By Charlie Siddick
Imagine waking up to an email asking you whether you’d like to interview one of your idols… it’s every writer’s wet dream. That’s what happened to me recently on a gloomy and otherwise non-remarkable December day, “ThandieKay would probably love an interview with Pat Cleveland?” read the subject line, followed by a brief description of Pat’s achievements and accolades, which let me tell you are hard to compress. “Yes, ThandieKay would love to interview Pat Cleveland” I hastily responded without consulting either Thandie or Kay, because I mean, Pat’s the perfect fit- and one of the world’s first ‘African-American’ supermodels, and certainly the most fabulous.
Pat made a name for herself in the late 60s and 70s as one of the first models to achieve prominence as both a runway and print model. Close friends with the Studio 54 set; Cleveland was a muse to Warhol, Dali, Saint Laurent, Lagerfeld and Halston (to name but a few). Modelling allowed Pat to travel the world, mix with and inspire countless artists and celebrities.
Now in her late 60s, age hasn’t withered her beauty, spirit or energy; remaining a regular fixture on the catwalk and in advertising campaigns- as her daughter Anna continues the Cleveland modelling legacy- she has returned her focus to an early passion; that of painting.
Pat and I spoke over Facetime one evening, in the midst of a current show in London and preparing for others in the States. She tenderly guided me around her studio and home, showing me her diverse art collection and some of her own work.
Pat is bubbly, endearing and possesses a unique childlike combination of naiveté and excitability. Despite being reduced to a screen of grainy pixels teleported across oceans- Pat’s iconic bone structure still shines brightly. Her melodic and drawling voice possesses faint traces of her Harlem upbringing and draws one in; captivating and transporting you back with her to whichever glamorous and prodigious reminiscence she chooses to meditate upon.
They say you should never meet your idols as they’re just bound to disappoint. But it was honestly an honour to speak to Pat- an experience I’ll never forget- I feel changed by her advice and wisdom. We bonded over our heritage and our revelations from using Ancestry DNA, we were a scarily similar percentage of African and Scandinavian- she found 6 siblings through using the website! Her musings on modelling gave me a much-needed sense of artistic perspective on an industry I sometimes find too shallow and consumerist to bear.
Notice how she slips between the use of the personal pronoun ‘I’ and the objective ‘you;’ when she speaks of her experiences she formulates them as though she is relating advice. Pat’s lived a fascinating and unbelievable life and therefore we should all be able to learn something from her. Pat’s gregarious guide to living:
How did you first get into modelling?
I started out as a fashion designer when I was around 14/15, I was always obsessed with fashion and made my own clothes. I always participated in what I thought was nice looking, or beautiful, I loved the idea of going out and looking good; dressing up and feeling good. That’s what fashion is supposed to be- embodying living art.
One day when I was wearing one of my own designs, a woman on the subway told me to come to the Vogue office to show them some of my clothes, an editor saw them and said: “I’m taking these to Paris, to Givenchy!” Following that they gave my clothes a 2-page spread. It was stocked in (Henri) Bendel’s for a while, but it was so exhausting- I was a one-man show.
One day when I was at Vogue, they didn’t have a model so pointed at me and said- “you’ll do!” I was enamoured and thought why am I slaving away all night sewing? I thought this was fun, partly cause you get to be around people- all I wanted to do was see the clothes anyway…
What was the industry like at the time?
There was a division between photo girls and show (runway) girls at the time, there weren’t many show girls then, maybe 10 in the whole of NY. It was kind of like an elite fashion club. If you were black it was hard, and I was kind of in the middle, so no one knew what to do with me.
It didn’t really take off for me till I met a designer called Steven Burrows and the illustrator Antonio Lopez, they were so important to me, so hot and so fabulous and they sort of just included me in everything they did. That’s how I met Andy… we’d go out to the Village, to Sheraton square, people could see me and appreciate me more because of who I was with.
We were all coming up at the same time, these people made a real difference in my life; Karl Lagerfeld, Yves, Valentino, and Halston…definitely Halston.
What did the label “African-American” feel like for you- someone of mixed heritage, predominantly Swedish?
The press referred to me as a ‘black’ model and I’d look at my skin and be like where’s the black? But I live in America where they separate you into black and white. Recently it’s become ok to be ‘mixed-race’, but before it was like: if you had one drop of black in you- you were black and it was meant with negative connotations whereas, I’ve always honoured it.
Africa is a big beautiful country, that’s inspired so many people; YSL, Picasso… everyone take their inspiration from Africa. And everyone has a ticket to ride- America’s a melting pot- everyone’s coming together to make a nice Mother colour.
