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REFERENCES

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  1. Badovinac, Z. (2022) ‘Unannounced Voices: Curatorial Practice and changing institutions’ in Thoughts on Curating, Vol 2, ed. Henry Madoff, Sternberg Press

  2. Bankare, L. (2024) Young researchers need greater access to Britain’s rich archives, says curator. The Guardian. Available at: https://www.theguardian.com/music/2024/apr/25/young-researchers-need-greater-access-to-britain-rich-archives-says-curator

  3. Beaman, J. (2021) ‘Towards a Reading of Black Lives Matter In Europe’ in Journal of Common Market Studies, Vol. 59, University Association for Contemporary European Studies and John Wiley & Sons Ltd, pp. 103-114

  4. Bernier, C. (2013) “‘Save our Shit. Save our Souls. Save our Struggle”: Politics, Protest and Aesthetic Experimentation in The BLK Art Group Exhibition (2011– 12)’ in Slavery & Abolition, 34:3, pp. 515-523

  5. Black Cultural Archives, (2024) New exhibition ‘Ties That Bind’: Reflections on Black Life, Surviving Hostile Environments, and Mental Health. Available at: https://blackculturalarchives.org/news/tiesthatbindpressrelease

  6. Black Cultural Archives, (2024) Ties That Bind: Reflections on Black Life, Surviving Hostile Environments, and Mental Health. Available at: https://www.bcaexhibits.org/exhibits/tiesthatbind

  7. Blackwood, A & Purcell, D (2014) ‘Curating Inequality: The Link between Cultural Reproduction and Race in the Visual Arts’ in Sociological Inquiry, Vol. 84, No. 2, pp. 238-263

  8. Blue, M., (2024) Beyond the Bassline. Writers Mosaic. Available at: https://writersmosaic.org.uk/reviews/beyond-the-bassline/

  9. Boyce, S. and Price, D (2021) ‘Dearly Beloved or Unrequited? To Be ‘Black’ in Art’s Histories’ in Art History, Vol. 44, Iss. 3, pp. 462-480

  10. Bugel, S. (2023) ‘Police shootings and poignant messages: the Blk Art Group 40 years on’, Guardian News & Media Limited. Available at https://www.proquest.com/blogs-podcasts-websites/police-shootings-poignant-messages-blk-art-group/docview/2809028895/se-2?accountid=10342

  11. Carroll, R (2024) On Curating Blackness. Interviewed by Alice Mcleod-Bishop via Zoom on 28 August 2024

  12. Chang, H. (2008) Autoethnography As Method, Taylor & Francis Group, Oxford, pp. 43-57

  13. Correia, A. (2021) ‘Permindar Kaur: Locating a ‘Black’ Artist in Narratives of British Art in the 1990s’ in Art History, 44: 604-623. https://doi.org/10.1111/1467-8365.12584

  14. Crenshaw, K. (1991) ‘Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color’ in Stanford Law Review, 43(6), pp.1241–1299

  15. Cumming, L. (2023) Women in Revolt: Art and Activism in the UK 1970-1990 review – a monumental social history. The Guardian. Available at: https://www.theguardian.com/artanddesign/2023/nov/12/women-in-revolt-art-and-activism-in-the-uk-1970-1990-tate-britain-london-review-a-monumental-social-history

  16. Cumming, L. (2024) Entangled Pasts: Art, Colonialism and Change review – five stars for the Royal Academy. The Guardian. Available at: https://www.theguardian.com/artanddesign/2024/feb/04/entangled-pasts-art-colonialism-and-change-review-royal-academy-london-five-stars

  17. Curating as Antiracist Practice (2018) Aalto University Art Department, Natalie Bayer, Belinda Kazeem-Kaminski and Nora Sternfeld (Eds.), Nine Eglantine Yamamoto-Masson (Trans.), Aalto University (Helsinki) Press

  18. Decemvirale, J. (2020) ‘Because Night Time Is the Right Time: Tactics, Popular Resistance and the Formation of the Black Arts Council’ in Complementary Modernisms in China and the United States: Art as Life/Art as Idea, edited by 张謇, 布鲁斯·罗伯逊, Zhang Jian, and Robertson Bruce, Punctum Books, pp. 492–500

  19. Decolonising Art Insitutions (2017) Oncurating, Issue 35, oncurating.org 

  20. Denman, T. (2021) ‘Contained: Exhibiting Blackness’ in Art Monthly, no. 446, pp. 6-9

  21. Equality, Diversity and Inclusion: A Data Report, 2020-2021 (2022) Arts Council England, Available at: https://www.artscouncil.org.uk/equality-diversity-and-inclusion-data-report-2020-2021

