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<!DOCTYPE html><html><head><title>Visualising Slavery: Art Across the African Diaspora - Google Books</title><link rel="stylesheet" href="/books/css/_a33f2a89320471e58c940b9287b9d4eb/kl_viewport_kennedy_full_bundle.css" type="text/css" /><link rel="stylesheet"href="https://fonts.googleapis.com/css2?family=Product+Sans:wght@400"><script src="/books/javascript/v2_a33f2a89320471e58c940b9287b9d4eb__en.js"></script><script>_OC_Hooks = ["_OC_Page", "_OC_SearchReload", "_OC_TocReload", "_OC_EmptyFunc", "_OC_SearchPage", "_OC_QuotePage" ];for (var _OC_i = 0; _OC_i < _OC_Hooks.length; _OC_i++) {eval("var " + _OC_Hooks[_OC_i] + ";");}function _OC_InitHooks () {for (var i = 0; i < _OC_Hooks.length; i++) {var func = arguments[i];eval( _OC_Hooks[i] + " = func;");}}</script><link rel="canonical" href="https://books.google.com/books/about/Visualising_Slavery.html?id=mIjADAAAQBAJ"/><meta property="og:url" content="https://books.google.com/books/about/Visualising_Slavery.html?id=mIjADAAAQBAJ"/><meta name="title" content="Visualising Slavery"/><meta name="description" content="The purpose of this book is to excavate and recover a wealth of under-examined artworks and research materials directly to interrogate, debate and analyse the tangled skeins undergirding visual representations of transatlantic slavery across the Black diaspora. Living and working on both sides of the Atlantic, as these scholars, curators and practitioners demonstrate, African diasporic artists adopt radical and revisionist practices by which to confront the difficult aesthetic and political realities surrounding the social and cultural legacies let alone national and mythical memories of Transatlantic Slavery and the international Slave Trade. Adopting a comparative perspective, this book investigates the diverse body of works produced by black artists as these contributors come to grips with the ways in which their neglected and repeatedly unexamined similarities and differences bear witness to the existence of an African diasporic visual arts tradition. As in-depth investigations into the diverse resistance strategies at work within these artists' vast bodies of work testify, theirs is an ongoing fight for the right to art for art's sake as they challenge mainstream tendencies towards examining their works solely for their sociological and political dimensions. This book adopts a cross- cultural perspective to draw together artists, curators, academics, and public researchers in order to provide an interdisciplinary examination into the eclectic and experimental oeuvre produced by black artists working within the United States, the United Kingdom and across the African diaspora. The overall aim of this book is to re-examine complex yet under-researched theoretical paradigms vis-à-vis the patterns of influence and cross-cultural exchange across both America and a black diasporic visual arts tradition, a vastly neglected field of study."/><meta property="og:title" content="Visualising Slavery"/><meta property="og:type" content="book"/><meta property="og:site_name" content="Google Books"/><meta property="og:image" content="https://books.google.com.sg/books/publisher/content?id=mIjADAAAQBAJ&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE71Y6OPpGo0V_n8H-u6HTCpY9k3zrHnj3fSdHSVv4lkFg2rHfM8aaToLXtg7tFODJTiFtXa6dOKko8RiC6UhumpCdlI--zd2q89wboROoK7E8f3uUse1010MCn34r87A-bh1K1PY"/><link rel="image_src" href="https://books.google.com.sg/books/publisher/content?id=mIjADAAAQBAJ&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE71Y6OPpGo0V_n8H-u6HTCpY9k3zrHnj3fSdHSVv4lkFg2rHfM8aaToLXtg7tFODJTiFtXa6dOKko8RiC6UhumpCdlI--zd2q89wboROoK7E8f3uUse1010MCn34r87A-bh1K1PY"/><script></script><style>#gbar,#guser{font-size:13px;padding-top:1px !important;}#gbar{height:22px}#guser{padding-bottom:7px !important;text-align:right}.gbh,.gbd{border-top:1px solid #c9d7f1;font-size:1px}.gbh{height:0;position:absolute;top:24px;width:100%}@media all{.gb1{height:22px;margin-right:.5em;vertical-align:top}#gbar{float:left}}a.gb1,a.gb4{text-decoration:underline !important}a.gb1,a.gb4{color:#00c !important}.gbi .gb4{color:#dd8e27 !important}.gbf .gb4{color:#900 !important} #gbar { padding:.3em .6em !important;}</style></head><body class=""><div id=gbar><nobr><a target=_blank class=gb1 href="https://www.google.com.sg/search?tab=pw">Search</a> <a target=_blank class=gb1 href="https://www.google.com.sg/imghp?hl=en&tab=pi">Images</a> <a target=_blank class=gb1 href="https://maps.google.com.sg/maps?hl=en&tab=pl">Maps</a> <a