Xtremist Supremacist

15542298_10211293572485341_7872779229574162756_n

Xtremist Supremacist

Following on from my research, reading groups and curatorial projects focusing on the WOCI (Women of Colour Index) at Women’s Art Library, I’m creating a series of artworks in response to WOCI called Xtremist Supremacist. One of the focal points of my art practice is to examine and dissemble patriarchal, consumer and imperialist structures.

Xtremist Supremacist presents artwork through the mediums of drawing and graphic slogans, discussing, decoding consumerist and imperialist structures. Exhibition also addresses – despite WOCI’s lack of visibility – artists and artwork in WOCI, in a sexist and racist art system, have carved a pavement for the most necessary integral antagonistic, stigmatic and objective discourse of imperialist colonial oppression.

Samia Malik

Exhibition on from 9/1/17 till 27/2/17
At: Kingsway Corridor, Richard Hoggart Building, Lewisham Way, New Cross, London SE14 6NW

Facebook event: https://www.facebook.com/events/635869169953803/

Advertisements

Women of Colour Index Reading Group Event 4

unnamed

Join us for the fourth Women of Colour Index Reading Group

Special Collections & Archives, The Library with Michelle Williams Gamaker, Althea Greenan, Samia Malik, and Rehana Zaman.

Full address: Women’s Art Library, Special Collections, Library, Goldsmiths, University of London, New Cross SE14 6NW

Event date: Monday 16th January 2017
Time: 10.30am – 1.00pm
Workshops reading text:

Artist: Zarina Bhimji

In recent work, I have used photographs of personal objects to explore questions of identity and place. I want to create, communicate new meanings by bringing Indian language, objects, memory, dreams, conversations from East Africa and Indian backgrounds-as well as my experience of Western culture-to play in between two realities.

Travelling through London streets, I absorb the loudness of countless advertisements. Contradictions of text and image stimulate ideas for my own work. I collect sari patterns, wedding invitation cards, toys and jewellery as these objects tell stories of personal and cultural significance and to create metaphors for people, emotions and events.

When text is used, that is typed face, hand-script, size and texture, it is carefully considered as the image and treated as a vehicle through which meanings are suggested.

The issues in my work I attempt to deal with are ‘power’ and people who control to keep things as they are!
Eventbrite: https://www.eventbrite.com/e/women-of-colour-index-reading-group-event-4-tickets-30955114581

Facebook event: https://www.facebook.com/events/1412021275488540/

WOC Index Workshop and Reading Group Event 3

unnamed-3

Join Michelle Williams Gamaker, Althea Greenan, Samia Malik and Rehana Zaman at 3rd Women of Colour Index reading group and workshop on:

Date: Monday 12th December 2017
Time: 10.30am – 1.00pm

At: Women’s Art Library, Special Collections Library
Goldsmiths University
New Cross
SE14 6NW
WORKHSOP READING TEXT:

ALONG THE LINES OF RESISTANCE
7th December 1988 – 22nd January 1989
Private View Friday 9th December 7.00-8.30pm

“Along the Lines of Resistance” brings together work by 20 women artists who have all been influenced by the critical framework of feminism in the 80s.

This stimulating show, selected from an open submission by exhibition organisers Sutapa Biswas, Sarah Edge, Claire Slattery, challenges the Post-modernist notion that feminism has been superseded. It demonstrates the diverse ways in which contemporary women’s art is involved with the major social and political concerns of our times.

The women artists represented here are looking inwards, chronicling their own struggles to sustain and project their identities within a culture beset by prejudice of gender, race class and sexuality. But they are also looking outwards, analysing their situation within the wider world. They examine the effects of warfare, imperialism, racism – violence both public and private. They report the destruction of environments, both natural and social. But they also draw attention to the means of resisting these pressures.

To date, political and critical art has tended to be shown in exhibitions that categorise and separates issues. This will be first major touring show that draws together the work of women from different cultural, social and political experiences.

Eventbrite: https://www.eventbrite.com/e/woc-index-workshop-and-reading-group-event-3-tickets-29975797417

Facebook event: https://www.facebook.com/events/1871348466485067/

Parallel Lines, Mums and Daughters Art Exhibition

15171168_10210991264047819_1813283693622192122_n

Parallel Lines, Mums and Daughters Art Exhibition
She conceived you, kept you in her womb for nine months, then how can she let go of you. Complex relationships of mums and daughters, and creativity that’s genetically passed down. Evinced however the world conditions us.