I was out there in the beginning because they allowed me to be there, perhaps because I was lighter skinned- more palatable- but also because I’m just innately a fashion person.
Yes, I can tell you’re a fashion person, with your iconic fashion walk! How did you think the fashion industry has changed today? And do you think it’s for the better?
Time is precious; people don’t have time for romance anymore. That’s what my walk was- romantic. Romance is slow and moving- business is fast and competitive. The catwalk is more like a conveyer belt sometimes- you’ve got to get those groceries on the conveyer belt and out the other side! Fashion now, has so many more people involved- more people, more cameras.
It used to be quieter; an isolated art that had nothing to do with everybody from anywhere. It had more to do with ‘ladies’ and ‘gentleman’ from a certain part of society. I guess it’s a natural occurrence, things that were small and exclusive become large and accessible.
At the end of the day, it must be a good thing, as there are more opportunities for people to work at different levels of the industry. Fashion is a huge and powerful global industry. It’s opened up; it’s kinda like- do you just sell to the people taking limos? Or the people taking buses and trains?
How long have you been painting for?
That’s what I started out doing, I went to art school, but then modelling took over. Even then I was always scribbling in notebooks when on set. When Dali, Warhol and I hung out we’d always be scribbling on tablecloths together- have drawing wars. All the artists in my life took an active interest in my work, encouraging me to grow. They’d peek over my shoulder and say, “that’s a good drawing!” “that’s really nice- let me have it!” It really was that creative, bohemian lifestyle where we just thrived off each other’s energies.
What encouraged you to start focusing more of your energy on art and formally presenting your work?
My mom was a successful fine artist, she passed away two years ago, so I kinda figured-as she wasn’t looking over my shoulder telling me ‘that’s not how you do it’. I thought well she’s gone now- I’ll do what I want! When I paint I can feel how happy it made her. She painted until the very last minute, so I take that as a sign- a way to be happy. In a way, through art, her spirit still entertains me.
Does your mother’s artwork inspire you? How would you describe your work and your practice?
My mom was a fine portrait artist, whereas my work is more decorative and abstract. Partly because I live in the middle of nowhere and I don’t have many people around me when I paint. I’ve done portraits of my daughter (Anna Cleveland) and son. Of course, I love Sargeant! And really all the artists I used to mix with continue to influence my work.
I try and paint 2-3 works a day; I love colours so my palette tends to be bright and bold. When making art, you go through stuff, you look at all the masters, you go through it and absorb everything that everyone’s done, and you don’t try and do your own thing because you know it’s been done before! It’s all been done before, everything; portraiture, fine art- everything- pyramids, architecture… So what you have to do is not worry it’s all been done, and just do it anyway. Sometimes when I get up and get dressed for parties now, I think I’d love to get back to my paintings!
Clearly, you’re innately a creative, but spending so much time as a muse to other artists gave you awareness of both sides. Did being a model and therefore the object of another’s creative’s gaze feel problematic at the time? I sometimes find it tough being a passive participant in someone else’s vision.
You’re the important part, without you there is no image! You should feel grateful that they want you to be a part of their art. Identity isn’t a flat surface, there’s also the soul and the way you feel which is hard to capture in fashion photography. A model is there to invoke the spirit of the times. Your body is a work of art! A woman’s body, when you’re young… is the most beautiful thing in the world. These days there are disabled women modelling, transgender women, plus-size women- they’re all forms of beauty. Hieronymus Bosch/Sergeant– it’s just different forms of beauty. Whenever I model, I just feel honoured- like they really picked me?!- I better do a good job! I better work hard to make this image they see happen, as a team.
Check out some of Pat’s artwork in the group show ’75 works on Paper’ at Beers Gallery, on until the 24th of December
Follow Pat Cleveland on Instagram
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by Maya Kay
The show opens in 1963 at the height of the Civil Rights movement amidst the dreams of integration.
From the Spiral art collective devoted to, and composed solely of African-American artists founded by Romare Bearden, Charles Alston, Norman Lewis and Hale Woodruff; to Just Above Midtown (JAM), there have been pioneers who have dedicated gallery space to exhibit African-American artists and works by people of colour. From Betye Saar to Barkley L Hendricks, this latest retrospective of works from one of the many pockets of the African diaspora explores two decades of America’s eclectic and unquestionably talented African-American artists.
