This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of non-art-historical conceptual and alternative curatorial models: Afro Modern (Tate Liverpool), Action (The Bluecoat), and a retrospective of works by Chris Ofili (Tate Britain). Comparative exhibitions of the past were typically premised on concepts of difference that ultimately resulted in the notional separation of black artists from mainstream discourses on contemporary art and histories of British art. Through a close and critical textual analysis of these three recent exhibitions, which is informed by J.L. Austin’s theory of speech acts (1955), the study considers whether, and to what extent the delimiting curatorial practices of the past have been successfully abandoned by public art museums and galleries, and furthermore, whether it has been possible for British art institutions to reject the entrenched, exclusive conceptions of British culture that negated black contributions to the canon and narratives of British art in the first place. The exhibition case studies are complemented and contextualised by an in-depth history of the Bluecoat’s engagement with black creativity between 1976 and 2012, which provides a particular insight into the ways that debates about representation, difference and separatism have impacted the policies and practices of one culturally significant art gallery that is frequently overlooked in histories of black British art. With reference to the notion of legitimate coercion as defined by Zygmunt Bauman (2000), the study determines that long-standing hegemonic structures continue to inform the modes through which public art museums and galleries in Britain curate and control black creativity.

The purpose of this study was to identify risk factors associated with homelessness, assess the relationship between housing status and consumption of costly publicly funded resources, to identify characteristics associated with service retention, and to evaluate whether length of treatment is associated with better outcomes. The target population was homeless and formerly homeless adults with SMI enrolled in community mental health services at the Downtown Emergency Service Center SAGE mental health program located in Seattle. The sample consisted of 380 SAGE patients who had continuous enrollment in 2005. These patients formed the cohort for the study. Agency records for these patients were reviewed for a 3-year period (2005-2007). The study utilized a non-experimental retrospective cohort study design. Multiple logistic regression, hierarchical multiple regression, two-way repeated measures ANOVA, and Cochran's Q test were used to analyze the data. Homelessness was associated with African American race, substance use, lower income, and younger age. Patients who were homeless spent more time in jail and required more mental health staff time compared with patients with stable housing. Patients with schizophrenia were more likely to retain services and African American patients were less likely to retain services. Overall, patients who remained enrolled in services from Year 1 to Year 3 had improved housing stability, fewer days of incarceration, and required less staff support. The overrepresentation of African Americans among patients who experienced homelessness suggests that racism could be a factor contributing to homelessness for this racial group. Further research is needed to assess the relationship between race and homelessness.