Kashif Sharma-Patel

  • Liz Johnson Artur, Women’s Corner, 2019, mixed media, dimensions variable.

    Liz Johnson Artur

    Over the past three decades, photographer Liz Johnson Artur has been amassing a body of work she calls the “Black Balloon Archive,” ca. 1991–, focused on the African diaspora. The Russian-Ghanaian artist’s first UK solo show, “If you know the beginning, the end is no trouble,” focused on London, with a particular emphasis on the South London area of Peckham, home to a large black population. The installation raised questions around the relationship between art and social life in a context of urban gentrification. While the density of interactions on offer seemed emblematic of the city at large,

  •  Reece Auguiste, Twilight City, 1989, 16 mm transferred to digital video, color, sound, 52 minutes.

    Grace Wales Bonner

    LONDON-BASED FASHION DESIGNER Grace Wales Bonner’s show “A Time for New Dreams” operated as a mood board for her Autumn/Winter 2019 collection “Mumbo Jumbo,” unveiled during the final weeks of the exhibition. Driven by the concept of “Neo-Hoodooism,” Ishmael Reed’s name for an absorptive, spiritual, political, and aesthetic blackness that’s both indigenous and internationalist, the exhibition was framed as a “research shrine” comprising sculptural arrangements of image, text, textile, sound, and performance by a host of black artists and writers. As a curator, Wales Bonner is interested in work