Work from Underneath and Five Conversations
- Submitting institution
-
University of Central Lancashire
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 90013
- Type
- M - Exhibition
- Venue(s)
- New Museum and High Line, New York, USA
- Open access status
- -
- Month of first exhibition
- April
- Year of first exhibition
- 2019
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- "Fabricated between July 2018 and May 2019 these two projects, an exhibition at the New Museum and an installation on The High Line, examined the ability of both sets of work to talk to each other across the city, one acting as a signpost for the other while being politically as well as physically embedded in the fabric of New York. This a city where the African American experience is of early emancipation and integration, but subsequently of predictable degradation and community neglect.
Writing in my New Museum catalogue about the way my work gets beneath the surface and mixes genres and histories, Fred Moten says:
“Himid writes a Riemann surface on the underskin, getting there all the time in the interest of some other, deeper victory. C.L.R. James sings to James Brown so we can sound like Olive Morris sounding like Siti binti Saad sounding our endless scattering and gathering.”
Through visual depictions of architectural processes, production, and the detailed construction of clothing, the work examines and makes clear the processes of a collaborative project. Simultaneously, meta conversations take place about the difference between safety and danger, and that ‘collaborative making; through trauma can heal a damaged history.
In the New Museum catalogue highlighting my project to fill the gaps in written and depicted histories, Jessica Bell Brown writes:
“Himid persists in painting within spaces of erasure. Her work pursues the imagining of historical trauma, of turmoil and triumph, of love lost and of alternative possibilities imagined.” "
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -