Category Archives: Exhibitions

New exhibition: Black Bloomsbury

UCL Art Museum, 23 September – 13 December 2013

The Equiano Centre’s Caroline Bressey and Gemma Romain have co-curated the UCL Art Museum’s autumn exhibition Black Bloomsbury which runs until 13 December.  Based upon research carried out as part of the AHRC-funded project Drawing over the Colour Line: Geographies of art and cosmopolitan politics in London, 1919 – 1939, the exhibition explores and documents the black presence in Bloomsbury from 1918 to 1948, highlighting the geographies of the Black presence in Bloomsbury and interwar politics including anti-colonial and anti-racist activism. The exhibition presents a small number paintings, drawings, and archival documents from UCL highlighting how this Black presence was represented in the artworks of Slade students from the period.  It features the work of Slade students Ivy MacKusick, Ann Tooth, Leila Leigh, JHM Innes, Denis Curry and Ernest Pascoe, and also displays Winifred Knights’ 1920 oil painting Portrait of a Young Woman, one of the works featured in this summer’s Art Everywhere exhibition. The second strand of the exhibition is the documentation of the African and Asian Bloomsbury presence in connection with London’s artworld. Archival material is displayed from UCL Special Collections, the Slade Archives and UCL Record Office related to the presence of Indian Slade students during the 1920s and1930s, including Mukul Dey, Janardan Gondhalekar, Shiavax Chavda and Indumati Sathé and Egyptian and West African students including Amy Nimr, A.A. Yousef, and Ben Enwonwu.

Black Bloomsbury events

Alongside the exhibition we have a number of events including a walking tour of Black Bloomsbury on Saturday 26 October, 12 noon until 1.30pm, to be given by Kevin Guyan exploring topics including geographical settlement, student organisations such as the Indian Students Union, Black visitors to the British Museum’s Reading Room and the fight against the ‘colour bar’ in the area. To take part, meet at the UCL Art Museum.

Co-curator Dr Gemma Romain will also give a talk about women from Egypt and India who studied at the Slade during the interwar period. Join us at UCL Art Museum on the 26 November, 1 till 2pm.

Co-curator Dr.Caroline Bressey will give a talk about African American entertainer Florence Mills, focusing on her time in London in the 1920s. Join us at UCL Art Museum on the 3 December, 1 till 2pm.

Kevin Guyan, a PhD student in the Department of History, UCL will give a talk about the black presence in 1940s Soho and Bloomsbury, focusing on histories of cultural interaction in social spaces such as dancehalls. Join us at UCL Art Museum on the 15 November, 1 till 2pm.

We hope to be adding more events, so for more information about the exhibition or the related events, please contact Dr. Martine Rouleau, Learning and Access Officer, UCL Art Museum, +44 (0)20 7679 2540, m.rouleau@ucl.ac.uk or check back with us or the Equiano Centre website or follow us on twitter.

Gallery

Drawing Over the Colour Line with City and Islington College

This gallery contains 10 photos.

As I posted yesterday, we have a pop-up exhibition running this afternoon (28th June) in UCL Art Museum, showing artworks representing individuals of African and Asian heritage and student responses to these artworks in the form of blog postings. This … Continue reading

UCL Art Museum Pop-up exhibition: Drawing over the Colour Line with City and Islington College

On the afternoon of Thursday 28th June a pop-up exhibition in UCL Art Museum will highlight some images from the Drawing Over the Colour Line project that were discussed by City and Islington College students during a joint Equiano Centre and UCL Art Museum workshop last week. During the day we explored a range of subjects and histories and also explored Black inter-war histories and the artworld through a walking tour of Bloomsbury. I’ll be posting in more depth on this workshop day later in the week.

Fit Bodies: Statues, Athletes and Power

Drawing over the Colour Line panel within Petrie Museum exhibition

Henry Tonks, Portrait of a Wounded Soldier before Treatment, 1917, pastel on paper, UCL Art Museum, EDC2800

 

 

Exploring Henry Tonks’ pastel of the Nigerian wounded soldier J. Williams, Gemma Romain, part of the UCL Drawing over the Colour Line research project, reflects on the experiences of colonial soldiers and on Tonks’ representation of the body in relation to ideas of race, colonialism, disability and disfigurement.