Comprised of 12 rooms, 150 works, and 60 artists: consumed by marginalised art, created by marginalised people, highlighting the differences in differences. Additionally, all of which demonstrate the delightfully diverse – assemblage, abstract expressionist, photography – also reflective of the people the art stems from and represents.
Often labelled as ‘colourful’ and ‘vibrant’, yet all stereotypes aside there is something so much more about black art that is magnetising and goes beyond these hackneyed adjectives. Art that is empowering. Art that is electric. Art that’s under-represented yet simply can no longer be overlooked.
At the entrance we are greeted by the harmonious, household voice of Dr Martin Luther King in the familiar black and white footage commanding the audience’s attention at the podium, during the March on Washington. We then slowly stroll through the unforgettable slice of history that is a cacophony of violence, hatred, propaganda, bloodshed – brows furrowed, we wondered if it is in fact history or what we are experiencing today with Black Lives Matter and high profile police cases at the forefront of widespread media and numerous platforms.
Back then in a myopic milieu, these artists longed for public acknowledgement as well as recognition and out of necessity created their own galleries and exhibitions to showcase their work – it would have been inconceivable to consider being displayed at the Tate Modern, though fast forward to the modern day and you find an increased demand on an international scale, exciting a global audience, sought after by numerous galleries from London to New York, and for discerning collectors, with collections that have vacuums that require filling; yet another reminder of the familiar sitting side by side with the unfamiliar.
The cover art for the exhibition, and one of my personal favourites is the 1969 painting titled ‘Icon for My Man Superman (Superman Never Saved Any Black People – Bobby Seale)’ by Barkley L Hendricks (16 April 1945 – 18 April 2017). Another favourite and key piece of note – and resonates for those of us that have been in the shops in search of “skin colour” hosiery – is Senga Nengudi’s work: made entirely of stretched and mangled nylon tights, direct reference to African-American women who wore tights in so called, ‘nude’ and ‘natural tones’, in order to mask their colour or “appear white”.
Soul of a Nation is a multi sensory experience that allows for posthumous recognition after years of unending yearning for due credit. It is a significant and profound exploration of how to define what a black artist is, what black art is, the impact of society and politics on this definition, emphasises pivotal moments in history that influenced the artists and their art, and skips between the familiar and unfamiliar in a somewhat haphazard manner.
What is unclear is the lack of continuity, what remains clear is that the social and political matters that prevail are as relevant now as they were then, and have a far reaching impact not only to black people, but to all. These artists wanted a chance to be viewed publicly by Americans, now all the world can see.
So what does it mean to be a black artist? It depends.
Soul of a Nation: Art in the Age of Black Power until 22 October 2017
Tate Modern, Bankside, London, SE1 9TG
Tickets available here.
by Rose Miyonga and Jamila Prowse
Typical Girls is an intersectional women’s magazine. When it was established at the end of 2015 it was to create an inclusive space: one where self-identifying women from a variety of backgrounds, ages, cultures and disciplines could come together under one roof. In this way it was established as a response, an alternative to women’s publishing as it stood at the time. We wanted to genuinely represent our contributors, in a way that was honest to them, and avoided tokenising.
When I speak about the catalyst behind establishing the magazine, I often return to my childhood. I grew up in a predominantly white middle class community and was raised in a single parent household by a white mother. Despite having a mixed heritage (my dad was black South African) I did not have access to my black heritage growing up. As such, I didn’t strongly identify with my blackness. Yet, being noticeably ‘other’ in my appearance, compared to those around me, I also experienced a strong sense of alienation in my formative years which lasted well into my 20s, and still follows me today.
I always loved magazines as a teenager. The glossy pages seemed to hold secrets into another world. I would tear those pages out and paste them all over my wall, staring at them longingly, and hoping that their magic would somehow seep off the page and into my own life. I was overly romantic, and aching for something of importance to happen to me. I tried to imagine myself in those pages, in those worlds, but I could never quite make the leap of imagination to align myself with them. None of the girls in those pages had hair or features like my own. I would spend hours in the bath smoothing down my afro hair, willing it to stay straight. As much as I hoped and wished that the pastel colours of my favourite publications would influence my own life, I knew deep down that I did not belong in that world, because nothing had ever shown me otherwise.
It’s infuriating that, up until recently, you had to scour popular culture to find black faces reflected back. The few examples of black representation we had were nothing more than homogenised stereotypes. You would struggle, too, to find any discussions or explorations of mixed heritage. As a young teenager I was convinced that there was no one else who felt remotely the same to me.
