– Spring/Summer 2017

Lubaina Himid: Revision

Hannah Black

Lubaina Himid, Freedom and Change, 1984, acrylic on ply, fabric and mixed media, 290 × 590cm, detail. Courtesy Hollybush Gardens, London and the artist

My Parents, Their Children
There are two distinct figures in the painting, but there could be many more. There are two figures, a pale-skinned man and a dark-skinned woman, but there could be less than two, because their bodies dissolve into a deep-red background, onto the field of which black intrudes from the edges. The woman holds out two hands, in a shrug or a supplication or a

  1. Naming the Money was included in the exhibition ‘Uncomfortable Truths: The Shadow of Slave Trading on Contemporary Art’.

  2. Lubaina Himid in conversation with Jane Beckett, ‘Diasporic Unwrappings’, in Marsha Meskimmon and Dorothy C. Rowe (ed.), Women, The Arts and Globalization: Eccentric Experience, Manchester: Manchester University Press, 2013, p.194.

  3. See Thin Black Line(s): Tate Britain 2011/12 (exh. cat.), Newcastle upon Tyne: University of Central Lancashire, 2011.

  4. Mia Mingus, ‘About’, Leaving Evidence, available at https://leavingevidence.wordpress.com/about-2/ (last accessed on 13 December 2016).

  5. L. Himid in conversation with J. Beckett, ‘Diasporic Unwrappings’, op. cit., p.215.

  6. Fred Moten ‘there is religious tattooing’, Hughson’s Tavern, Southport: Leon Works, 2008.

  7. L. Himid in conversation with J. Beckett, ‘Diasporic Unwrappings’, op. cit., p.215.

  8. See Christina Sharpe, In the Wake: On Blackness and Being, Durham, NC: Duke University Press, 2016.

  9. D.W. Winnicot, ‘Fear of Breakdown’, in Donald Woods Winnicott, Clare Winnicott, Ray Shepherd, and Madeleine Davis (ed.), Psycho-analytic Explorations, Cambridge MA: Harvard University Press, 1989, p.90.

  10. L. Himid, quoted in Maud Sulter, ‘Without tides, no maps’, in Revenge: A Masque in Five Tableaux (exh. cat.), Rochdale Art Gallery, 1992, p.32.