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Tuesday 29 September 2015
Announcing the 10th Annual Huntley Conference: “Mountain High: Archive Deep”
Tuesday 15 September 2015
No Colour Bar Summer College 2015
...
Personal Insight: City of London's Culture Heritage and Libraries Developmental Team member Helena Boehm reflects back on the No Colour Bar Summer College, running in mid-July at LMA.
The
No Colour Bar Summer College invited GCSE and
A-Level students from schools across London to engage and interact with the NCB
project in a whole host of creative and academic ways. The week-long summer
school endeavoured to raise the students’ awareness of certain social,
political and historical issues explored in the NCB exhibition that they might
not encounter in their daily school lessons. It aimed to actively encourage
critical thought and debate around these issues, as well as provide an
opportunity to experiment with a rich variety of media and art forms.
The
students ranged from 14-18 years old and came possessing a varied background
and interest in art. The week began with an introduction by Maureen Roberts,
Senior Development Officer, to the No Colour Bar project and the Huntley
archives, as well as a tour of LMA and introductory talks by the different
departments. During these first sessions the students engaged directly with the
Huntley archival material and began to discuss the issues that it raised. The
introductions on the first day were followed by a whole day at the Guildhall
Art Gallery and immersion in the exhibition. Hazel Sawyers’ session asked the
students to think critically about the art work displayed and engage directly
with individual pieces. Next came a discussion with Michael McMillan, exhibition
curator, in which the students discussed and debated not only the exhibition
but a whole range of social and political issues that its content triggered. EricHuntley, one of the Founders of Bogle-L’Ouverture Publications also attended
this session to talk to the students. Thus they received first-hand information
about the archived events in the exhibition. This was an invaluable opportunity
for the students to challenge themselves and vocalise their opinions on crucial
issues concerning race, identity and the utilisation and display of black art.
The
students were then given the opportunity to engage with collections from two
other galleries, the National Portrait Gallery and the National Gallery. At the
National Portrait Gallery, Evan Ifekoya, a free-lance museum facilitator,
provided a thought-provoking and stimulating tour based around paintings
depicting different races, as well as art produced by Black artists. This
enabled critical discussion amongst the group regarding the depiction of Black
people in art and the representation of art produced by Black artists on show
in cultural institutions. The afternoon’s visit to the National Gallery invited
the students to explore the art work on their own terms, sketch specific pieces
that appealed to them and to consider their personal opinions on the
Renaissance art displayed.
The
opportunity throughout the week to experiment with different art forms allowed
the students to consider and interact with the project not only academically
but creatively. Despite a varying interest in art and artistic confidence all
the students produced an impressive portfolio of work. A workshop on the
techniques of life drawing by artist, Tam Joseph was named as a particular
highlight and a unique opportunity. Muirah Olton ran a fabric workshop in which
the students created material flags on canvas, offering them the opportunity to
represent and explore their own identity and heritage. Even the summer school
facilitators took part in this, producing some incredibly interpretive representations
of flags! A favourite workshop of the students was held by Rudy Loewe at the
end of the week, in which the students produced zines on the subjects of Walter
Rodney, the Huntley archives and the political and social climate during the
1960’s – 1980’s.
The
last day of the summer school was celebrated with an exhibition of the
impressive art portfolios that the students had produced. The exhibition was
attended by FHALMA volunteers, LMA staff and NCB project staff and was a
fantastic way to end the week. It provided a platform for the students to
explain to others about the work they had been doing and what they had each got
out of their time at LMA and with the NCB project. The NCBBBA Summer College provided
a unique opportunity for the students to immerse themselves in a week of art,
culture and history and from all accounts was a huge success.
Friday 4 September 2015
Personal Insight: The Day I Met the Bar
Personal Insight: Volunteer and writer Valentine Ogunba shares his introductory experience with the No Colour Bar team.
The Day I Met the Bar
Despite numerous efforts, I
can't be classed as someone who looks forward to Mondays. I'll be the first to
admit that 11:00am for most people constitutes a lie in; still I was struggling
to meet even this generous deadline. How 3 weeks can leave you out of practice!
I'd signed up to volunteer at No Colour Bar: Black British Art in Action 1960 –
1990, the exhibition taking place in the Guildhall Art Gallery. After
successfully navigating the labyrinth that is Bank station and a final direction
from a post-man I arrived.
I have to admit that before becoming involved with the exhibition I had no knowledge of Eric and Jessica Huntley, that however was about to change. I entered the meeting room and met the friendly and enthusiastic organisers. My adversity to Monday's disappeared into the background as we began. Our guide Katty Pearce (one of the curators) took us to the 'Intervention' pieces from the NCB (No Colour Bar) exhibition on display in the gallery. These had been inserted into the main gallery alongside pieces not involved in the exhibition.
I'd never seen this done before! The words of Colin Prescod, a trustee of Friends of the Huntley Archives at the London Metropolitan Archives (FHALMA) were embodied: He’d said NCB wasn’t just about showcasing Black British Art. It was about a struggle and way of thinking which people from different ethnicities and backgrounds had supported. It was new heritage at the site of old heritage and a statement for everyone to take ownership of.