TG was established in order to ensure that young women of colour could see themselves mirrored in the pages of a magazine. If young people don’t see themselves reflected in the world around them, how will they view themselves as being a part of it? Thankfully, with increasing discussions around representation things are starting to change. Women’s publishing is no longer the whitewashed space that it once was. Instead of responding to a lack, we are now part of a wider dialogue. I am so pleased to be able to provide a platform which contributes in some way to that conversation. If we can create a movement in women’s publishing which truly reflects all women, than we will have achieved something.
We have an extremely tiny editorial team who put together TG. It is made up of myself, our Art Director Chani Wisdom, and our newest Editor Celiya Koster. Initially, after deciding on a theme, we put a call out for submissions. Then the three of us go and source content based around this. Our contributors are the ones who really form the publication. We get sent such incredible work, and people give so much of their time and energy to our little publication. We wouldn’t exist without them.
For issue 3, visual artist, writer and creative consultant Amarachi Nwosu came to us to pitch the cover story. Amarachi assembled an incredible team in New York, and took to the streets of Brooklyn with our cover star Gabrielle Richardson. Gabrielle is a curator of the Art Hoe Collective, an online platform which showcases the work of PoC. Gabrielle is at the forefront of a movement of creatives who are shaping the future of representation. She is facilitating the voices of young people, Amarachi recognised that instantly, as well as the fact that Gabrielle’s ethos is entirely aligned with our own. The vision and dedication of the team behind that shoot brought a real magic to our third issue. You can feel the life jumping out of the pages when you look through it.
Once all the content is together, it’s just down to Chani and her laptop. Months of graft and painstaking work from Chani gives the publication a real sense of self. She puts great care into all the minute details of the design, hiding little nuances that tie the entire feel of the magazine together. That sense of coherence you get as you turn from page to page is all down to her.
We take our namesake from The Slits song ‘Typical Girls’ (we’re always overjoyed when readers pick up on this detail). For us, their no bullshit attitude, and complete control over the work they were putting out, is a real inspiration. They went out on stage and acted in a way that society wasn’t used to. Here were three women who stood on the cover of an album, stark naked and covered in mud. In terms of subverting the male gaze that was revolutionary. It was so rare for women to stand in the nude, in a way that wasn’t sexualised or produced for a man. The Slits showed that you could be a woman and still be strong, independent, and not take shit from anyone.
In our third issue we got the chance to speak to Hollie Cook, who was part of the second generation of The Slits. Hollie’s first experience of touring was with The Slits. She spent many of her formative years under their wing. It was amazing to hear firsthand how the band shaped the musician, and woman, Hollie is today. You can really feel that their resonance withstands multiple generations. I’m sure it’s something that will continue to be passed on by Hollie, who in her own way refuses to make any compromises on her vision.
In terms of publishing, there are of course DIY zines. In our ethos we’re very much aligned with the idea that if you don’t see yourself being represented, you go and create something that does. Spare Rib, which was a second-wave feminist magazine, immediately comes to mind. But then, in that, I think it is necessary to acknowledge that feminism has not always been an inclusive space. In fact, many people, especially women of colour, trans women and sex workers, still feel alienated from the movement. It’s about trying to create something that is truly inclusive. Inclusivity is not instantly achievable, and as editors we are constantly challenged to work at it. We might not ever get the formula completely right, but with each new issue we can ask ourselves how we can be more open.
i-D, too, has always stood aside from the crowd. Whereas tokenising, and a lack of visibility, have been inherent problems within publishing, i-D has never adhered to this. The first person of colour to feature on the cover was as early as April 1983, when the Nigerian-born singer Sade graced the fourteenth issue. In issue 3 we got to speak to Lynette Nylander, the writer, editor and creative consultant who worked as Deputy Editor of i-D for 3 years, about how the publication shaped her experience of growing up as a young black girl in London. i-D made it possible for women like Lynette, and the editorial team behind TG, to realise that we could be a part of shaping the culture around us.
Today, publications like Riposte, Sister Magazine, OOMK, Orlando and Girls Club push us to be better. I love that so many independent publications are now going out and shaping the landscape of publishing to be a space of resistance.
It’s tricky growing up in a world which is so centred on technology. It is something we are all acutely aware of but it’s actually terrifying. Information is so fast paced and easily digestible that we don’t really need to take the time to sit back and think anymore. We’re told what to read, what to like, what to follow. I was part of the generation that spent the first decade of our lives largely offline. I didn’t have a smart phone until I was about 17, and didn’t have Facebook until my mid teens. I find it really concerning that young people are now being raised entirely on social media. There’s no escape from it. It penetrates every aspect of your life.
