Moments and Connections Thin Black Line(s) Tate Britain 2011/2012

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In the early 1980s three exhibitions in London curated by Lubaina Himid Five Black Women at the Africa Centre (1983) Black
Women Time Now at Battersea Arts Centre (1983-4) and The Thin Black Line at the Institute for Contemporary Arts in (1985)
marked the arrival on the British art scene of a radical generation of young Black and Asian women artists. They challenged their
collective invisibility in the art world and engaged with the social, cultural, political and aesthetic issues of the time.

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The Point Of Collection Tate/Uclan Film Project-Making Histories Visible

Collaborative project led by Professor Lubaina Himid.

The Point of Collection is the second dvd and publication research resource document this time exploring the entire national collection at Tate including accessing works in the Tate store which are not available to view on the Tate web site.

Selected text sample from publication brochure.

Dear Mrs Walker

In Point Of Collection apart from talking to many different people in perhaps a rather unscientific but friendly and therefore more revealing way, looking at web sites, and of course roaming the galleries, we read quite a mixture of texts, as you can imagine. It was the combination of these things and our previous discoveries that encouraged discussions and began to prompt us into action. Susan M Pearce in On Collecting talks about using collections to impress private collectors, but contemporary public collections compete for acquisitions with wealthy business people so its interesting to make comparisons. When she illustrates that the acquisition of a new object can suddenly force the re-evaluation of objects already owned, I begin to imagine what the addition of a Fred Wilson work would do to the collection at Tate.

DVD+ Text Brochure Publication 2007

Selected stills from Point of Collection DVD

http://www.tate.org.uk/research/tateresearch/partnerships/makinghistoriesvisible.htm

Email: reading.rooms@tate.org.uk

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Step This Way: Cultural Footprint at the University of Central Lancashire

Introduction

The information in this report is designed to illustrate the broad range of cultural output and production available for publicconsumption at the University of Central Lancashire.

We have tried to highlight the range and depth of media on offer, our links with regional arts groups and cultural organisationsaswellas thepotential for development we have identified the weaknesses that need to be turned into positive strengths.

Roam freely through the documents, pick and chose from the information headings and links to the internet and contact us.

Step This Way: The Cultural Footprint at the University of Central Lancashire - CD 2008

Selectedproject from Step This Way: Cultural Footprint at the University of Central LancashireCD

rePresent

rePresent was a performance by the Artful Heritage Group from Nguzo Saba Centre,Preston based on issues surrounding

enslavement. The performance took place within theTalking on Corners exhibition at the Harris Museum & Art Gallery Preston followed by a fifteen minute Question

andAnswer session with artist Lubaina Himid.

Images also include the Artful Heritage Group with the bill board poster photographed by artist Pam Holmes.

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Open Sesame Tate/Uclan Film Project-Making Histories Visible

Collaborative project led by Professor Lubaina Himid.

Open Sesame launched in 2005 reveals black artist's experiences of the Tate galleries: Tate Britain, Modern, Liverpool and St Ives from both artist and audience points of view. The research included visits to Tate gallery archives, meetings with education officers and other relevant people and several on-going meetings and interviews with black artists. We filmed on location at all four Tate galleries as well as on visits to various artist's studios.

Open Sesame was the first in a series ofpublication research resource documents in which Tate and Uclan in collaboration have sought to develop their work around the impact of past, current and possible future exhibitions, displays, competitions and collecting strategies initiated by Tate in relation to artists of African, Asian and Caribbean descent.

We are working on the idea that an answer to increasing the development of a diverse audience lies in an engagement with African/Caribbean artists about their experience of Tate.

Paul Clarkson -J R Archer, Veronica Ryan-Tate St Ives Lifeguards Hut -St Ives

Selected stills from Open Sesame DVD

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Introductory text from Open Sesame booklet.

OPEN SESAME: Making Histories Visible

During the past twenty five years Tate has shown the work of more African/Caribbean, African, and African/American artists than any other museum or gallery in Britain. Some of these artists have shown at all four Tate sites. One or two have been Tate artists in residence, several have given illustrated talks and been invited to contribute papers to conferences, some have been short listed for the Turner prize, two have won it, some of them are dead.

