- 7 October 2021
- 12:00 – 2:00 pm
- An event as part of the multi-part conference programme 'Cutting Edge: Collage in Britain, 1945 to Now'
12.00–12.15 Welcome by Rosie Ram (Visiting Lecturer, Curating Contemporary Art, Royal College of Art)
12.15–12.45 Keynote by Claire Zimmerman (Associate Professor of the History of Art and Architecture, University of Michigan-Ann Arbor) chaired by Victoria Walsh (Professor of Art History and Curating, Royal College of Art) 'Alison’s Mind: Collage and Architectural Thinking in postcolonial Britain'.
12.45–13.00 Discussion and questions
13.10–13.45 Artist’s film presentation by Judah Attille
13.45–14.00 Discussion and questions
About the speakers
Claire Zimmerman’s published work has focused on architecture and photography: recently in ‘The Anti-Photograph,’ (Modern Management Methods, The Shed, 2019) ‘Anticipating Images’ (Buffalo at the Crossroads, Cornell, 2020), ‘Reading the [Photographic] Evidence’ (JSAH, 2017), and Photographic Architecture in the Twentieth Century (Minnesota, 2014). Architectural images, whether in two or three dimensions, connect a disparate array of projects on twentieth-century built environments and their cultural mediation. Zimmerman’s curatorial work has focused similarly on architecture and mass media, particularly in her collaboration with Victoria Walsh, New Brutalist Image 1949–1954 at Tate Britain in 2015–16. A book project on the mass-production architecture of Detroit’s Albert Kahn is nearing completion. Zimmerman is Associate Professor in architectural history and theory at the University of Michigan.
Victoria Walsh is Professor of Art History and Curating at the Royal College of Art and Head of the Curating Contemporary Art Programme. She is a curator and researcher whose projects span from the post-war period to the contemporary with a particular focus on interdisciplinary collaborations between artists, architects and designers; the reconstruction of exhibitions; practices and histories of gallery education; issues of curating in relation to the changing conditions of technology. In 2015 she led the reconstruction of Richard Hamilton’s 1951 exhibition Growth and Form for the Tate Modern / Museo Reina Sofia major retrospective of the artist’s work in 2014, which built on her previous experience reconstructing the 1953 ICA exhibition, Parallel of Life and Art. With Claire Zimmerman, she co-curated the Tate Britain research display New Brutalist Image 1949–1955 and together they published the photo-article ‘New Brutalist Image 1949–55’, British Art Studies, Dec 2016.
Martina Attille (Judah, she/her) is a recipient of an AHRC TECHNE award for doctoral training, currently working towards her PhD, titled ‘Africandescence’, at the University of the Arts London. The research includes an enquiry into how avant-garde filmmaking strategies can frame complex interpersonal narratives.
A founding member of Sankofa Film and Video with Maureen Blackwood, Robert Crusz, Isaac Julien, and Nadine Marsh-Edwards from 1983-1988, Attille contributed to the events ‘Black Women & Representation’ (1984) and ‘Black (feminine)—Exploring Images of Black Women’ (1986) and to the debut films of the collective, including Territories I & II (1983), The Passion of Remembrance (1986) and Dreaming Rivers (1988). Attille later joined the visual arts forum, Black Women Artists Study Group in 1995.
Attille has contributed to publications including The Fact of Blackness: Frantz Fanon and Visual Representation (1996), Rhapsodies in Black: The Art of the Harlem Renaissance (1997) and Today I Shall Judge Nothing That Occurs: Selections from the Ektachrome Archive by Lyle Ashton Harris (2017). IMA-ABASI OKON, Tate Britain Display, © 2021 (gold) an essay by Judah Attille | Yasmin Nicholas
Judah Attille (born 1959, Castries, St Lucia). Certificate of Registration as a Citizen of the United Kingdom and Colonies, 1982).
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