I felt the somber sensation that always comes over me when faced with art of a profound nature. It caused me to consider the circumstances that birthed the work, the emotions of the individual and the contrast between the world then and now.
It would be too early to call them my favourite pieces but at first viewing they stood out: First was Tam Joseph’s – Monkey Dey Chop, Baboon Dey Cry. I though it was great even before I read the title, which sounds like one that the late Nigerian musician Mr. Fela Kuti would have approved of. It’s full of symbolism; to me it represents different groups of people all with their own agendas. There’s the 80’s Mercedes, the clergyman, the African man in military attire, the woman with her child as she farms and more.
Second was Sonia Boyce’s – She Ain’t Holding Them Up, She’s Holding On (Some English Rose). This piece for me was bittersweet, a beautiful woman holding a family high above her head. Family dynamics can be complicated at the best of times and the title adds more intrigue. You can think that something or someone is taking all of your energy when actually it’s what is keeping you going.
Michael McMillan told us about recreating the Walter Rodney bookshop through life-size pictures and real books. Michael also told me the picture on the NCB flyer was Walter Rodney from his funeral, which had turned into a demonstration following his assassination.
As I was leaving Michael Ohajuru, the exhibition’s Evaluation Consultant, introduced me to Keith Whaite, a renowned flautist who due to play at the opening of the exhibition. Then as we stepped into the sunshine Michael said, ‘Would you like to meet Eric Huntley?
A moment later I shook hands with a peaceful looking man with a brilliant head of pure white hair and a matching beard. He was friendly and laughed heartily at my name.
I walked away excited, feeling privileged at all I’d discovered but knowing that there was much more to learn. As Mondays go, this was definitely one of the better ones.
Do you think you have something to offer No Colour Bar: Black British Art in Action? Volunteering Opportunities include: events, project co-ordination, business administration, research, evaluation, marketing and communications, social media, public relations, arts & heritage ambassadors, gallery guides, workshops, programme support, operations, film making, artistic performances and a host of other engaging experiences.
The Day I Met the Bar
I have to admit that before becoming involved with the exhibition I had no knowledge of Eric and Jessica Huntley, that however was about to change. I entered the meeting room and met the friendly and enthusiastic organisers. My adversity to Monday's disappeared into the background as we began. Our guide Katty Pearce (one of the curators) took us to the 'Intervention' pieces from the NCB (No Colour Bar) exhibition on display in the gallery. These had been inserted into the main gallery alongside pieces not involved in the exhibition.
I'd never seen this done before! The words of Colin Prescod, a trustee of Friends of the Huntley Archives at the London Metropolitan Archives (FHALMA) were embodied: He’d said NCB wasn’t just about showcasing Black British Art. It was about a struggle and way of thinking which people from different ethnicities and backgrounds had supported. It was new heritage at the site of old heritage and a statement for everyone to take ownership of.
I felt the somber sensation that always comes over me when faced with art of a profound nature. It caused me to consider the circumstances that birthed the work, the emotions of the individual and the contrast between the world then and now.
It would be too early to call them my favourite pieces but at first viewing they stood out: First was Tam Joseph’s – Monkey Dey Chop, Baboon Dey Cry. I though it was great even before I read the title, which sounds like one that the late Nigerian musician Mr. Fela Kuti would have approved of. It’s full of symbolism; to me it represents different groups of people all with their own agendas. There’s the 80’s Mercedes, the clergyman, the African man in military attire, the woman with her child as she farms and more.
Second was Sonia Boyce’s – She Ain’t Holding Them Up, She’s Holding On (Some English Rose). This piece for me was bittersweet, a beautiful woman holding a family high above her head. Family dynamics can be complicated at the best of times and the title adds more intrigue. You can think that something or someone is taking all of your energy when actually it’s what is keeping you going.
Michael McMillan told us about recreating the Walter Rodney bookshop through life-size pictures and real books. Michael also told me the picture on the NCB flyer was Walter Rodney from his funeral, which had turned into a demonstration following his assassination.
As I was leaving Michael Ohajuru, the exhibition’s Evaluation Consultant, introduced me to Keith Whaite, a renowned flautist who due to play at the opening of the exhibition. Then as we stepped into the sunshine Michael said, ‘Would you like to meet Eric Huntley?
A moment later I shook hands with a peaceful looking man with a brilliant head of pure white hair and a matching beard. He was friendly and laughed heartily at my name.
I walked away excited, feeling privileged at all I’d discovered but knowing that there was much more to learn. As Mondays go, this was definitely one of the better ones.
Do you think you have something to offer No Colour Bar: Black British Art in Action? Volunteering Opportunities include: events, project co-ordination, business administration, research, evaluation, marketing and communications, social media, public relations, arts & heritage ambassadors, gallery guides, workshops, programme support, operations, film making, artistic performances and a host of other engaging experiences.
Contact: Patricia Berdugo - nocolourbar.ambasscoordinator@gmail.com
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