 

 

I am particularly interested in how Black people are represented within British art in the early twentieth century and my current research focuses on the inter-war period.   I am researching artwork held within the Slade School of Art collections at UCL Art Museum, exploring the work of students who drew models of African and Asian heritage. As a result of my work with the museum I came across this pastel drawn by war artist and Slade School of Fine Art lecturer Henry Tonks.  It is a portrait of the Nigerian soldier J. Williams who was injured in 1917.

During the First World War facial injuries were commonly suffered by troops, particularly injuries to the nose and jaw due to the type of head protection available to those fighting. Henry Tonks, who was a trained surgeon, worked with pioneer facial plastic surgeon Harold Gillies during and after the war by drawing surgical diagrams and also pastel artwork for the wounded soldiers’ case notes.

Henry Tonks’ drawings have been explored by art historians including Emma Chambers and Suzannah Biernoff who comment on the way in which facial disfigurement has been represented in art and the complexity of Tonks’ drawings in that they represent surgical documentation yet also are aesthetic interpretations using the fine art medium of pastels. They also importantly reflect on the public gaze and spectatorship involving war disfigurement and art, both at the time it was created and today. As Chambers has recalled, despite Tonks’ opposition to both the public gaze upon the artwork and in considering the pastel drawings as traditional artworks, he viewed the portraits and the soldiers’ disfigurement in the context of art traditions of representing classical statues –  in a letter to a friend he wrote: “I have done some … rather fine pastel fragments! One I did the other day of a young fellow with rather a classical face was exactly like a living damaged Greek head as his nose had been cut clean off just where noses of antiques generally are cut off.”

I am interested in this particular piece of artwork also for its importance in reflecting on the marginalised histories and identities of African and Asian people serving in the First World War, as well as the ways in which the African body has been exploited in the history of colonialism for doing certain types of work and labour.  J. Williams is listed in Gillies’ surgical archives as being injured on 1st September 1917 and is described as a Private in the Regiment of the Nigerian 3rds. His injuries are listed as ‘GSW Lower lip jaw chin’. In the War Office records, I have so far only found one J. Williams listed who served in Nigeria, but he served in the Royal Engineers (Inland Water Transport). As David Killingray and James Matthews have documented, Nigerians were recruited as both soldiers and as labourers such as water transporters in the Inland Water Transport, supplying the troops with goods and water in harsh conditions.

This artwork makes us think of multiple silences and experiences.  The African soldier and labourer and also the soldier facially disfigured in the war were marginalised and ignored in public displays of commemoration. In the visual display of mainstream commemoration white soldiers without facial disfigurement were generally represented within official war commemoration artwork. Despite its possibilities for exploring and bringing to the fore what was hidden from view, this portrait remains problematic.   For example,  J. Williams, and others in this series of portraits, were not necessarily posing on their own terms for a piece of artwork they wanted to create, but were taking part in a process of medical documentation.

In thinking through the notion of a ‘fit body’ in the context of this piece of art I envisage ‘fitness’ as a term which must be critiqued and historicised; this artwork reminds us that ideas of fitness are partially shaped by those in power who deem what is a fit body to be allowed within public visual culture and how fitness and the body have been constructed in relation to histories of racism, disableism, imperialism and ideas of visual beauty.

[This post originally appeared on the Petrie Museum blog here, and is a panel from their new exhibition ‘Fit Bodies: Statues, Athletes and Power’, North Cloisters, Wilkins Building, University College London, from June to September 2012].

Event: The Blk Art Group Symposium 2012

The Graves Gallery in Sheffield is hosting a symposium on Wednesday 22 February 2012 on the subject of Black artists during the 1980s. The symposium is linked with the gallery’s current exhibition on the Blk Art Group and brings together various artists and curators to discuss their work and explore its contemporary relevance. For more information on this free event and to make a booking, follow this link