![]() You really don’t want to do this to yourself x,” another follower wrote. You are beautiful inside and out through and through. ‘Chris! Please stop doing this to yourself. “Chris as your boyfriend of 10 years I’m begging you please stop being beautiful you don’t need any more xx,” another added. In another post, the X Factor star added: “Enough said! xx #helpfordepression #cosmeticsurgery.”Ĭhris’ followers took to the comments section to voice their concerns, with EastEnders star John Partridge writing: ‘Chris I hope you’re ok? You have my number… use it! X’. This text has been reproduced with permission from the publication produced by UAL with Manchester Art Gallery to accompany the exhibition, curated by Hammad Nasar with Kate Jesson.Concerns: In another post, the X Factor star added: “Enough said! xx #depressionhelp #cosmeticsurgeryīody dysmorphia is a mental illness where you worry a lot about your appearance. BAM was a three-year research project funded by the Arts and Humanities Research Council lead by UAL in collaboration with Middlesex University. The exhibition is presented in partnership with the Black Artists & Modernism (BAM) project. The free exhibition 'Speech Acts: Reflection-Imagination-Repetition' was on at Manchester Art Gallery from 25th May 2018 to 22nd April 2019. ![]() Sonia Boyce, Black Artists & Modernism, University of the Arts London (UAL) As a result, the exhibition 'Speech Acts: Reflection-Imagination-Repetition', curated by Hammad Nasar (BAM Senior Research Fellow) with Kate Jesson (Curator at Manchester Art Gallery) has exceeded our initial intentions to unearth the complex relationships between artworks and institutions.Īrt on display includes works by Sutapa Biswas, James Northcote, Lubaina Himid, and Keith PiperĪrranged thematically, 'Speech Acts' explores rich stylistic and artistic affinities across a range of artworks from four public collections: Cartwright Hall in Bradford John Rylands Library at the University of Manchester Manchester Art Gallery and the Whitworth.Īs the curators have remarked, the exhibition is 'an invitation to engage with the juxtaposition of works considered ‘collection highlights’ with those rendered invisible or viewed through the narrow lenses of biography and difference, consider how new meanings can emerge from such encounters.' We have been encouraged by the interest of Manchester Art Gallery and Cartwright Hall, who have been generous in their support, as well as inquisitive and sensitive to new readings of their collections. ![]() Partnerships and collaborations have been an integral driving force for the research team. These questions have also provided the impetus to work with the curators of four public institutions in Manchester and Bradford, to delve into their collections and explore the possibilities further. These questions have provided the backdrop to the BAM research and have informed the BAM National Collections Audit, which has looked at the collecting practices of museums and galleries across the UK. What is held and displayed by the country’s public art collections? When the artwork makes its way into a display, what kind of context frames that display, and how are those works interpreted? However stark and polemical this stance, there are a number of lingering questions that require some kind of response. ![]() This harsh comment suggests a fundamental contradiction: that the purchased artwork is of sufficient merit to be acquired and held in trust for the nation yet, that same artwork, once in the collection, will be left to languish – if not forgotten, then certainly to remain unseen. Allegedly, artist and writer Rasheed Araeen has in the past remarked that if a black-British artist’s work is purchased by a public collection, it inevitably goes into cold storage, never to be seen again. ![]()
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