black art. i know i talk about black art and that, you know, everybody discusses the black art movement, but allt to art schools and we had proper art school educations. and part of that is being taught the history of european art or north american art. and what often happened to me was that i saw black people in the paintings of hogarth. now, hogarth wasn't putting black people in those painting to do me a favour, he was giving a picture of what london or england, more especially, was like at that time. and i thought, "ah, he's done me a favour there. "thank you very much, hogarth. "i will now expand on that." so because i was trained as a theatre designer, i look at everything, what can i take from that? how can i translate that, transfer that, transform that? so it's not so much looking at this kind of art, it's like looking at this painting or this set of people in this painting. who are they? what are they doing? yeah, putting them centre stage. and also confronting very dark stories. i mean, for example, the rodeur story that you depicted in a very different way from that that would have b

she made her name in the black arts movement of the 1980s. e. so what does her career tell us about race and culture in modern britain? lubaina himid, welcome to hardtalk.

she made her name in the black arts movement of the 1980s. culture in modern britain? lubaina himid, welcome to hardtalk. thank you.

she made her name in the black arts movement of the 1980s. odern britain? lubaina himid, welcome to hardtalk. thank you. it's a great pleasure to be here at this exhibition, which you have curated. ijust wonder if it continues a theme that i see in so much

she made her name in the black arts movement of the 1980s.

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