This thesis encompasses an art historical reassessment of artists and art works that have, with few exceptions, been consumed by discourses of cultural theory and sociology. Building on the foundations laid by Kobena Mercer in 'Iconography After Identity', it aims to contribute to a still emerging art history that maps the dialogues and developments produced by black British artists during and after the 1980s onto the broader stories of British and twentieth century art as a whole. l At its root is an attempt to trace an alternative iconography within a wide breadth of works by artists including Sonia Boyce, Lubaina Himid, Rotimi Fani-Kayode, Joy Gregory and Faisal Abdu' Allah, among others, through an exploration and interrogation of 'disruptive aesthetics' as a methodological tool for rethinking 'black British' art By isolating and examining a number of recurring themes and images across the 1980s and 1990s (the restaging of canonical images, hair and hairstyling, the 'ethnic' mask, space and place) grouped together as case studies, it offers a sustained engagement with art objects as documents of subjectivity rather than symptoms of diaspora.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:683384 |
| Date | January 2014 |
| Creators | Robles, Elizabeth K. |
| Publisher | University of Bristol |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
Page generated in 0.0155 seconds