With that, how we consume our news has altered considerably. The rise of clickbait journalism and fake news has taken away the core of what we’re reading. I think people are increasingly realising this, and making a conscious decision to seek out platforms which provide honest, captivating, thought-out content. We take our time when producing TG. The 6 months between each issue prevents a fast pace of consumption.
In look and feel, TG is closer to a book than a magazine. It’s a really weighty publication (quite literally – it’s a heavy bugger). It asks you to take your time over it. Pour yourself a cup of tea and sit down in your favourite armchair. When people have a copy stored on their bookshelf, I always feel like that’s exactly where it should be. You could easily spend months perusing slowly through the pages. It’s not about being up to date with the latest fashion or news; it’s about slow journalism, which might be somewhat outdated by the time you get to it, but is more about the timeless value of people’s stories and experiences.
As we have grown and developed, so too has the breadth of the work on our pages. Issue 3, which is our biggest issue yet, is filled with life and colour. It is an offering, a love note, to all the incredible women who inspire us on a day to day basis. TG allows us to explore the many aspects that can, and do, encompass womanhood. It is our way of proving that there is no such thing as a ‘typical’ girl.
I think it’s about putting your money where your mouth is (as blunt as that may sound). We have a lot of power as consumers. If we invest our time, energy and interests, as well as our spare pennies, into publications and artists we believe in, they will be able to continue. If we demand, as consumers, that journalism is considered, and conscious, then publications will eventually have to listen.
The reality of publishing is that it’s a pricey industry. Funds that come in are quickly eaten by printing costs, and all the expenses that come along with running a small business. In order for independent publications to survive, they need to have readers who are invested in their livelihood. None of the people I know who run small print magazines make any money. They do it out of the necessity to contribute something worthwhile to the industry. Everyone involved tends to have full-time jobs on the side just to keep it going. We put our own money into TG, and don’t earn a cent. Our contributors, too, give their time for free out of a love of the publication. But it’s not an ideal situation by any standard. For creatives, making work is often the determinant of their livelihoods. It’s how they put food on the table.
We need to shift how we view the creative industries entirely, especially people who work outside of a commercial, corporate agenda. In today’s political climate there is little financial support available for independent artists. If we can consciously change how we, as consumers, spend money — buy an artist’s print instead of a wall hanging from a high street store — we can make small changes that have the potential to really impact someone’s life. The same goes for if you have a choice between a publication heavily filled with advertising, where 70% of the publication is marketing, and one that is independently run.
The aim in the future is to continue to grow and develop with the times. Hopefully collaborating more with publications we admire, and continuing to work to create a cohesive and supportive movement of independent publishing. We have lots of exciting new projects in the pipeline for the next year, to really push what defines TG as a publication, so watch this space…
by Rose Miyonga
The 2017 Golden Globes felt quite special to me.
It felt like the first time in a long while, if not ever, that there was some decent representation, that I could look at the list of people that the establishment had deemed “the best” in television and film, and see a more diverse range of people representing the many stories that touched us this year.
Representation matters! And, I don’t just mean one token person who is not straight, white, male and able-bodied on a show written, produced and directed by a white male. What I mean is a plethora of people telling an array of stories in their diverse voices. What I mean is the use of the arts to expand collective consciousness and aid in dispelling the limited idea of normalcy.
I didn’t grow up thinking that my family was strange; my gorgeous multi-cultural, multi-racial family was my first understanding of the world. I only became aware that the wider world seemed to have more restrictive views of what constituted the most inclusive values in the world: beauty, love, family, struggle…
At its best, television and film, like all the arts, can be a mirror into your soul, shining light on the deepest truths of human existence with love and compassion, inviting us to
contemplate who we are and where we find ourselves in the world. Television has always seemed especially amazing to me because you bring the stories and characters into your home, sometimes over a period of years or even decades.
It can engender intimacy and belonging, but at its worst, it can also encourage feelings of otherness and lacking, a feeling that people who look like you don’t belong in the collective narrative or don’t deserve a space to share their stories. I inhabited this realm for a long time, and only obtained self-love through hard-learning against the popularised lack of representation.
Self-love is really hard when you feel like an island; when it feels as though every message society sends is so foreign to yourself. I grew up in a society that didn’t encourage my self-love, that subliminally, and sometimes explicitly, taught me that I was not enough and that I certainly would never be “the best”.
My society taught me loathsome self-depreciation.