target=_blank class=gb1 href="https://play.google.com/?hl=en&tab=p8">Play</a> <a target=_blank class=gb1 href="https://www.youtube.com/?tab=p1">YouTube</a> <a target=_blank class=gb1 href="https://news.google.com/?tab=pn">News</a> <a target=_blank class=gb1 href="https://mail.google.com/mail/?tab=pm">Gmail</a> <a target=_blank class=gb1 href="https://drive.google.com/?tab=po">Drive</a> <a target=_blank class=gb1 style="text-decoration:none" href="https://www.google.com.sg/intl/en/about/products?tab=ph"><u>More</u> »</a></nobr></div><div id=guser width=100%><nobr><span id=gbn class=gbi></span><span id=gbf class=gbf></span><span id=gbe></span><a target=_top id=gb_70 href="https://www.google.com/accounts/Login?service=print&continue=https://books.google.com.sg/books%3Fid%3DmIjADAAAQBAJ%26q%3DLubaina%2BHimid%26source%3Dgbs_word_cloud_r%26hl%3Den&hl=en&ec=GAZACg" class=gb4>Sign in</a></nobr></div><div class=gbh style=left:0></div><div class=gbh style=right:0></div><div role="alert" style="position: absolute; left: 0; right: 0;"><a href="https://books.google.com.sg/books?id=mIjADAAAQBAJ&q=Lubaina+Himid&source=gbs_word_cloud_r&hl=en&output=html_text" title="Screen reader users: click this link for accessible mode. 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permission of \u003ca class=link_aux href=\"https://books.google.com.sg/url?id=mIjADAAAQBAJ\u0026pg=PR12\u0026q=http://www.oup.com\u0026linkid=1\u0026usg=AOvVaw27Gxxj0FZTc4-gBxVe74a-\u0026source=gbs_pub_info_r\"\u003eOxford University Press\u003c/a\u003e","is_ebook":false,"volumeresult":{"has_flowing_text":false,"has_scanned_text":true,"can_download_pdf":false,"can_download_epub":false,"is_pdf_drm_enabled":false,"is_epub_drm_enabled":false},"publisher":"Oxford University Press","publication_date":"2016","subject":"Art","num_pages":291,"sample_url":"https://play.google.com/books/reader?id=mIjADAAAQBAJ\u0026source=gbs_vpt_hover","synposis":"The purpose of this book is to excavate and recover a wealth of under-examined artworks and research materials directly to interrogate, debate and analyse the tangled skeins undergirding visual representations of transatlantic slavery across the Black diaspora. Living and working on both sides of the Atlantic, as these scholars, curators and practitioners demonstrate, African diasporic artists adopt radical and revisionist practices by which to confront the difficult aesthetic and political realities surrounding the social and cultural legacies let alone national and mythical memories of Transatlantic Slavery and the international Slave Trade. Adopting a comparative perspective, this book investigates the diverse body of works produced by black artists as these contributors come to grips with the ways in which their neglected and repeatedly unexamined similarities and differences bear witness to the existence of an African diasporic visual arts tradition. As in-depth investigations into the diverse resistance strategies at work within these artists' vast bodies of work testify, theirs is an ongoing fight for the right to art for art's sake as they challenge mainstream tendencies towards examining their works solely for their sociological and political dimensions. This book adopts a cross- cultural perspective to draw together artists, curators, academics, and public researchers in order to provide an interdisciplinary examination into the eclectic and experimental oeuvre produced by black artists working within the United States, the United Kingdom and across the African diaspora. The overall aim of this book is to re-examine complex yet under-researched theoretical paradigms vis-à-vis the patterns of influence and cross-cultural exchange across both America and a black diasporic visual arts tradition, a vastly neglected field of study.","my_library_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fop%3Dlibrary\u0026hl=en","is_magazine":false,"is_public_domain":false,"last_page":{"pid":"PA307","order":322,"title":"307"}},{"enableUserFeedbackUI":true,"pseudocontinuous":true,"is_cobrand":false,"sign_in_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fid%3DmIjADAAAQBAJ%26q%3DLubaina%2BHimid%26source%3Dgbs_word_cloud_r%26hl%3Den\u0026hl=en","isEntityPageViewport":false,"showViewportOnboarding":false,"showViewportPlainTextOnboarding":false},{"page":[{"pid":"PR12","flags":8,"order":11,"vq":"Lubaina Himid"}]},null,{"number_of_results":26,"search_results":[{"page_id":"PR7","page_number":"vii","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e 17 Chapter 2: Preserves Debra Priestly 29 Chapter 3: What Goes without Saying Hank Willis Thomas 34 Chapter 4: Spectres in the postcolonies: reimagining violence and resistance Roshini Kempadoo Chapter 5: Strategic\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=mIjADAAAQBAJ\u0026pg=PR7\u0026vq=Lubaina+Himid"},{"page_id":"PR11","page_number":"xi","snippet_text":"... (nineteenth century), precious metals, bone, wood 271 Figure 39: anon., Zulu necklace (n.d.), bone, teeth, leather, stone, wood 273 Colour Plates plate 1: \u003cb\u003eLubaina Himid\u003c/b\u003e, Swallow Hard: The Lancaster # xi # List of Illustrations."},{"page_id":"PR12","page_number":"xii","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, Swallow Hard: The Lancaster Dinner Service (2007), ceramic dinner set: on display at Judges\u0026#39; Lodgings, Lancaster, Lancashire Museums plate 2: \u003cb\u003eLubaina Himid\u003c/b\u003e, Good News – Act Passed, from the exhibition Swallow Hard: The\u0026nbsp;..."},{"page_id":"PA1","page_number":"1","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e summarises her mixed-media installation consisting of a 100-dinner piece service and exhibited at the Judges\u0026#39; Lodgings, Lancaster, uK in 2007.1 an especially hard-hitting work in her self-reflexively experimental and\u0026nbsp;..."},{"page_id":"PA2","page_number":"2","snippet_text":"... Himid includes a series of jugs and tureens on which she provides close-up portraits of the unreadable physiognomies ... \u003cb\u003eLubaina Himid\u003c/b\u003e, email correspondence with the authors, november 2014. 3 See alan rice, \u0026#39;Commemorating abolition\u0026nbsp;..."},{"page_id":"PA5","page_number":"5","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, Thin Black Line(s) (2011–12) (London: tate Britain, 2011), and co-authored with Celeste-Marie Bernier and alan rice, Inside the Invisible: Slavery and Memory in the Works of \u003cb\u003eLubaina Himid\u003c/b\u003e (1985–2015) (Liverpool\u0026nbsp;..."},{"page_id":"PA6","page_number":"6","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, debra priestly, Hank Willis Thomas, Keith piper and roshini Kempadoo. in addition to their seminal importance at the vanguard of a generation-defining era of experimental art-making and production, Himid, priestly\u0026nbsp;..."},{"page_id":"PA12","page_number":"12","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e qtd. in rice, \u0026#39;Commemorating abolition\u0026#39;, # 12 # Visualising Slavery."},{"page_id":"PA13","page_number":"13","snippet_text":"... Himid\u0026#39;s practice – but of overimaging and experimental textual layering across Sites of Africa. Signalling her ... \u003cb\u003eLubaina Himid\u003c/b\u003e qtd. in rice, \u0026#39;Commemorating abolition\u0026#39;, n.pag. 15 Kellie Jones, \u0026#39;to/From Los angeles with Betye Saar\u0026nbsp;..."},{"page_id":"PA17","page_number":"17","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e Betye Saar and the everyday object The career: When Betye Saar, born in 1926 in pasadena, talks about her career, it\u0026#39;s as if she\u0026#39;s speaking to her friends about their gardens, their houses and their children; she\u0026nbsp;..."},{"page_id":"PA18","page_number":"18","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, \u0026#39;interview with Betye Saar\u0026#39; (1993), n.pag. (unpublished # 18 # Visualising Slavery."},{"page_id":"PA19","page_number":"19","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, \u0026#39;interview with Betye Saar\u0026#39; (1993), n.pag. (unpublished artist\u0026#39;s files). 17 See peter Clothier, Betye Saar (Chicago, iL: Museum of # 19 # Betye Saar and the Everyday Object."},{"page_id":"PA26","page_number":"26","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e before a live audience during the \u0026#39;Art Across the Black Diaspora\u0026#39; symposium held at the University of Oxford in May 2013. \u0026#39;The Swap Meet\u0026#39;: a performance The ritual for the Swap Meet. The ideas – the thoughts, memories\u0026nbsp;..."},{"page_id":"PA28","page_number":"28","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e prefaced a slideshow of her artworks by explaining to her audience, \u0026#39;i\u0026#39;m going to show some images here of some recent work of mine but you are holding the latest works in your hands\u0026#39;. CHAPTER TWO Preserves Debra Priestly\u0026nbsp;..."},{"page_id":"PA161","page_number":"161","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, Michael visocchi and Lemn Sissay focused on the production of monuments, memorials. 