Associated Events

In Semester 2, 2020-21, a number of associated events linked to the theme of Shared Histories between the Caribbean and Britain, Decolonisation, and Migration and Diaspora more generally are taking place in the School of Art History, Museums of the University of St Andrews, and elsewhere by our project researchers. Here we highlight:

27th May 2021

An Artist Talk: Rosa-Johan Uddoh

“Practice makes perfect”

Zoom presentation 27th May at 4pm – To register: Click Here

Rosa-Johan Uddoh is an interdisciplinary artist working towards radical self-love, inspired by black feminist practice and writing. This artist talk will centre on her latest project and exhibition at Focal Point Gallery, London: ‘PracticeMakes Perfect’, which explores the relationship of childhood education with popular ideas of the British nation and how this forms British subjects.

From Thursday 25th February 2021 

The Curiosity Conversation: Dr Emma Bond
‘We need to talk about empire

When: Available from Thursday 25th February 
Where: Click the picture below or these links – AnchorSpotify (and other podcasting platforms)
Who: Adults 
The Curiosity Conversation speaks with a different expert every month to explore the world through the unexpected, ground-breaking or contested aspects of the stories museums tell. 
This month Dr Emma Bond, Reader in Italian and Comparative Literature, opens the door on colonialism and why we need to talk about its presence in museums, our streets and society.

19th February 2021

Disorienting the Gaze: Ngozi Onwurah’s Early Films

Shared Histories Researcher, Dr Ana Sol González

Paul Mellon Centre

19th February 2021, 12:00 – 1:00 pm

Online Event:

This paper investigates the forms of control that modernity/coloniality exercises on knowledge, the senses, and perception. It concentrates on Ngozi Onwurah’s early films: The Body Beautiful (1990) – held at Central Saint Martins’ British Artists’ Film and Video Collection – and her graduation film Coffee-Coloured Children (1988). Initially concerned with how the films complicate the dominant model of perception as a form of appropriation, the analysis concentrates on Onwurah’s disorienting critical strategies.

9th February 2021

Critical Conversations 

When: Live on Tuesday 9th February, 7:30pm 
Where: Microsoft Teams – click here for event link
Who: Adults 
Whose voices are missing from museums? Which stories are not told? Which uncomfortable histories remain hidden? And how can museums move forward? From empire and colonialism to climate, identity and more, Critical Conversations bring together voices from a variety of perspectives to consider the critical issues. You will also have the opportunity to submit your thoughts and questions for the panel’s consideration. 

This month the discussion will centre around climate justice and consider those who suffer as a result of climate change.

3rd February 2021

School of Art History

The School of Art History at the University of St Andrews is excited to present the 2021 Octavia Elfrida Saunders Memorial Lecture:

Black Artists and the Fetishisation of the 1980s

2021 Octavia Elfrida Saunders Memorial Lecture

Professor Eddie Chambers, Department of Art and Art History, University of Texas at Austin

Wednesday 3rd February 2021, 6.30-8.00pm GMT (MS Teams)

Over the course of the past decade and a half, there has been an acceleration of what I would describe as the fetishisation of the 1980s. It is a decade that has come to be closely associated with a limited number of Black British artists whose work came to prominence in what has been dubbed the ‘Critical Decade’. But while some artists have prospered through an acceleration of the 1980s remembering of their work, others, who similarly emerged into visibility during the same broad period, are accorded no place in these revisionist narratives. What are the consequences and implications of the persistent advancement of arguably partial scholarship and curatorial attention? If ‘context’ within art history is all-important, what are we to make of scholarship and curatorial framings in which the 1980s exists as a sole context? To what extent might we speculate on wider lessons that might be learned within art history?

Details on how to join the event (via MS Teams) can be found here: 

Professor Eddie Chambers was born in Wolverhampton, England. He gained his PhD from Goldsmiths College, University of London in 1998, for his study of press and other responses to the work of a new generation of Black artists in Britain, active during the 1980s. Following periods of teaching at Emory University, Atlanta, he joined the Department of Art and Art History at the University of Texas at Austin in January 2010 where he is now a Professor, teaching classes and seminars relating to art history of the African Diaspora. He has guest-edited several issues of journals, namely Critical InterventionsNKA Journal of Contemporary African Art (two issues), and the International review of African American Art. His peer review texts have appeared in journals such as Small Axe: A Caribbean Journal of CriticismSlavery & Abolition: A Journal of Slave and Post-Slave Studies, and Visual Culture in Britain. His books include Things Done Change: The Cultural Politics of Recent Black Artists in Britain (Rodopi Editions, Amsterdam and New York, 2012), Black Artists in British Art: A History Since the 1950s, (I. B. Tauris, London and New York, 2014, reissued 2015), and Roots & Culture: Cultural Politics in the Making of Black Britain, published 2017 (I. B. Tauris/Bloomsbury). He is the editor of the recently-published 40-essay volume, the Routledge Companion to African American Art History. His new book is World is Africa: Writings on Diaspora Art (Bloomsbury, London and New York, 2021), which brings together a range of texts written over the past two decades.