Most of the people who visit the four Tate galleries are either, artists, art lovers, art collectors, interested in art, or simply creative and artistic people. Audiences and visitors come from all over the world and all over the country and from the local population. If you ask them what they are interested in they say they like buildings, music, paintings, videos, photographs, interior decoration, films, books, sculpture, furniture, jewellery, gardens and clothes. They say they can find ideas for and references to all these in the galleries most of the time when they visit. Some of them say thats why they visit.The work in the vast collection is owned by the British people. Three of the galleries are free to enter but in all four Tates some of the exhibitions can only be seen if you pay an entrance fee. Most of the displays in which these artists work has been displayed have been free. What is the political difference between the exhibition and the display and does it matter?

All four Tate sites are at the waters edge.

Tate Liverpool is slightly oddly placed right on the banks of the river Mersey nestling in the Albert Dock. To get to it you must cross a large but safe main road then go straight along an open cobbled street and across a little bridge. The gallery is a huge space that looks like a row of shops.

On display is international and British art from the Tate Collection, alongside special exhibitions of internationally renowned artists. It is one of the largest galleries of modern art outsideLondon.

Tate Modern is slightly oddly placed right on the bank of the Thames at Bankside near the Globe theatre in London. It was a power station, it is dark and forbidding. To get to it just follow the crowds, either walking along the back streets of Southwark or crossing the bridges from the City, or arrive in a boat from the centre of town. Its like a giants castle but darker and more brutal.

Here you can see the Tate collection of international modern and contemporary art from 1900 to the present day.

Tate Britain is slightly oddly placed on the bank of the Thames at Millbank in London near an art school a housing estate and a massive complex of government buildings. Its on the site of a prison. You can get to it by tube to Pimlico or numerous buses or you can walk along a wide and busy road parallel to the river or you can arrive by boat. The gallery looks like a temple but noisier and friendlier.

Here is housed the national collection of British art from 1500 to the present day.

Tate St Ives is slightly oddly placed on Porthmeor Beach overlooking the sea but perched on a hill. It sits next to a block of flats for the elderly and a small cemetery. To get to it you climb through winding streets of fishermens houses. It looks like the gasworks but very much more beautiful.

Tate St Ives presents international modern and contemporary art in the unique cultural context of St Ives, including works from the Tate Collection,in particular works by the artists from the St Ivesschool. It also comprises the Barbara Hepworth Museum and Sculpture Garden.

DVD + Booklet Publication 2005

http://www.tate.org.uk/research/tateresearch/partnerships/makinghistoriesvisible.htm

Email: reading.rooms@tate.org.uk

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Naming The Money Catalogue - Hatton Gallery 2004

Selected text from Naming The Money Catalogue

The idea of a portrait as the likeness of a person, and to some extent a revelation of the inner character, is turned on its head when examining portraits of black servants. Whilst undoubtedly they often do record appearance, this is rarely their primary purpose. Particularly

in those paintings where they appear with their master or mistress, the role of the servant is merely to enhance the appearance and character ot the other person portrayed. The identity, personality, hopes and aspirations of the servant are at most secondary, more usually, entirely absent. This is no surprise he who pays the piper, calls the tune; but these portraits give us tantalisingly fleeting glimpses of the

lives of these imported servants.

That black servants appear in so many portraits demonstrates the prominent role which they played in domestic life. But they remain unknown and in the shadows. Lubaina Himids installation Naming The Money reveals the hidden history of black slaves and servants. It gives forgotten individuals a voice, the unknown supporting characters a name and a history.

Lucy Whetstone Curator Hatton Gallery

Naming The MoneyCatalogue Pierre Mignard Portrait of Louise de KirroualleWilliam Dobson John 1st Baron of Rochdale 1643

ISBN 0-7017-0166-8 Duchess of Plymouth 1682 Naming The Money catalogue.

Naming The Money catalogue.

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