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Titlebook: Contemporary British Artists of African Descent and the Unburdening of a Generation; Monique Kerman Book 2017 The Editor(s) (if applicable

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发表于 2025-3-21 17:43:09 | 显示全部楼层 |阅读模式
书目名称Contemporary British Artists of African Descent and the Unburdening of a Generation
编辑Monique Kerman
视频video
概述Investigates the work and career trajectories of four artists under-represented in scholarship of contemporary British artists of African descent.Analyzes the ways in which activities associated with
图书封面Titlebook: Contemporary British Artists of African Descent and the Unburdening of a Generation;  Monique Kerman Book 2017 The Editor(s) (if applicable
描述This book explores the notable roles that contemporary British artists of African descent have played in the multicultural context of postwar Britain. In four key case studies— Magdalene Odundo, Veronica Ryan, Mary Evans, and Maria Amidu—Monique Kerman charts their impact through analysis of works, activities, and exhibitions. The author elucidates each of the artists’ creative response to their unique experience and examines how their work engages with issues of history, identity, diaspora, and the distillation of diverse cultural sources. The study also includes a comparative discussion of art broadly defined as “black British,” in order to question assumptions concerning racial and ethnic identities that the artists often negotiate through their works—particularly the expectation or “burden” of representing minority or marginalized communities. Readers are thus challenged to unburden the artists herein and celebrate their work on its own terms...
出版日期Book 2017
关键词contemporary British artists; black British art; multicultural postwar Britain; multiculturalism; multic
版次1
doihttps://doi.org/10.1007/978-3-319-65199-6
isbn_softcover978-3-319-87972-7
isbn_ebook978-3-319-65199-6
copyrightThe Editor(s) (if applicable) and The Author(s) 2017
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发表于 2025-3-21 20:17:42 | 显示全部楼层
Magdalene Odundo,engths; these include her Kenyan heritage, art education in ceramics within the context of British studio pottery, and international exhibition history in both fine art and design contexts. She has repeatedly stretched the boundaries within which her work is classified and has, for example, particip
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Veronica Ryan,s span continents. Her abstract sculptures and installations draw on her biography, ancestral history, and experiences in her environment as well as universal concepts of place, memory, and human psychology. Her move in 1990 to New York City provided an opportunity to position her creative practice
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Entwicklungsstand der ummantelten Schrauben,ca Ryan, Mary Evans, and Maria Amidu. The details of their experiences and the originality of their work demonstrate that, no matter in what contexts they might be described as “black” or “women artists,” each artist is unique and it is this uniqueness that gives her work its full value.
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