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This category contains the following articles
- The Everywhere Studio - Deutsche Bank Sponsors Opening Exhibition of New ICA Miami
- Making the Invisible Visible - Lubaina Himid Awarded Turner Prize
- The Lotus in Spite of the Swamp - Prospect Art Triennial in New Orleans
- Painting as Immersion: Loans from the Deutsche Bank Collection in James Rosenquist Retrospective
- Dancing on the Volcano - Art from the Weimar Republic in Frankfurt and Bielefeld
- "I Am Bearing Witness" - Carrie Mae Weems at the Edward Hopper House
- Collection in a New Light - A Tale of Two Worlds at MMK in Frankfurt
- Caline Aoun: Deutsche Bank’s "Artist of the Year" 2018
- Honorata Martin Wins VIEWS 2017 - Deutsche Bank Award
- Courage to Take Risks - Performa 17 in New York
Making the Invisible Visible
Lubaina Himid Awarded Turner Prize
She is the first black women to be honored with the Turner Prize and,
at 63, the oldest artist to receive the renowned British art award. Lubaina Himid, who has been
represented in the Deutsche
Bank Collection since 2016, deals in her paintings, works on paper,
and painted wooden objects with migration, racism, slavery, and the
representation of black people in the media and art. Himid was born on
the African island of Zanzibar and grew up in Great Britain, where she
played a key role in the British black arts
movement of the 1980s and 90s and curated a series of important
exhibitions featuring black women artists. For these activities, among
others, The Daily Telegraph recently called her “the under-appreciated
hero of black British art.” And the jury for the Turner Prize praised
the artist for her “uncompromising tackling of issues including
colonial history and how racism persists today.”
“The Truth is Never Watertight” can be read on one of Himid’s works from the Deutsche Bank Collection. This statement was also the title of her first exhibition in Germany, which was recently on view at the Badischer Kunstverein. Himid is interested in precisely such “leaky issues”— omissions, contradictions, and repressed chapters of history. For Naming the Money she created an ensemble of 100 life-sized figures that were cut out of wood and painted giving individual stories to black slaves who worked as servants, musicians, or acrobats in Great Britain. Himid brought them back from the abyss of history, so to speak, complete with their original names, which they had to drop. “The stories I tell often come from books that are virtually unknown or are told to me by historians,” the artists explains. “My project consists in filling these gaps, painting these stories, making the invisible visible.”
Lubaina Himid’s exhibition Meticulous Observations and Naming the Money is on view until March 18, 2018, at Walker Art Gallery in Liverpool.
The exhibition of the four artists nominated for the Turner Prize in 2017 runs until January 7, 2017, at Ferens Art Gallery in Hull.
“The Truth is Never Watertight” can be read on one of Himid’s works from the Deutsche Bank Collection. This statement was also the title of her first exhibition in Germany, which was recently on view at the Badischer Kunstverein. Himid is interested in precisely such “leaky issues”— omissions, contradictions, and repressed chapters of history. For Naming the Money she created an ensemble of 100 life-sized figures that were cut out of wood and painted giving individual stories to black slaves who worked as servants, musicians, or acrobats in Great Britain. Himid brought them back from the abyss of history, so to speak, complete with their original names, which they had to drop. “The stories I tell often come from books that are virtually unknown or are told to me by historians,” the artists explains. “My project consists in filling these gaps, painting these stories, making the invisible visible.”
Lubaina Himid’s exhibition Meticulous Observations and Naming the Money is on view until March 18, 2018, at Walker Art Gallery in Liverpool.
The exhibition of the four artists nominated for the Turner Prize in 2017 runs until January 7, 2017, at Ferens Art Gallery in Hull.