Parallel Lines, Mums and Daughters art exhibition, presents art work by female artists, who are have made art work inspired by their mum or art work related to their mum. Some artists are showing art work made by them, their grandmothers, mums and daughters.

ARTISTS:
Samira Addo
Sharon Foster
Sudha Kidangan Francis
Natalie Hancock
Maggie Kennedy
Gemma Lowe
Samia Malik
Blandine Martin
Klaus Pinter
Megha Rao
Patricia Shrigley
Theresa Odette Siedner
Lok

Curator: Samia Malik

Exhibition runs from: 27/11/16 – 31/01/17
Opening and private view: Sunday 27th November 2016, 1pm – 6pm
Public viewings email: asrrart@gmail.com

Address:
28, Cell Studios
80-84, Wallis Road
Hackney Wick
E9 5LW

Eventbrite: https://www.eventbrite.com/e/parallel-lines-mums-and-daughters-art-exhibition-tickets-29654961789

Facebook event: https://www.facebook.com/events/1794068450848736/

 

WOCC Workshop and Reading Group Event 2

14716190_1011326842326738_1121607267902329526_nJoin us for the second Women of Colour Catalogue Reading Group

Monday 21st November at 11 – 1pm,
Special Collections & Archives, The Library with Althea Greenan, Samia Malik and Michelle Williams Gamaker

This month we will look at ‘the MEDIUM and the MESSAGE’, a seminal exhibition from 1988, featuring five women printmakers: Chila Kumari Burman, Trisha Ferguson, Alison Marchant, Julieta Rubio, Judith Rugg.

The Women of Colour Catalogue Reading Group has been initiated by artist Samia Malik and will run throughout the year. Its purpose is to make the archive an active space for learning, sharing and engaging with the work of women artists of colour who have made key contributions to contemporary art. Critical to this discussion is an exploration of how the archive is relevant to contemporary experiences of race, gender, sexuality, ability and class.
Everyone is welcome to join this conversation. Future sessions will explore ways to bring the archive to prominence at Goldsmiths and beyond.

Please note this session is open to all BA Fine Art Students including BA Fine Art Extension students.

About the Collection
The Women’s Art Library (MAKE) is located in the Library’s Special Collections Suite on the ground floor of the library. The Women’s Art Library began as an artists’ initiative that developed into an arts organization publishing catalogues and books as well as a magazine from the early 1980s to 2002. The main purpose however was to provide a place for women artists to deposit unique documentation of their work. Thousands of artists from around the world are represented in some form in this collection. The Women’s Art Library continues to collect slides, artist statements, exhibition ephemera, catalogues, and press material in addition to audio and videotapes, photographs and CD-Roms. We welcome donations from women artists to help us develop this collection.

WORKSHOP READING TEXTS*:
*these texts will be provided during the workshop
the MEDIUM and the MESSAGE: 5 Women Printmakers (Chila Kumari Burman, Trisha Ferguson, Alison Marchant, Julieta Rubio, Judith Rugg) Rochdale Art Gallery, Jan-March, 1988
There Have Always Been Great Blackwomen Artists, Chila Burman
Ask how I feel: Chila Kumari Burman, Feminist Art News, issue #6

‘So all in all it was pretty hard. I think people under estimate the hard struggle that Asia working class women artists have to go through in order to assert themselves, gain respect, and survive in this mad world. To challenge the strict patriarchal culture with double standards and traditions which encourage suppression and control, demands courage and strength.’
Chila Kumari Burman, Feminist Art News, issue #6

’It would seem that women’s traditional relationship with printmaking is a somehow ‘natural’ phenomenon. We would argue rather that women have become identified with this area because of the gender politics of art. Many factors influence women’s move into printmaking; the hierarchical relationship between sculpture, painting and printmaking, based on the former’s masculine credentials has forced women to move into such areas.
Their very presence has allowed society to construct negative associations, where printmaking is viewed as a craft; technical rather than creative, decorative rather than informative and aligned to the domestic.

