All sing along with me: ‘Tis the season to be hyperbolic…
Last night at a fastidiously pretentious “ceremony” in the Ferens Art Gallery, Hull, the African artist Lubaina Himid was awarded the Turner Prize. What more can be said when the whole damn thing is beyond satire? Compared with Ms Himid’s stuff, the act of throwing a pot of paint in the public’s face represents high cultural achievement. What’s it like then? There’s a fair chance that anything I might write would be a bit on the biased side. so let one of her supporters describe it:
“Himid’s work has long been concerned with black creativity, history and identity and this animated throng represents the Africans who were brought to Europe as slave servants. There are drummers, dog trainers, dancers, potters, cobblers, gardeners and players of the viola da gamba, all decked out in vivid versions of 17th century costume. Labels on their backs identify each individual, giving both their original African names and occupations as well those imposed by their new European owners, and these poignant texts also form part of an evocative soundtrack, interspersed with snatches of Cuban, Irish, Jewish and African music.”
Much of her output looks like a gaudy collage produced by a mildly psychotic six-year-old with Attention Deficit Hyperactivity Disorder.
But don’t take my word for it. Listen instead to the singer Goldie who appeared at last night’s shindig to praise Ms Himid’s work for “Digging deep and challenging people’s perceptions.” Gliding over the surface and massaging familiar prejudices, more like. Another enthusiastic commentator said that Ms Himid’s agenda is “Black identity and the slave industry” And he reminded us that Ms Himid was awarded the MBE for services to “black women’s art.” All of which sounds rather racist to me and it doesn’t say anything about her art.
She produces some of her work on old copies of The Guardian and includes photographs of Ronald Reagan and Margaret Thatcher clipped out from that newspaper. In other words Ms Himid is not about art but about trendy-lefty racial “activism” and, instead of throwing pots of paint in our faces, she is, by her own admission, busy “reclaiming identities.”
Well, it’s trash isn’t it? if works awarded the Turner Prize were not trash, we would all come away disappointed.
Fair enough that it’s trash. But it’s not fair enough that it’s lying trash. Ms Himid claims to be about “correcting false impressions.” Yes, we are all going to have the scales removed from our eyes and see the world as it really is – that is the world portrayed by “the black women’s art movement.”
So why does she peddle palpable untruths? Here’s one: “In the 1980s black people were totally invisible.”
I suppose she means as invisible as Courtney Pine, Sir Bill Morris, Sir Trevor McDonald, Chris Eubank, Cleo Laine, Shirley Bassey, Martin Offiah, Frank Bruno, Ben Okri, Floella Benjamin, Bernie Grant, Diane Abbott, Lenny Henry, Benjamin Zephaniah, Lennox Lewis, Linford Christie, Paul Ince and Ian Wright?
At the time I was living in Bolton – not far from Professor Himid’s hideout at the University of Central Lancashire. I numbered many black people among my friends and acquaintance there and, so far as I can recall, none of them was invisible.
I must not protest too much and we should be grateful for the crap because it makes us return and repose again in things of quality.
All may be forgiven. Except that the name of the great J.M.W Turner is contaminated with this slime.