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Regurgitating Something Pacified and Black / The British Black Art Movement.  2017 - ongoing

by Hanz Koontz BA Fine Art (Hons)

Any organisation, group, collective or movement that exists out of exclusion and continues in a state of separation with little or no impact on social or racial progression is allowed to exist to maintain separation. A black art movement is a contradiction, kept by institutions until their keepers periodically require them to perform a function that gives the impression of racial inclusion.

Lubaina Himid MBE ( Member of the Order of the British Empire) Christopher Ofili, CBE (Order of the British Empire) Franklin Bowling OBE ( Order of the British Empire) Sonia Dawn Boyce MBE(Most Excellent Order of the British Empire)

The British Black Art Movement (1982) is a group of pacified black artists that did not and do not challenge, they reinforce the establishment with a form of predictable managed art, they do not impact the now, they have made no significant contribution as a “movement” no impact beyond self-interest, controversial enough to secure employment and create opportunity but not enough to make a difference, selected members are given a platform when racial discrimination and inequality become a visible issue.

Almost forty years on and we see wider racial divisions in the arts, social fragmentation and a regurgitation of The British Black Art Movement, a movement that had no purpose beyond its own formation. British black art exists out of racial separation - reinforced by Arts Council England - to perpetuate this socially / racially and culturally regressive cycle of maintained separation Lubaina Himid and The British Black Arts Movement have been awarded -  £280,000 https://goo.gl/gu8FyT 2016/2017 - Arts Council England disclosed under a Freedom of Information (FOI) request 2017

http://www.tate.org.uk/art/art-terms/b/british-black-arts-movement

The fundamental reason the Turner Prize age limit was lifted because the white art establishment couldn't find any young black or other minority artists, Lubaina Himid: “It was a box that needed ticking.” As a black woman in her sixties, in the year that the prize lifted its age limit, she says: “I just happened to tick every box there is to tick.” It's not that she ticked all the boxes the point is she put herself in a position to tick all the boxes, it's a cycle - a time when inequalities are acknowledged and the gaps are filled with the same racial tokenism.

https://inews.co.uk/culture/lubaina-himid-turner-prize-win-box-needed-ticking/

The British Black Art Movement is tokenism that has lasted almost half a century, institutional discrimination - a corruption that is normalised in the art world, misleading the public, a deception and gross abuse of power.

The British Black Art Movement version 2017 is a giant leap sideways and has condemned  black and other minority artists to separation and isolation, reinforced by social ignorance, hype and institutional need to present an image of racial inclusion, The rigged establishment promotes docility in the visual arts its a way of cultivating rubbish that doesn't challenge, Lubaina Himid a black winning the Turner Prize is not for the benefit of progressive art or the public it is to convince the government to continue funding a system, in reality, artists only exist to ensure the continuation of a mechanisms that create an impression of racial inclusion, educational value - a system that  allows  art movements/collectives to form only to be managed to maintain separation and control.

With the support of Nicholas Serota, we have taken racial/social separation - a form of apartheid in the visual arts and exported it to Venice https://www.internationalcuratorsforum.org/projects/diaspora-platform/ This space represents a time warp where its ok to call black people niggers, a space rigged in favour of anyone willing to support social inequalities and artistic fraud.

Institutional discrimination is a societal failure by maintaining the pretence of racial progression and cultural advances, it is a social betrayal by gallery directors for knowingly supporting a system that creates racial separation - it is a cultural deception by The British  Black Art Movement for creating and maintaining a separate system and making racism acceptable.

References

https://inews.co.uk/culture/lubaina-himid-turner-prize-win-box-needed-ticking/

https://i-d.vice.com/en_uk/article/59kygb/lubaina-himid-turner-prize

https://www.theguardian.com/artanddesign/2017/sep/24/lubaina-himid-turner-prize-2017-interview

https://www.mdx.ac.uk/news/2015/12/middlesex-professor-leads-major-art-project-investigating-black-artists-and-modernism


In Progress

The british art system operates out of self preservation a network of pseudo academics that have a career pattern of being on the board / panel membership of Arts Council England and recipients of ACE funding, in the case of Hmind on the board of ACE  and a recipient of ACE funding hmind has control over the collection of culturally significant art http://ibaruclan.com/partners/lubaina-himid/ (Funded by ACE collected by ACE for the national collection) When Himid  state that she is sympathetic when people do not receive funding for their art projects you must accept theat this is bulshit at its most obvious.

Himid is  qualified in theater design, racial appeasement has awarded her a position of  professor of contemporary art, a professor of contemporary art that can’t create art -  a collective body of work an art foundation student couldn't get away with, it is conceivable this is why Himid  has difficulties understanding anything beyond  theatre and cardboard cutouts,  her work consists of superficial aesthetics and contextual nonsense, describing anything she doesn't understand as “emotionless conceptual conceits” and stating “The process of creation is always the act of struggling with something that isn’t working” this is rhetoric commonly used as a defence mechanism for incompetence. Members of The British Black Art Movement hold positions as educators / peers for black other minority art students it should be no surprise that there has been zero progress in black and minority art, the art establishment endorsing stupid is a way of censorship a comprehensive form of institutional tokenism and a barrier for anyone that wants to participate.

A predictable cycle of managed blacks submissive to the art establishment recognised again for their services to art in 2019


Professor Sonia Boyce, MBE. Artist. For services to Art. (London) 2019 Professor Lubaina Himid, who received a CBE for Services to Art.

The next generation of fake/superficial art is being processed through the system its the  closest you can get to criminal fraud without going to prison.





Digital social network series  by Hanz Koontz 2018

Hanz Koontz 2017

Dr Dorothy C Price

Re-Visit: Navigating Invisible Strategies - The Art of Lubaina Himid

https://research-information.bristol.ac.uk/en/persons/dorothy-c-price(b4bd91e6-dd27-4578-8790-8d602d7b1913).html

https://www.theguardian.com/artanddesign/2018/dec/03/lubaina-himid-guardian

'You keep telling me it's a coincidence': Lubaina Himid's week at the Guardian