  22. Frankel, E. (2023) Women in Revolt! review – a complex look at art and feminism. Time Out. Available at: https://www.timeout.com/london/art/women-in-revolt

  23. Frankel, E. (2024) ‘Entangled Pasts, 1768–Now’ review: a complex look at art and colonialism. Time Out. Available at: https://www.timeout.com/london/art/entangled-pasts-1768now

  24. Fredheim, H., et al. (2020) ‘Curating museum profusion’ in Heritage Futures: Comparative Approaches to Natural and Cultural Heritage Practices, UCL Press, pp. 169–189

  25. Gascoigne, L. (2024) I was dreading this show – how wrong could I be: Entangled Pasts, at the Royal Academy, reviewed. The Spectator. Available at: https://www.spectator.co.uk/article/i-was-dreading-this-show-how-wrong-could-i-be-entangled-pasts-at-the-royal-academy-reviewed/

  26. George, A. (2015) The Curator’s Handbook, Thames & Hudson

  27. Grant, C. (2024) Entangled Pasts 1768–now review: a radical show for the Royal Academy. The Guardian. Available at: https://www.theguardian.com/artanddesign/2024/jan/30/entangled-pasts-1768-now-review-royal-academy-show

  28. Hanson-Ellesse, C. (2024) On Curating Blackness. Interviewed by Alice Mcleod-Bishop via Microsoft Teams on 1 August 2024

  29. Joachim, J. (2018) ‘Embodiment and Subjectivity: Intersectional Black Feminist Curatorial Practices in Canada’ in RACAR: Revue d’art Canadienne / Canadian Art Review, Vol. 43 No. 2, pp. 34–47

  30. Joachim, J. (2020) ‘Curating, Critcism and Care, or, “Showing Up” as Praxis’ in c mag, available at: https://cmagazine.com/articles/curating-criticism-and-care-or-showing-up-as-praxis

  31. Jules-Rosette, B. (2020) ‘Curatorial Netwokrs and Museum Culture: Objects and Evidence in Museums of African Art’ in Museums Anthropology, Vol. 43, Issue 1, pp. 14-28

  32. McKay, C. (2024) Beyond the Bassline: 500 years of Black British music at the British Library. Wallpaper. Available at: https://www.wallpaper.com/art/exhibitions-shows/beyond-the-bassline-500-years-of-black-british-music-british-library-london

  33. Mercer Banson, A. (2024) On Curating Blackness. Interviewed by Alice Mcleod-Bishop via email in August 2024

  34. Modest, W. (2020) ‘Museums are Investments in Critical Discomfort’ in Across Anthropology: Troubling Colonial Legacies, Museums, and the Curatorial, M. von Oswald & J. Tinius (Eds.), Leuven University Press, pp. 65–75

  35. Moody, J. (2020) ‘The Rise of the Museums’ In The Persistence of Memory: Remembering Slavery in Liverpool, “Slaving Capital of the World,” Liverpool University Press, pp. 155–80.

  36. Muk, I. (2024) New Exhibition Beyond The Bassline Celebrates 500 Years of Black British Music History. Crack Magazine. Available at: https://crackmagazine.net/article/long-reads/exhibition-black-british-music-history-beyond-bassline/

  37. National Statistics on the Creative Industries (2022) available at: https://pec.ac.uk/news/national-statistics-on-the-creative-industries#:~:text=In%20the%20year%20from%20July,more%20broadly%20(DCMS%202021).

  38. Noble, W. (2024) Beyond the Bassline: 500 Years of Black British Music Review. Londonist. Available at: https://londonist.com/london/museums-and-galleries/british-library-beyond-the-bassline-exhibition

  39. O’Leary, H. (2024) On Curating Blackness. Interviewed by Alice Mcleod-Bishop via Microsoft Teams on 1 August 2024

  40. Office for National Statistics (2024), Population of England and Wales, England and Wales 2021 Census. Available at: https://www.ethnicity-facts-figures.service.gov.uk/uk-population-by-ethnicity/national-and-regional-populations/population-of-england-and-wales/latest/

  41. Onuzo, C. (2024) Is the Royal Academy's 'Entangled Pasts' exhibition radical? Yes—for the Royal Academy. The Art Newspaper. Available at: https://www.theartnewspaper.com/2024/02/27/is-the-royal-academy-entangled-pasts-exhibition-radical