10 paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (London and new york: verso, 1993), p. 9. i deal elsewhere with\u0026nbsp;..."},{"page_id":"PA218","page_number":"218","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e for their inspirational scholarship, kindness and generosity. i have written this chapter for Sara Wood in heartfelt gratitude for her groundbreaking research, writing and teaching in african american and african diasporic\u0026nbsp;..."},{"page_id":"PA219","page_number":"219","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, \u0026#39;donald rodney notes\u0026#39; (n.d.), n.pag. # 219 # Paintings, Installations and Sketchbooks of Donald Rodney."},{"page_id":"PA220","page_number":"220","snippet_text":"... \u003cb\u003eLubaina Himid\u0026#39;s\u003c/b\u003e unpublished writings in which she declares that rodney was \u0026#39;interested very much in the structure of ... \u003cb\u003eLubaina Himid\u003c/b\u003e, \u0026#39;donald rodney notes\u0026#39; (n.d.), n.pag. (unpublished \u003cb\u003eLubaina Himid\u003c/b\u003e archive, artist Collection). 8\u0026nbsp;..."},{"page_id":"PA222","page_number":"222","snippet_text":"... Himid explains regarding rodney\u0026#39;s pivotal yet under-examined role in twentieth-century British art history, he has ... \u003cb\u003eLubaina Himid\u003c/b\u003e, \u0026#39;n.t.,\u0026#39; in Donald Rodney: Critical (rochdale: rochdale art Gallery, 1990), p. 1. 14 Hylton\u0026nbsp;..."},{"page_id":"PA244","page_number":"244","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, fundamental questions remain regarding rodney\u0026#39;s lifelong preoccupation with the \u0026#39;structure of slavery\u0026#39; and the now never to be told or imaged possibilities of his future formal and thematic directions since he died early\u0026nbsp;..."},{"page_id":"PA277","page_number":"277","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, the tanzanian-born artist who is not only one of Britain\u0026#39;s foremost artists but also a nationally and internationally leading curator and scholar of contemporary Black British art, and also works in the discourses of\u0026nbsp;..."},{"page_id":"PA287","page_number":"287","snippet_text":"... \u003cb\u003eHimid\u003c/b\u003e, \u003cb\u003eLubaina\u003c/b\u003e 1–3, 6, 13, 161–2, 277, 279 on Betye Saar 17–28 on donald rodney 220–21, 222, 223, 227–8, 244 Jelly Mould Pavilion 7, 25 Kangas from the Lost Sample Book 7, 25 Negative Positives 7, 25 reusing domestic objects 6–7, 17\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=mIjADAAAQBAJ\u0026pg=PA287\u0026vq=Lubaina+Himid"},{"page_id":"PA290","page_number":"290","snippet_text":"... , Leon 10, 168–83 Walker, Kara 55, 279 Wallace, Michelle 4 Wallinger, Mark, Ecce Homo 156 Walsh, Susan 25 Warburg, eugene 125–6 Ward Williams, pat 8–9 Plate 7 : \u003cb\u003eLubaina Himid\u003c/b\u003e , Kangas from the Lost # 290 # Visualising Slavery.","page_url":"https://books.google.com.sg/books?id=mIjADAAAQBAJ\u0026pg=PA290\u0026vq=Lubaina+Himid"},{"page_id":"PA293","page_number":"293","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, Rushing to Sell His Share in the Castleton, Swallow Hard: The Lancaster Dinner Service (2007), ceramic dinner plate plate 4: \u003cb\u003eLubaina Himid\u003c/b\u003e, Untitled, Swallow ... \u003cb\u003eLubaina Himid\u003c/b\u003e, Jelly Mould Pavilion (2011), on display."},{"page_id":"PA294","page_number":"294","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e, Jelly Mould Pavilion (2011), on display at Sudley House, Liverpool Museums plate 6: \u003cb\u003eLubaina Himid\u003c/b\u003e, Jelly Mould Pavilion (2011), on display at Sudley House, Liverpool Museums plate 10: debra priestly, Strange Fruit 14\u0026nbsp;..."},{"page_id":"PA295","page_number":"295","snippet_text":"... \u003cb\u003eLubaina Himid\u003c/b\u003e , Kangas from the Lost Sample Book – Shelter in the Shade of Deep Friendship section 1 of 2 ] ( 2012 ) . Photography credit : Denise Swanson SHELTER IN THE SHADE OF DEEP FRIENDSHIP Plate 8 : \u003cb\u003eLubaina Himid\u003c/b\u003e , Kangas from\u0026nbsp;..."}],"search_query_escaped":"Lubaina Himid"},{});</script></div></div></div><script>(function() {var href = window.location.href;if (href.indexOf('?') !== -1) {var parameters = href.split('?')[1].split('&');for (var i = 0; i < parameters.length; i++) {var param = parameters[i].split('=');if (param[0] == 'focus') {var elem = document.getElementById(param[1]);if (elem) {elem.focus();}}}}})();</script>