Sonia Boyce

Résumé du livre

Focusing on several major collaborative performance-videos by a figure of the British Black Art movement, this illustrated monograph includes a series of essays which interpret Boyce's interdisciplinary practice in the light of art history, and analyse her interest in black feminism, cultural studies, film studies, art history and critical theory. Starting her career within the British Black Art movement in the 1980s, Sonia Boyce's art practice has been often been attached to drawing, collage and painting. since the 1990s her work has extended toward video, photography and collaborative practices. The aim of this monograph is twofold: on the one hand, to discuss how her very specific way of linking collaborative practice to video is embedded within an art history genealogy of interdisciplinary practices; on the other, to analyse how her specific interest in black feminism, cultural studies, film studies, art history and critical theory is embodied in her work. The object is shaped by the voices of Adelaide Bannerman, Cecile Bargues, Jean Fisher, Sophie Orlando, Allison Thompson, and Sonia Boyce herself, focusing on several major collaborative performance-videos including Exquisite Cacophony, Paper Tiger Whisky Soap Theatre, and Crop Over. Published following the exhibition "Paper Tiger Whisky Soap Theatre (Dada Nice)", at Villa Arson, Nice, from January 31 to April 30, 2016.