Inside the invisible: Memorialising Slavery and Freedom in the Life and Works of Lubaina Himid(14 Liverpool Studies in International Slavery)

Table of Contents:
List of Illustrations Acknowledgements   Foreword by Marlene Smith Introduction: Making Black Histories, Stories, and Memories Visible I - ‘Gathering and Reusing’ by Lubaina Himid   Part 1: Visualising the ‘Politics of Representation’ Chapter 1: ‘Humour, fury, celebration, and optimism’: A Politics of Protest and Cut-Out Men (1981-85) Chapter 2: ‘Rituals of reclaiming lost artefacts, refusing oppression and looking for ancestors’ in Heroes and Heroines (1984) Chapter 3: ‘They who document / paint the History hold the Power’: Retelling, Reimagining and Recreating New Narratives of Black Heroism in Toussaint I (1988) and Toussaint II (2002) II - ‘Telling Invisible Stories’ by Lubaina Himid   Part 2: Resistance, Reclamation and Revolutionary History Painting Chapter 4: No more ‘Silent Victims’: Agency, Authority and Artistry in the ‘Black Woman’s Story’ in Revenge (1992) Chapter 5: ‘Lost hope, abandoned lives, decimated civilisations’: Sites of ‘Cultural Struggle’ in Beach House (1995) Chapter 6: ‘Safety and danger and how to tell the difference’: Suffering, Struggle and Survival in Plan B (1999) III - ‘Return to the Operatic’ by Lubaina Himid   Part 3: Past, Present and Future Artistry, Activism and Agency Chapter 7: Imaging and Imagining ‘Lost Lives of the Black Diaspora’ in Venetian Maps (1997) Chapter 8: Reimaging and Reimagining an Absent-Presence in Cotton.com (2003) Chapter 9: ‘The Slave Servant’: Guerrilla Memorialisation and Multi-accented Performances in Naming the Money (2004) Chapter 10: ‘Intervention, Mapping and Excavation’: White Caricatures versus Black Dehumanisation in Swallow Hard: The Lancaster Dinner Service (2007) IV - ‘Painting over the British to reveal the British’ by Lubaina Himid   Part 4: Imagining ‘the ghosts and the traces’ Chapter 11: Tracing ‘The living/ the dead/ the ancestors’ in London and Paris Guidebooks (2009) Chapter 12: Mapping Space, Debating Place: Jelly Mould Pavilions (2010) and Official Sites and Sights of Slavery and Memory Chapter 13: ‘The “Ghost” of it all’: Tragedy, Trauma and a ‘People There and Not There’ in Le Rodeur (2016) V - ‘Working on Paper’ by Lubaina Himid   ‘It’s All about Action’: An Interview with Lubaina Himid by Hannah Durkin Conclusion: ‘Lives Depend on Accurate Histories’ Bibliography

About the Author :
Celeste-Marie Bernier is Professor of United States and Atlantic Studies, University of Edinburgh. Alan Rice is Professor in English and American Studies and Co-Director of the Institute for Black Atlantic Research, University of Central Lancashire. Lubaina Himid CBE is Professor of Contemporary Art and Co-Director of the Institute for Black Atlantic Research, University of Central Lancashire and 2017 Turner Prize winner. Hannah Durkin is Lecturer in Literature and Film, School of English Literature, Language and Linguistics, Newcastle University.

Review :
Reviews'An extremely significant contribution to the art historical research focused on contemporary Black British visual artists.' Professor Earnestine Jenkins, University of Memphis While Inside the Invisible 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. Sabrina Rahman, Wasafiri ‘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), The Guardian