Welcome to the fourth episode of Ten Texts on Painting. This time, Matt and Andrea discuss the work of Lubaina Himid. We read a 2019 conversation between Himid and the curators of Hollybush Gardens, an essay by feminist art historian Griselda Pollock (2017), and a text by curator Zoe Whitley (2019). Together, we grapple with the complexity of Himid’s work and career, shaped by her wide-ranging interests as a painter, and by her position as a key figure in the Black British art scene of the 1980s and 90s, as curator and artist.
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Welcome to the fourth episode of Ten Texts on Painting. This time, Matt and Andrea discuss the work of Lubaina Himid. We read a 2019 conversation between Himid and the curators of Hollybush Gardens, an essay by feminist art historian Griselda Pollock (2017), and a text by curator Zoe Whitley (2019). Together, we grapple with the complexity of Himid’s work and career, shaped by her wide-ranging interests as a painter, and by her position as a key figure in the Black British art scene of the 1980s and 90s, as curator and artist.
The sixth of a series of reading group podcasts on sculpture. In this episode we talk about entropy in relation to sculpture. We look at two texts. One is Robert Smithson’s 1966 essay, ‘Entropy and the New Monuments’, and the other is a 2015 publication on the work of Beverly Buchanan from the late 1970s to the early 1980s, edited by Park McArthur and Jennifer Burris Staton. We talk about entropy, ruins, major and minor approaches to work, and the relationship between wider culture and formal developments in art.
Below are the texts we looked at for this podcast. You can download them from dekersaint.com/badvibesclub
Smithson, Robert. ‘Entropy and the New Monuments’. Artforum, 1966.
McArthur, Park, and Jennifer Staton, eds. Beverly Buchanan: 1978 - 1981. Mexico City: Athénée Press, 2015.
The Bad Vibes Club
Welcome to the fourth episode of Ten Texts on Painting. This time, Matt and Andrea discuss the work of Lubaina Himid. We read a 2019 conversation between Himid and the curators of Hollybush Gardens, an essay by feminist art historian Griselda Pollock (2017), and a text by curator Zoe Whitley (2019). Together, we grapple with the complexity of Himid’s work and career, shaped by her wide-ranging interests as a painter, and by her position as a key figure in the Black British art scene of the 1980s and 90s, as curator and artist.
