Black Modernism was a development that was finding a home for itself in contemporary white culture. Not only did it stimulate wonderful movements like the Harlem Renaissance, it exposed society to black experience and the shortcomings in black rights. As an artistic expression Black Modernism continues to develop and by doing so creates contemporary expression for a new generation.
“In the Castle of My Skin starts with the metaphor of skin as a covering, a surface, a barrier, a marker of identity and a connector between internal and external worlds. This builds on the intersection of diverse histories as a recurring theme in Boyce’s work…Boyce is fascinated by moments of serendipity that occur when people are brought together without a script.”
In London the Black Cultural Archives hosted a pop-up exhibition covering the stories of Britain’s mixed race babies from American GIs. The photographic exhibit is based on the children born to white women and black Americans. This dichotomy of a bi-racial identity has long existed in social, racial and political affairs. Historically however it has not been given the space to be explored neither by the white status quo nor the black community. Herein lies the difficult conversation of navigating between both worlds and whilst feeling no belonging to either.
Art therapy is not just used in Western countries but utilised across the globe. In particular it is a useful tool when language is an issue. The benefits of art therapy are even more vital for vulnerable groups such as the elderly, the young, or refugees. For example many refugees who have escaped persecution from African countries will have harrowing experiences to process. This is why organisations like Kuchinate are helping ease the pain of integration by providing a supportive community for those who are exiled. Many of the women are survivors of rape, abuse, torture or trafficking.
We should have more shows about Black creativity in the UK, exploring the dialogue between Black artists and how they are communicating the Black experience. There have been some exhibitions on Black creativity before, but often they aren’t given such a big platform or even if they are, it’s cyclic, a programming trend that’s then forgotten again for another decade. For instance, I remember in 2005, there was Kerry James Marshall at the Camden Arts Centre, Back to Black at the Whitechapel and Africa Remix at Hayward Gallery. All fantastic shows but then there was no follow up straight afterwards. I would advocate that it needs to be more consistent.