Television used to encourage the most negative feelings for me. But it is gradually becoming a source of delight, a place to go to feel understood and valued.
Some day Viola or Tracee or Thandie will win an award or nominated and it will just be about them.
I hope that day is near, the day when it won’t be remarkable that someone who is colourful and unique and universal can be hailed as the best at what they do and that the next woman of colour to win a Golden Globe Best Performance by an Actress in a comedy or musical television series will not have to wait until 2052.
I hope that my children, whatever their colour, gender identity, or ability will be able to hold the television up to their faces like a mirror and proudly see themselves reflected and represented in the most beautiful and honest light.
For now, their wins are still also our wins. They are part of the long-awaited slow-dawning collective realisation that we, too, represent the world.
by Oyin Akande
Tate Britain hosted its final Late of the year 2016 on Friday with an evening at Millbank aimed at exploring family and belonging through an evening of art, music, and conversation.
The evening brought a peculiar object of the past into discussion with more contemporary issues and culture. Inspired by themes of family and identity in the infamous 17th-century painting, ‘The Cholmondeley Ladies’– a popular favourite at the Tate Britain- the night was aimed at creating a conversation around contemporary communities, family, and heritage. The translatability of the image is remarkable. This type of portraiture was very popular in the Elizabethan and early Stuart periods but the linearity and the non-naturalism of the image are very familiar tropes to the contemporary eye.
The painting of the Cholmondeley Ladies is shrouded in an attractive mystery. The artist is unknown and, indeed, the identities of the figures are ambiguous. The image is of ‘Two Ladies of the Cholmondeley Family, Who were born the same day, Married the same day, And brought to Bed [gave birth] the same day’, as the inscription states, yet there is nothing in the genealogical tables either to support or refute the assumption that the subjects were twins or even sisters, which is the general assumption. They might only have married into the Cholmondeley family and the fact that they shared the same birthday could be explained as pure coincidence. Nevertheless, they share a strong resemblance.
A superficial glance will inform you that the figures are identical but the painting plays games and you are continuously finding idiosyncrasies with increased familiarity with the work.
Nadine Ijewere’s work offers such an interesting dialogue with the 17th-century oil painting. The Jamaican-Nigerian photographer struggled with her own mixed identity and the disconnection she felt from her heritage growing up in London. She developed an interest in people and culture and used her photographs to explore it. “I’m interested in how other people identify and celebrate who they are and where they’re from,” she explains.
Ijewere started Same//Difference, a personal project, to explore family and heritage through physical traits of siblings. Her project mainly documents non-Caucasian women as she hopes to give a platform to under-represented ethnicities and identities. She is interested in sisters stating that ‘being a sister and having sisters is special. Sisters share strong bonds. And that bond stretches further too, between women, uniting them and helping them recognize the beauty within one another’, in an interview with i-D magazine earlier this year.
I am a particular fan of the way she uses closeness and intimacy in the photographs. Her subjects are in contact with each other in away, perhaps only siblings can be. Faces are typically touching, sisters are in a comfortable embrace- one sibling might subtly mirror the other . The obvious resemblances of the siblings are only highlighted by the beauty of their differences. Next to on another, these sisters exhibit and celebrate their collective heritage. But as the eye moves across the image, almost disconcertedly, you discover their individualisms. And it is mystifying.
Elements of the Same//Difference project has also recently been used in the Gap #doyou Fall 2016 campaign.
Late at the Tate:Generation also featured a photography exhibition documenting black diasporic communities in London in the 60s and 70s, ‘Stan Firm Inna Inglan: Black Diaspora in London, 1960-1970’, featured eight photographers: Raphael Albert, Bandele ’Tex’ Ajetunmobi, James Barnor, Colin Jones, Neil Kenlock, Dennis Morris, Syd Shelton and Al Vandenberg, whose photographs were as varied as their backgrounds and experiences of London. Many were vibrant, such as the nightlife culture and the interracial couples that fascinated Ajetunmobi after he stowed away to London from Nigeria, and the large community living in an Islington council housing project that features in former dancer of the English Royal Ballet Colin Jones’ The Black House 1973-76. But they could also be dark, such as the work of Dennis Morris- the photographer famous for his images of Bob Marley– whose London certainly appears more bleak and dangerous. The exhibition is a documentation of community through the literal lens of people within these communities. It is interesting to think how these fit next to the prevailing narratives that have been handed down to us about black communities of this time. The exhibition marks a moment where control over our representation was returned to the black man (literally ‘men’, would have been great to have some female names).