Jump to ContentJump to Main Navigation
Inside the invisibleMemorialising Slavery and Freedom in the Life and Works of Lubaina Himid$
Users without a subscription are not able to see the full content.

Celeste-Marie Bernier, Alan Rice, Lubaina Himid, and Hannah Durkin

Print publication date: 2019

Print ISBN-13: 9781789620856

Published to Liverpool Scholarship Online: September 2020

DOI: 10.3828/liverpool/9781789620856.001.0001

Show Summary Details
Page of

PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 14 May 2021

No More Silent Victims: Agency, Authority and Artistry in the Black Woman’s Story in Revenge (1992)

No More Silent Victims: Agency, Authority and Artistry in the Black Woman’s Story in Revenge (1992)

(p.123) 4 No More Silent Victims: Agency, Authority and Artistry in the Black Woman’s Story in Revenge (1992)
Inside the invisible

Celeste-Marie Bernier

Alan Rice

Lubaina Himid

Hannah Durkin

Liverpool University Press

“I was trying to write myself, paint myself, and my compatriots, my fellow black artists, if you like, into the history of British painting’, Lubaina Himid writes of the aesthetic, political, ideological and cultural philosophies undergirding her series, Revenge (1992), which is the subject of this chapter. Warring against the iconographic and invisibilising stranglehold exerted by white western male artists in particular, she says, ‘I’m trying to make a comment about how European artists ... have hijacked some of our African and Caribbean imagery, our bodies and all the rest of it’. Staging her own acts and arts of revenge against white western strategies of appropriating and objectifying Blackwomen’s bodies and art-making traditions, she exults in her successes by declaring that ‘I’ve hijacked some stuff back’. ‘The old solutions did not seem to allow for creative imaginings nor did they enable the black woman’s story to take its place amongst the other voices’, she concedes. Himid diagnoses a situation in which ‘old solutions’ or dominant representational modes are responsible for denying as well as distorting ‘the black woman’s story’. Working to do justice not to one but to many Blackwomen’s stories, she cuts to the heart of the matter: ‘Her story is complex and constantly interwoven through the whole, yet is often told simply and by others as that of a silent victim’.

Keywords:   Lubaina Himid, Slavery, Memory, Freedom, the Body, Representation, Trauma, violence, activism, agency, resistance, rebellion, revolution, radicalism

Liverpool Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.