The women in this exhibition consciously take on and disrupt such notions, their work deals with issues important to themselves and others.’
Sarah Edge, Jill Morgan, Rochdale Art Gallery, 1988

Ahead of the workshop, please read Chila Burman’s text:

THERE HAVE ALWAYS BEEN GREAT BLACKWOMEN ARTISTS (Synopsis) Chila Burman

We face many problems when trying to establish the very existence of Blackwomen’s art, and a strong social and political base from which to develop our study of it. Firstly, we have to struggle to establish our existence, let alone our credibility as autonomous beings, in the art world. Secondly, we can only remain that credible and survive as artists if we become fully conscious of ourselves, lest we are demoralised or weakened by the social, economic and political constraints which the white-male art establishment  imposes and will continue to impose upon us.

This paper, then, is saying Blackwomen artists are here, we exist and we exist positively despite the racial, sexual and class oppressions which we suffer, but first however, we must point out the way in which these oppressions have operated in a wider context – not just in the art world, but also in the struggles for black and female liberation.

It is true to say that although Blackwomen have been the staunchest allies of black men and white women in the struggle of the oppression we all face at the hands of the capitalist and patriarchal system, we have hardly ever received either the support we need or recognition of our pivotal role in this struggle. Blackwomen now realise that because of the specific ways in which we are oppressed by white-male dominated society, we must present a new challenge to imperialism, racism and sexism from inside and outside the established black liberation movement and at critical distance to the white-dominated feminist movement. It is this realisation which has a lot to do with many second generation British Blackwomen reclaiming art, firstly as a legitimate area of activity for Blackwomen as a distinct group of people, secondly as a way of developing an awareness (denied us by this racist, sexist, class society) of ourselves as complete human beings and thirdly as a contribution to the black struggle in general.

Having said this, Blackwomen’s ability to do any of these three things is restricted by the same pressures of racism, sexism and class exclusivity which we experience in society in general. The bourgeoise art establishment only acknowledge white men as truly creative and innovative artists, whilst recognising art by white women only as a homogenous expression of femininity and art by black people (or, more accurately, within the terms of reference used, black men) as a static expression of the ritual experience of the daily lives of their communities, be they in the Third World or the imperialistic hinterland. In this system of knowledge Blackwomen artists, quiet simply, do not exist.

Eventbrite link: https://www.eventbrite.com/e/wocc-workshop-and-reading-group-event-2-tickets-29073665115

Facebook event link: https://www.facebook.com/events/1585078531800332/

Join us for the first Women of Colour Catalogue Reading Group

unnamed

Monday 10th October at

11 – 1pm OR 2 – 4pm,
Special Collections & Archives, The Library with Althea Greenan, Samia Malik, Michelle Williams Gamaker and Rehana Zaman.

This month we will look at Testimony, a seminal exhibition from 1986, featuring three black women photographers: Brenda Agard, Ingrid Pollard and Maud Sulter.

The Women of Colour Catalogue Reading Group has been initiated by artist Samia Malik and will run throughout the year. Its purpose is to make the archive an active space for learning, sharing and engaging with the work of women artists of colour who have made key contributions to contemporary art. Critical to this discussion is an exploration of how the archive is relevant to contemporary experiences of race, gender, sex, ability and class. Future sessions will explore ways to bring the archive to prominence at Goldsmiths and beyond.

Please note this session is open to all BA Fine Art Students including BA Fine Art Extension students. Two sessions are being provided to accommodate those who have critical studies or English Language classes on Mondays. Please choose one session to attend.

About the Collection
The Women’s Art Library (MAKE) is located in the Library’s Special Collections Suite on the ground floor of the library. The Women’s Art Library began as an artists’ initiative that developed into an arts organization publishing catalogues and books as well as a magazine from the early 1980s to 2002. The main purpose however was to provide a place for women artists to deposit unique documentation of their work. Thousands of artists from around the world are represented in some form in this collection. The Women’s Art Library continues to collect slides, artist statements, exhibition ephemera, catalogues, and press material in addition to audio and videotapes, photographs and CD-Roms. We welcome donations from women artists to help us develop this collection.
WORKSHOP READING TEXT:

Testimony: Three Black Women Photographers, Camerawork, London E2 (11-28 Feb)

‘Photography has been used against us for decades by anthropologists, in pornography, in fashion, in police files and in art books to negate us, degrade us and erode our memory. Now is the time to use it, photography can bring about change’ (Lubaina Himid).

Ingrid Pollard, Brenda Agard and Maud Sulter are three Blackwomen photographers determined to redress the balance, to document the reality of what it means to be a racial minority in the ‘motherland’. Whether it’s the ordinary everyday face of life, our cultural pioneers or our position in the (inter)-national political arena, they record it eloquently and with beautiful sensitivity.

Women’s Artists Journal, issue no.16

Eventbrite: https://www.eventbrite.com/e/asrr-reading-group-workshop-tickets-28365246215

 

Little Indian Round-table Discussion

13627080_10209672239753036_6447072097022256770_n.jpg

Round-table Discussion: Tuesday 12th July 2016, 3pm – 5pm

Exhibition dates: Tuesday 28th June – Friday 15th July 2016

Address: Women’s Art Library, Goldsmiths University, New Cross, London SW14 6NW

ASRR is pleased to present Little Indian as second artist, part of series of display exhibitions at Womens Art Library at Goldsmiths University.

Little Indian is a South London based artist and independent activist, who has worked in health and social support in the UK for over 15 years. She also worked in a boy’s remand centre in Labadi, Ghana and is in the process of setting up a worker’s cooperative with the friends she made during her time there. She also has family in Trinidad and is planning to collaborate with her cousin on a women and girl’s faction in the ghettos. She attended university in her late 20’s and gained a degree in politics with herself directed studies focussing on women and girls in the DRC and the feminisation of poverty, the collapse of African states over the last 25 years, a critique of the UN and global governance, Leonard Peltier and the American Indian movement and other indigenous uprisings. Working so closely with vulnerable people in the UK and Ghana has influenced her art and politics and her current exhibition at The Women’s Art Library features Mexican folklore, history and politics inspired art in a solidarity protest against Donald Trump.

Women of Colour Catalogue Artist references:

Nina Edge, article

Chila Kumari  Burman,

  • One Spirit Galler, 1989
  • Ask how I feel, Feminist Art News
  • Feedback, Haringway Arts Council Newsletter, Issue 2, 1990

Maud Sultar

  • Widening the think black line, The Guardian, 1991
  • Camerawork, Time Out, 1991
  • Rites of passage

Facebook event link

Little Indian, ASRR June – July 2016

13427941_10209493860373663_7494794232555967052_n

Exhibition dates: Tuesday 28th June – Friday 15th July 2016

Address: Women’s Art Library, Goldsmiths University, New Cross, London SW14 6NW

ASRR is pleased to present Little Indian as second artist, part of series of display exhibitions at Womens Art Library at Goldsmiths University.

Little Indian is a South London based artist and independent activist, who has worked in health and social support in the UK for over 15 years. She also worked in a boy’s remand centre in Labadi, Ghana and is in the process of setting up a worker’s cooperative with the friends she made during her time there. She also has family in Trinidad and is planning to collaborate with her cousin on a women and girl’s faction in the ghettos. She attended university in her late 20’s and gained a degree in politics with herself directed studies focussing on women and girls in the DRC and the feminisation of poverty, the collapse of African states over the last 25 years, a critique of the UN and global governance, Leonard Peltier and the American Indian movement and other indigenous uprisings. Working so closely with vulnerable people in the UK and Ghana has influenced her art and politics and her current exhibition at The Women’s Art Library features Mexican folklore, history and politics inspired art in a solidarity protest against Donald Trump.

Women of Colour Catalogue Artist references:

Nina Edge
Chila Burman
Maud Sultar

Facebook event page

Zita Holbourne, ASRR Display Exhibition at Women’s Art Library April – May 2016

Many thanks Zita Holbourne

 

Women of Colour catalogue collated by Rita Keegan Archival References:

– There have always been great black women artists, Chila Burman

– Racial Assault at A.I.M Gallery, Sutapa Biswas

– Migration Drawing by Amanda Holiday, 1988

– Black Perspectives, South London Art Gallery, 1987

– Some of us our brave all of us are strong, an exhibition by and about black women, at the Black Art Gallery, 1986