The Role of Visual Arts Organisations in the British Black Arts Movement in the Midlands

视觉艺术组织在英国中部黑人艺术运动中的作用

• 批准号: AH/V009850/1
• 负责人: Carolina Rito
• 金额: $ 3.09万
• 依托单位: Coventry University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FV009850%2F1
• 关键词: Role; Visual; Arts; Organisations; British

The birth of the British Black Arts Movement (BAM) in the early 1980s was responsible for a paradigm shift in UK art history, bringing to the fore the issues, concerns, practices and aesthetics of marginalised artists. Despite racial bias being recognised and acted upon (e.g., Equality Act 2010), racism is still a reality in British society. The systemic inequality in the representation of Black art history in Britain has come to the fore in the recent months, especially within debates around the killing of George Lloyd in the US, the Black Lives Matter protests, and the fall of the statue of slave trader Edward Colston. However, the history of the BAM and the role of cultural organisations in its development remain understudied. In preparation for the 40th anniversary of The First Black Art Convention in Wolverhampton (1982), this project aims to revisit and promote the region's unique and exceptional legacy in the development of the Black art scene, with a special focus on the role of cultural organisations in supporting artists of colour in the Midlands since the 1980s. The network will disseminate the impact of the BAM in the region, and foster a change of attitudes in the cultural sector towards a more equitable scene by identifying the challenges faced by artists of colour today and proposing recommendations to cultural organisations, policy-makers and advocacy groups. The network activities will benefit academics in the fields of visual arts, curating and Black studies; and non-academic audience working in the cultural sector and on non-for-profit organisations supporting artists of colour. The network activities include: two workshops 1) the first invites members of the BAM to explore the role of cultural organisations in the movement in the 1980s, providing new insights; 2) the second invites practitioners of colour to identify challenges and opportunities in the field for a more diverse and inclusive approach. The workshops will be followed by a public event to open the finds and recommendations to a wider public. Both workshops and event will be recorded and disseminated via the project blog that will outlive the funded period to continue benefitting scholars and practitioners working in the fields of art history, curating, institutional practices, visual cultures, museum studies, visual arts, and Black studies. Following up on these debates, the network will produce an advocacy document with recommendations for a more equitable art programming, workforce and audience development in the cultural sector, which will be effectively disseminated to funding bodies and policy-makers (Arts Council England; Contemporary Visual Arts Network; Midlands Higher Education Culture Forum). In addition, two papers will be published in peer-reviewed academic journals to benefit other scholars in the field, disseminate new knowledge, and influence related debates.The project will be led by PI Professor Carolina Rito and Co-I Professor Paul Goodwin. The network also counts upon the participation of academics and art practitioners of colour whose work has strongly contributed to a more equitable and diverse scene and has focused on the BAM (i.e., Agency for Agency, Dr Keith Piper, Dr David Dibosa, Marlene Smith); with Midlands groups promoting inclusion led by people of colour (Maokwo, Nottingham Black Archive); and four contemporary art galleries in the Midlands with relevant experience with the BAM (the Herbert Gallery and Museum, Wolverhampton Gallery, Nottingham Contemporary and New Art Exchange.)

20世纪80年代初，英国黑人艺术运动（BAM）的诞生导致了英国艺术史的范式转变，使边缘艺术家的问题，关注，实践和美学脱颖而出。尽管种族偏见得到承认并采取行动（例如，2010年平等法案），种族主义仍然是英国社会的现实。近几个月来，英国黑人艺术史表现的系统性不平等已经凸显出来，特别是在围绕美国乔治劳埃德被杀，黑人生命物质抗议活动以及奴隶贩子爱德华·科尔斯顿雕像倒塌的辩论中。然而，BAM的历史和文化组织在其发展中的作用仍然没有得到充分研究。在筹备伍尔弗汉普顿第一届黑人艺术大会（1982年）40周年之际，该项目旨在重新审视和促进该地区在黑人艺术领域发展中的独特和特殊遗产，特别关注文化组织自20世纪80年代以来在中部地区支持有色人种艺术家的作用。该网络将传播BAM在该地区的影响，并通过确定当今有色人种艺术家面临的挑战，并向文化组织，政策制定者和倡导团体提出建议，促进文化部门对更公平场景的态度转变。网络活动将使视觉艺术，策展和黑人研究领域的学者受益;以及在文化部门工作的非学术观众和支持有色人种艺术家的非营利组织。该网络的活动包括：两个研讨会：1）第一个邀请BAM成员探讨文化组织在20世纪80年代运动中的作用，提供新的见解; 2）第二个邀请有色人种从业者确定该领域的挑战和机遇，以采取更加多样化和包容性的方法。讲习班之后将举行一次公开活动，向更广泛的公众公开调查结果和建议。研讨会和活动都将通过项目博客记录和传播，该博客将在资助期间继续受益于艺术史，策展，机构实践，视觉文化，博物馆研究，视觉艺术和黑人研究领域的学者和从业者。在这些辩论的基础上，该网络将编写一份宣传文件，就文化部门更公平的艺术规划、劳动力和观众发展提出建议，并将有效地分发给资助机构和决策者（英格兰艺术理事会、当代视觉艺术网络、中部地区高等教育文化论坛）。此外，两篇论文将发表在同行评审的学术期刊上，以使该领域的其他学者受益，传播新知识，并影响相关辩论。该项目将由PI教授卡罗莱纳Rito和Co-I教授Paul Goodwin领导。该网络还依靠有色人种学者和艺术工作者的参与，他们的工作为更公平和多样化的场景做出了巨大贡献，并侧重于BAM（即，代理机构，博士基思派珀，博士大卫迪博萨，玛琳史密斯）;与中部地区的团体促进包容的人的颜色（Maokwo，诺丁汉黑色档案）;和四个当代艺术画廊在中部地区的相关经验与BAM（赫伯特画廊和博物馆，伍尔弗汉普顿画廊，诺丁汉当代和新艺术交流。）

项目成果

The Changing Same? British Black Artists and Visual Arts Organisations in the Midlands

变化相同吗？

• DOI: 10.18552/camc/2023/0001
• 作者: Rito C