{"product_id":"inside-the-invisible-memorialising-slavery-and-freedom-in-the-life-and-works-of-lubaina-himid-9781789620856","title":"Inside the invisible: Memorialising Slavery and","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eInside the Invisible \u003c\/i\u003eprovides the first examination of the work of Turner Prize-winning Black British artist and curator Professor Lubaina Himid CBE. This comprehensive volume breaks new ground by theorizing her development of an alternative visual and textual language within which to do justice to the hidden histories and untold stories of Black women, children, and men bought and sold into transatlantic slavery. For Himid, the act of forgetting within official sites of memory is indivisible from the art of remembering within an African diasporic art historical tradition. She interrogates the widespread distortion and even wholesale erasure of Black bodies and souls subjected to dehumanizing stereotypes and grotesque caricatures within western imaginaries and dominant iconographic traditions over the centuries. Creating bodies of work in which she comes to grips with the physical and psychological realities of iconic and anonymous African diasporic individuals as living breathing human beings rather than as objectified types, she bears witness not only to tragedy but to triumph. A self-appointed researcher, historian, and storyteller as well as an artist, she succeeds in seeing “inside the invisible” regarding untold narratives of Black agency and artistry by mining national archives, listening to oral stories, acknowledging art-making traditions, and revisiting autobiographical testimonies.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eReviews'An extremely significant contribution to the art historical research focused on contemporary Black British visual artists.'\u003cbr\u003eProfessor Earnestine Jenkins, University of Memphis\u003cbr\u003eWhile \u003cem\u003eInside the Invisible\u003c\/em\u003e challenges us to face painful histories and their contemporary legacies, it also celebrates the possibilities of what can be achieved by reimagining these issues through Himid’s perspective. This is an important and generous publication, essential reading for scholars seeking to reframe the study of art through the lenses of anti-racism and decoloniality. \u003cbr\u003e Sabrina Rahman, \u003cem\u003eWasafiri\u003c\/em\u003e\u003cbr\u003e\u003cp\u003e‘Himid’s deft ability to link her artistic and academic gifts bridges a body of information that we take for granted: cultural visibility. Her work takes the stories of black men and women who have been systematically erased and makes them raw and visually accessible. Looking through these pages makes me ask why we do not currently use art – and this book specifically – to teach history.’ Lavinya Stennett (writer and founder of The Black Curriculum), \u003cem\u003eThe Guardian\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eList of Illustrations\u003c\/p\u003e\u003cp\u003eAcknowledgements   \u003c\/p\u003e\u003cp\u003eForeword by Marlene Smith\u003c\/p\u003e\u003cp\u003eIntroduction: Making Black Histories, Stories, and Memories Visible\u003c\/p\u003e\u003cp\u003eI - ‘Gathering and Reusing’ by Lubaina Himid\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003ePart 1: Visualising the ‘Politics of Representation’\u003c\/p\u003e\u003cp\u003eChapter 1: ‘Humour, fury, celebration, and optimism’: A Politics of Protest and \u003ci\u003eCut-Out Men\u003c\/i\u003e (1981-85)\u003c\/p\u003e\u003cp\u003eChapter 2: ‘Rituals of reclaiming lost artefacts, refusing oppression and looking for ancestors’ in\u003ci\u003e Heroes and Heroines \u003c\/i\u003e(1984)\u003c\/p\u003e\u003cp\u003eChapter 3: ‘They who document \/ paint the History hold the Power’: Retelling, Reimagining and Recreating New Narratives of Black Heroism in \u003ci\u003eToussaint I \u003c\/i\u003e(1988) and \u003ci\u003eToussaint II\u003c\/i\u003e (2002)\u003c\/p\u003e\u003cp\u003eII - ‘Telling Invisible Stories’ by Lubaina Himid\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003ePart 2: Resistance, Reclamation and Revolutionary History Painting\u003c\/p\u003e\u003cp\u003eChapter 4: No more ‘Silent Victims’: Agency, Authority and Artistry in the ‘Black Woman’s Story’ in \u003ci\u003eRevenge\u003c\/i\u003e (1992)\u003c\/p\u003e\u003cp\u003eChapter 5: ‘Lost hope, abandoned lives, decimated civilisations’: Sites of ‘Cultural Struggle’ in \u003ci\u003eBeach House\u003c\/i\u003e (1995)\u003c\/p\u003e\u003cp\u003eChapter 6: ‘Safety and danger and how to tell the difference’: Suffering, Struggle and Survival in \u003ci\u003ePlan B \u003c\/i\u003e(1999)\u003c\/p\u003e\u003cp\u003eIII - ‘Return to the Operatic’ by Lubaina Himid\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003ePart 3: Past, Present and Future Artistry, Activism and Agency\u003c\/p\u003e\u003cp\u003eChapter 7: Imaging and Imagining ‘Lost Lives of the Black Diaspora’ in \u003ci\u003eVenetian Maps\u003c\/i\u003e (1997) \u003c\/p\u003e\u003cp\u003eChapter 8: Reimaging and Reimagining an Absent-Presence in \u003ci\u003eCotton.com\u003c\/i\u003e (2003)\u003c\/p\u003e\u003cp\u003eChapter 9: ‘The Slave Servant’: Guerrilla Memorialisation and Multi-accented Performances in \u003ci\u003eNaming the Money\u003c\/i\u003e (2004)\u003c\/p\u003e\u003cp\u003eChapter 10: ‘Intervention, Mapping and Excavation’: White Caricatures versus Black Dehumanisation in \u003ci\u003eSwallow Hard: The Lancaster Dinner Service\u003c\/i\u003e (2007)\u003c\/p\u003e\u003cp\u003eIV - ‘Painting over the British to reveal the British’ by Lubaina Himid\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003ePart 4: Imagining ‘the ghosts and the traces’\u003cb\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eChapter 11: Tracing ‘The living\/ the dead\/ the ancestors’ in \u003ci\u003eLondon and Paris Guidebooks\u003c\/i\u003e (2009)\u003c\/p\u003e\u003cp\u003eChapter 12: Mapping Space, Debating Place: \u003ci\u003eJelly Mould Pavilions \u003c\/i\u003e(2010) and Official Sites and Sights of Slavery and Memory\u003c\/p\u003e\u003cp\u003eChapter 13: ‘The “Ghost” of it all’: Tragedy, Trauma and a ‘People There and Not There’ in \u003ci\u003eLe Rodeur\u003c\/i\u003e (2016)\u003c\/p\u003e\u003cp\u003eV - ‘Working on Paper’ by Lubaina Himid\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e‘It’s All about Action’: An Interview with Lubaina Himid by Hannah Durkin\u003c\/p\u003e\u003cp\u003eConclusion: ‘Lives Depend on Accurate Histories’\u003c\/p\u003e\u003cp\u003eBibliography\u003c\/p\u003e","brand":"Liverpool University Press","offers":[{"title":"Default Title","offer_id":50470045385047,"sku":"9781789620856","price":109.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781789620856.jpg?v=1744897230","url":"https:\/\/bookcurl.com\/products\/inside-the-invisible-memorialising-slavery-and-freedom-in-the-life-and-works-of-lubaina-himid-9781789620856","provider":"Book Curl","version":"1.0","type":"link"}