Art

Himid, Lubaina (21 of 23).  National Life Stories: Artists' Lives

  • Add a note
    Log in to add a note at the bottom of this page.
  • All notes
  • My notes
  • Hide notes
Please click to leave a note

The British Library Board acknowledges the intellectual property rights of those named as contributors to this recording and the rights of those not identified.
Legal and ethical usage »

Tags (top 25):
(No tags found for this item)
  • Type

    sound

  • Duration

    01:11:49

  • Shelf mark

    C466/249

  • Subjects

    Art

  • Recording date

    2006-09-11, 2006-09-12, 2006-10-02, 2006-10-03, 2006-11-06, 2006-11-07, 2007-01-15, 2007-01-16

  • Recording locations

    Interviewee's home, Preston

  • Interviewees

    Himid, Lubaina, 1954- (speaker, female)

  • Interviewers

    Dyke, Anna, (speaker, female)

  • Abstract

    Part 21: [1:11:49] Reasons for ending relationship with MS, November 2001; MS moved to Edinburgh. Difficult financial situation due to funding MS’ ambitious schemes. MS’ and IP’s book ‘Passion’ (1990); refers to Griselda Pollock’s ‘Framing Feminism’; costs to LH of making the book. LH’s attitude to writing own book; doesn’t want to take time away from her art. Reflects on decision to leave London and focus on own art rather than continue being facilitator for other artists; refers to SB, KP. [14:02] Contact with MS since breaking up. MS’ work since then; shows at Scottish Portrait Gallery and at Dumfries; unpublished novels. Start of LH’s relationship with Susan Walsh [SW]; their life together. SW’s work using discarded furniture; filmmaking - Tate research film. SW’s family background; her paintings. Share interest in neglected histories; making visible the invisible; the lives of objects. Relationship with SW’s family. Feels settled, happy now. [25:00] Have collaborated; film inspired by Virginia Woolf short story; made from collaged footage of LH’s house, and refurbished Bluecoat Art Gallery in Liverpool. But haven’t collaborated on each other’s projects. Will send the film to festivals; but won’t declare that they’re artists - reasons. [29:56] LH’s teaching career; taught Foundation for 8 years. Applying to become Reader - inventing the role; leading the research team; Research Assessment Exercise [RAE]; more exhibitions on campus and touring; SW’s idea to set up archive of the Fine Art dept. [38:55] Applying for Professorship; proposed by Dean (Norman Burrow); the University’s support for LH’s work as artist; references from Griselda Pollock and Christopher Frayling. Finally appointed Professor in 2001. Current status of Fine Art in the University. Recent years leading up to RAE. [45:00] Explains the ‘RAE’; demands put on artists/teachers to balance both roles. Positive effects of RAE on LH and colleagues’ work as artists; active collaborations with museums, councils, other organisations; eg. colleague Charles Quick’s work; difficulties being an artist in the regions, rather than in London. [52:00] RAE is beneficial for certain kinds of artist, eg. those concerned with art and politics, social issues, history; eg. Chris May Andrews’ book ‘History of British Artists Video’ [exact title?]. Being graded; what it means financially/reputation-wise for Fine Art in University of Central Lancashire. Having to learn to be a certain kind of personality for teaching and for RAE. [57:47] Plans to keep teaching, perhaps without Professorship; balancing teaching with making work. Continually learning from students. Students’ ambitions - influenced by YBA generation; collaborating with outside organisations who need artists, eg. health services, libraries, archives. [1:04:57] Describes the archive LH and SW have set up at the University; catalogues, written papers, slides of work by all the Fine Art staff, for students and public to research. [1:11:49]

  • Related transcripts

    Lubaina Himid interviewed by Anna Dyke: full transcript of the interview

  • Metadata record:

    View full metadata for this item