Author: Camara Dia Holloway
I am the Project Manager for the Romare Bearden Digital Catalogue Raisonné at the Wildenstein Plattner Institute. I earned my PhD at Yale University in the History of Art Department and specialize in twentieth century American art with a particular focus on the history of photography, race and representation, and transatlantic modernist networks. I also serve as a Founding Co-Director of the Association for Critical Race Art History (ACRAH).
Lynette Yiadom-Boakye
This brief post is one of pure congratulations a glass raised to Lynnette Yiadom-Boakye, as last week she became the first black woman shortlisted for the Turner Prize.
Yiadom-Boakye is of Ghanaina descent, born and based in London she atteneded Central Saint Martins, Falmouth College of Arts and Royal Academy Schools. She is currently represented by Corvi Mori. An imaginary painter, her shortlisted exhibition Extracts and Verses (at the Chisenhale Gallery) consisted of portraits of black people with invented histories, black bodies the focus of her loose European-style traditional painting. We’re encouraged to stare at them and think about how we read pictures, how we read black subjects.
Yiadom Boakye isn’t currently exhibiting in London but as soon as she is this blog will make some noise about it. An an exhibition of the four nominated artists. will be held in Derry-Londonderry between 23 October 2013 – 5 January 2014. The winner will be announced at an awards ceremony on Monday 2 December 2013.
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Conference: Visual Culture in Crisis – Britain c.1800 – Present
Barbados Community College Art Exhibition: “Trouble T’ree”
Tonight: Screening of the smARTpower Documentaries at the Bronx Museum of the Arts
25th Annual Conference: Representations, Revisions, Responsibilities—Toward New Narratives for Haiti in 2013 and Beyond
Art Exhibition: Cheery Stewart-Josephs Depicts Jamaican Life at the Embassy of Jamaica in Washington
Art Exhibition: Ken Ramsay Retrospective—Dare to Dream
Cuban Art: Centennial Exhibitions in Havana
EDITORIAL: An Invitation to Critical Dialogue
The National Biennial 2012, which closed in March, was, as Charles Campbell put it in his excellent review, a powerful and demanding exhibition that reflected the expansive growth of contemporary art in Jamaica and its Diaspora. It captured a cultural moment that is energetic, expansive and enthusiastic and viewers and commentators responded accordingly, with unprecedented enthusiasm that left us very encouraged about current directions in Jamaican art and the development of the NGJ itself.
Charles Campbell rightly cautioned, however, that the present cultural moment is also very self-congratulatory and lacks the supporting critical discourse that is needed to make the current growth spurt fully meaningful and sustainable, culturally and intellectually. The NGJ team recognizes this problem and it is in actuality part of our responsibilities to facilitate and promote critical discourse within and about the Jamaican art world, in its broadest sense. We also recognize the need to extend this…
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ACRAH 