  42. Price, D., Chadwick, E., Akinkugbe, A., Gilroy-Ware, C., Lea, S. (2024), Entangled Pasts 1768-Now, Royal Academy of Arts

  43. Reilly, M. (2017) ‘What Is Curatorial Activism?’ on artnews.com, available at: https://www.artnews.com/art-news/news/what-is-curatorial-activism-9271/

  44. Reilley, M. (2018) Curatorial Activism: Towards and Ethics of Curating, Thames & Hudson

  45. Royal Academy of Arts, (2024) Entangled Pasts, 1768–now. Available at: https://www.royalacademy.org.uk/exhibition/entangled-pasts

  46. Sankowski, E. (1992) ‘Ethics, Art, and Museums’ in Journal of Aesthetic Education, Vol. 23 No 3, University of Illinois Press pp. 1–15

  47. Searle, A. (2023) Women in Revolt review: orgasms, punk protests, and one long scream. The Guardian. Available at: https://www.theguardian.com/artanddesign/2023/nov/07/women-in-revolt-review-orgasms-punk-protests-and-one-long-scream

  48. Setai, P. (2022) ‘Curating in the Dark: Notes on a Fugitive Concept of Black Curation’ in The Thinker, Vol. 91 No. 2, pp. 38-45

  49. Sooke, A. (2023) 'Women in Revolt!, Tate Britain, review: exhibition-making from within the echo chamber,' The Telegraph. Available at: https://www.telegraph.co.uk/art/reviews/women-in-revolt-tate-britain-review/

  50. Spaid S. (2016) ‘Revisiting Ventzislavov’s Thesis: “Curating Should Be Understood as a Fine Art”’ in The Journal of Aesthetics and Art Criticism, Vol. 74 No. 1, pp. 87–91 

  51. Tate (2023) Women in Revolt! Art and Activism in the UK 1970-1990. Tate. Available at: https://www.tate.org.uk/whats-on/tate-britain/women-in-revolt/exhibition-guide

  52. TBR (2018) Livelihoods of Visual Artists – Summary Report, available at: https://www.artscouncil.org.uk/livelihoods-visual-artists-report

  53. The Evolving Role of the Exhibition and its Impact on Art and Culture (2012), Trinity College Student Theses, Trinity College

  54. Ventzislavov, R. (2014) ‘Idle Arts: Reconsidering the Curator’ in The Journal of Aesthetics and Art Criticism, Vol. 72 No. 1, Wiley, pp. 83–93

  55. Ventzislavov, R. (2016) ‘The Curator as Artist: Reply to Sue Spaid’ in The Journal of Aesthetics and Art Criticism, Vol74 No. 1, Wiley, pp. 91–95

  56. Villeneuve, P (2019) ‘Considering Competing Values in Art Museum Exhibition Curation’ in Stedelijk Studies, Vol. 8, available at  https://stedelijkstudies.com/journal/considering-competing-values-in-art-museum-exhibition-curation/

  57. Villeneuve, P., Ann Rowson Love, Peter Aerts, Juliana Forero, and Hye in Kim (2021) ‘Dimensions of Curation Competing Values Exhibition Model: Toward Intentional Curation’ in The International Journal of the Inclusive Museum 14 (2), pp.135-147

  58. Wilkinson, C. (2024) Beyond the Bassline at the British Library: A Must-See for Music Lovers. Time Out. Available at: https://www.timeout.com/london/museums/beyond-the-bassline

  59. Williams, M. (2024) Journeying through 500 years of Black music in Britain. Creative Review. Available at: https://www.creativereview.co.uk/beyond-bassline-black-british-music-exhibition/

  60. Williamson, B. (2023) Women in Revolt! Art and Activism in the UK 1970-1990. Studio International. Available at: https://www.studiointernational.com/index.php/women-in-revolt-art-and-activism-in-the-uk-1970-1990-review-tate-britain-london

  61. Wullschläger, J. (2023), "Women in Revolt! review — politics and art fail to fuse at Tate Britain", FT.com. Available at: https://www.proquest.com/trade-journals/women-revolt-review-politics-art-fail-fuse- at/docview/2888581698/se-2?accountid=10342

  62. Yinka Shonibare Foundation (2022), Self, Movement and Memory: Hannah Marsh in Conversation with Baff Akoto. Available at: https://www.yinkashonibarefoundation.com/News/self-movement-and-memory-hannah-marsh-in-conversation-with-baff-akoto

  63. Young, L. ed. (2023), Women in Revolt! Art and Activism in the UK 1970-90, Tate Publishing

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