Things done change : the cultural politics of recent Black artists in Britain / Eddie Chambers.

by Chambers, EddieLooking glass.

Series: Cross/cultures: ; Cross cultures: Publisher: Amsterdam ; Rodopi, 2012.Description: xlix, 299 pages : illustrations ; 24 cm.ISBN: 9042034432; 9789042034433.Subject(s): Art, Black -- Great Britain -- 20th century -- History | Art, British -- 20th century -- History | Artists, Black -- Great Britain -- History -- 20th century | Blacks in artLooking glassNote: Includes bibliographical references (pages [261]-275) and index.
Item type Home library Collection Class number Status Date due Barcode Item reservations
Short loan Central Saint Martins
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Printed books 709.410904 CHA (Browse shelf (Opens below)) Issued 01/12/2021 54189198
Reference Wimbledon College of Arts
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Printed books 759.09 CHA (Browse shelf (Opens below)) Library use only 54172999
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Enhanced descriptions from Syndetics:

1980s Britain witnessed the brassy, multi-faceted emergence of a new generation of young, Black-British artists. Practitioners such as Sonia Boyce and Keith Piper were exhibited in galleries up and down the country and reviewed approvingly. But as the 1980s generation gradually but noticeably fell out of favour, the 1990s produced an intriguing new type of Black-British artist. Ambitious, media-savvy, successful artists such as Steve McQueen, Chris Ofili, and Yinka Shoni-bare made extensive use of the Black image (or, at least, images of Black peo-ple, and visuals evocative of Africa), but did so in ways that set them apart from earlier Black artists. Not only did these artists occupy the curatorial and gallery spaces nominally reserved for a slightly older generation but, with aplomb, auda-city, and purpose, they also claimed pre-viously unimaginable new spaces. Their successes dwarfed those of any previous Black artists in Britain. Back-to-back Tur-ner Prize victories, critically acclaimed Fourth Plinth commissions, and no end of adulatory media attention set them apart. What happened to Black-British artists during the 1990s is the chronicle around which "Things Done Change "is built. The extraordinary changes that the profile of Black-British artists went through are dis-cussed in a lively, authoritative, and de-tailed narrative. In the evolving history of Black-British artists, many factors have played their part. The art world's turning away from work judged to be overly 'political' and 'issue-based'; the ascen-dancy of Blair's New Labour govern-ment, determined to locate a bright and friendly type of 'diversity' at the heart of its identity; the emergence of the preco-cious and hegemonic yBa grouping; gov-ernmental shenanigans; the tragic murder of Black Londoner Stephen Lawrence - all these factors and many others underpin the telling of this fascinating story. "Things Done Change "represents a timely and important contribution to the building of more credible, inclusive, and nuanced art histories. The book avoids treating and discussing Black artists as practitioners wholly separate and distinct from their counterparts. Nor does the book seek to present a rosy and varnished account of Black-British artists. With its multiple references to Black music, in its title, several of its chapter headings, and citations evoked by artists themselves, "Things Done Change "makes a singular and compelling narrative that reflects, as well as draws on, wider cultural mani-festations and events in the socio-political arena.

Includes bibliographical references (pages [261]-275) and index.

Author notes provided by Syndetics

Eddie Chambers is a curator and writer of art criticism. He has, since the early 1980s, been involved in the visual arts, particularly the practice of Black-British artists. He holds a PhD from Goldsmiths College, University of London and is an Assistant Professor in the Art History Department of the University of Texas at Austin.

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