to the 1980s seminal works by artists from the black diaspora.
At Modern Art Oxford the pairing of The Exchange (2016) and Bone in the China (1989) brought into focus the still urgent need to discuss the legacies and current collective but hidden trauma of the history of the trade in slaves, despite the 27 years between the making of each work.
At Spike Island Bristol the display of the 100 painted life sized cut out installation Naming the Money (2004) with a selection of works on paper from several of the Kanga series (2010 -2017) showed the continuing need to call for an acknowledgement of the resilience in the face of the immense human suffering at the core of British society. "
- Author contribution statement
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- Non-English
- No
- English abstract
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