PART B

EDITED BY ANOUK PARDON AND SANA AGARWAL

How Black Women Are De ning emselves rough Contemporary Art

by AYOMIDE ASANI

e contemporary art world has been known for excluding people of color. As it is an elitist institution dominated by western and white perspectives of the world, the experiences and views of black people have been neglected and misrepresented.

Space for black women in the art world has been particularly non-existent. e visual arts landscape is notorious for its exclusionary policies and funding directives motivated to protect whiteness. In the past, this meant that minorities within the arts were funded at a minimum level of 4% in 1976 by the Arts Council Organisation. 4% of funding was given to minorities because only 4% of the population were minorities. As a result, the representation of black women was limited to very few. While many artists tried galvanizing themselves by creating spaces and organisations that would showcase their artwork, without funding they were unable to support their own endeavors. As the world economy moved towards globalization, investment into the black visual arts was not seen as a priorityfunding was cut drastically and with the economic recession in 2008, visual artists could no longer a ord their lifestyles by just selling art pieces.

Media has depicted them as violent, aggressive, exotic and hypersexual, which has robbed them of their personal autonomy and self-representation. For black female artists, the visual arts scene is a liberating place where they can speak their true voice. Black women through their art have placed emphasis on pain, struggle and the negative stereotypes placed upon black people.

roughout the 21st century, black women have championed the uidity of di erently lived experiences within their art. For the artists highlighted in this article, the theme of so ness and gentleness is prevalent and depicts black womanhood as beautiful and diverse.

Today, we can observe an emergence of new black artists who are changing the narrative in a way that is both bold and empowering. Taking up space within the world, being both black and female, they are ghting misogyny and invisibility as they empower an anti-racist agenda. e very presence of black women within the visual arts world indicates that they can no longer be ignored or overlooked, but rather recognised and compensated for their unique contribution to visual arts. Instead, we are shown their own unique experiences, thoughts, and feelings. So what are black artists thinking today?

Chimnada Nnoli, a Nigerian artist, re ects on her life and identity through her artwork. In uenced by an impressionist style, Nnoli uses oil paints to create a serene and tranquil atmosphere. Flowers, a consistent theme within her work, symbolize a safe space within a chaotic world. It seems as if her artwork presents a safe haven for black women.

Within the artistic community, the use of owers seems to be a running theme for black women. Artby Andileh on Instagram uses owers to connect with her online following. e owers generate a romantic and naturalistic view of the subject. Most of her work is faceless allowing ‘a piece of herself to be in every painting’. However, it also forges a connection with every black woman that happens to stumble upon her piece.

For black women, the visual arts is not just a place to escape, it is also a refuge. Stereotypes reduce people to rudimentary templates which do not capture the nuances of personhood and identity. Black women are o en denied femininity and respect as individuals. e artwork of these women proves this notion wrong. It is both radical, natural and displays the complexities of womanhood and identity for black women all over the globe. It’s wonderful to see black women reclaiming their rights to artistic movements and using these as a way to demonstrate their strength, beauty and femininity on their own terms.

Small Beautiful ings: A Colourful Wardrobe

by HILA DAVIES & illustrated by IGA JASINSKA

Cold feet. Misty windows. ese winter mornings are doing my head in. Waking up in the dark makes early mornings even more painful. Where has the morn ing light gone? ere is nothing I want more than to stay in this duvet cocoon. Cosy sheets. Cold nose. We have arrived to the bleak mid-winter.

My recent remedy for January blues has been quite simple. I discovered it on what had to be one of the most blustery days this month, my morale sodden with the woes of yet another 60 odd days before normal daylight resumes. Getting ready that morning, I decided to ditch my usual uniform of shades of black and navy and put on the most outrageous ly coloured thing I could nd - a vintage Coogi jumper I shed out of my grand mother’s wardrobe. Now, when I say out rageous, I mean outrageous. e colours on this thing can only be described as syn onymous to clown sick. But it’s thick, and warm, and most importantly, the complete opposite of a depressing January sky.

Sunset Skies

by ALAN NEMIROVSKI

Looking back at the scans from my very rst couple of lm rolls, I noticed that quite a few photos were of sunset skies and their surroundings. I now realise what drew me towards the subject: its beauty, its uniqueness, and just how temporary and shortlived a sunset sky really is. e photos are from a combination of disposable and lm cameras.

Here was the answer to my seasonal depression - a brightly coloured wardrobe.

ere was something transformative about it. I put it on and suddenly felt forced to re ect its optimism - as if anything but a sunny disposition would ruin my out t. e colour somehow returned to my cheeks and jumping back into the comfort of my duvet suddenly seemed less desirable.

Living in London, I can sometimes feel forced to match the vibes of the big smoke. Dark eyes long black coats, with the occasional brightly colour- ed A.P.C scarf. We dress militantly, as if the tube is going to chuck us out if there isn’t at least one other person with the same shoes as us in the carriage. I also used to think I didn’t look very good in colour. It felt childish, or too feminine - all the things we are conditioned to not want to be. Nope - better to opt for a Kim Kardashian-esque ‘vision in beige minimalism’, or what I now like to call, ‘vision in beige vomit’.

I think it’s time for some fun instead.

is month, I invite you to embody everyone’s favourite stock image - the one colourful umbrella in a sea of black ones. Go have a peek in your wardrobe and pick out that item of your clothing that you never wear because you think it doesn’t match, or that it’s too out there, or you think your friends will hate. 2023 is about sparking joy - and if an item of clothing is sparking joy for you, put it on your damn body! Let it taste the winter air, give a big F you to the grey, rainy sky, and say goodbye to the back of your wardrobe for good. Life is too short to be a black umbrella.