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Sonia Dawn Boyce, OBE RA (born 1962), is a British Afro-Caribbean artist, living and working in London. She is a Professor of Black Art and Design at University of the Arts London.[1] Boyce's research interests explore art as a social practice and the critical and contextual debates that arise from this area of study. With an emphasis on collaborative work, Boyce has been working closely with other artists since 1990, often involving improvisation and spontaneous performative actions on the part of her collaborators. Boyce's work involves a variety of media, such as drawing, print, photography, video, and sound. Her art explores the interstices between sound and memory, the dynamics of space, and incorporating the spectator. To date, Boyce has taught Fine Art studio practice for over thirty years in several art colleges across the UK.[2]

Sonia Boyce

OBE RA
Born
Sonia Dawn Boyce

1962 (age 56–57)
London, England
NationalityBritish
Alma materStourbridge College, West Midlands
MovementUK Black Arts Movement

Early life and educationEdit

Born in Islington, London in 1962, Sonia Boyce attended Eastlea Comprehensive School in Canning Town, East London from 1973 to 1979[3]. From 1979 to 1980 completed a Foundation Course in Art & Design at East Ham College of Art and Technology and completed a BA in Fine Art at Stourbridge College[4] from 1980 to 1983 in the West Midlands[5].

CareerEdit

She works with a range of media including photography, installation and text.[5] She gained prominence as part of the Black British cultural renaissance of the 1980s.[6][7] Her work also references feminism.[8] Roy Exley (2001) has written: "The effect of her work has been to re-orientate and re-negotiate the position of Black or Afro-Caribbean art within the cultural mainstream."[9]

An early exhibition in which she participated was in 1983 at the Africa Centre, London, entitled Five Black Women. Boyce's early works were large chalk-and-pastel drawings depicting friends, family and childhood experiences. Drawing from her background she often included depictions of wallpaper patterns and bright colours associated with the Caribbean. It has been suggested that through this work the artist examined her position as a black woman in Britain and the historical events in which that experience was rooted.[10]

In her later works Boyce used diverse media including digital photography to produce composite images depicting contemporary black life. Although her focus is seen to have shifted away from specific ethnic experiences, her themes continue to be the experiences of a black woman living in a white society, and how religion, politics and sexual politics made up that experience.[10]

She has taught widely and uses workshops as part of her creative process, and her works can be seen in many national collections.[11] Boyce's works are held in the collections of Tate Modern,[12] Victoria & Albert Museum, the Government Art Collection,[13] British Council and the Arts Council Collection at Southbank Centre.

Sonia Boyce was awarded an MBE in the Queen's Birthday Honours List 2007, for services to art.[14] In 2016, Sonia Boyce was elected as a member of the Royal Academy.[15]

She was appointed an Officer of the Order of the British Empire (OBE) in the 2019 New Year Honours for services to art.

MediumEdit

In her early artistic years Boyce used chalk and pastel to make drawings of her friends, family and herself. She graduated later to incorporate photography, graphic design, film, and caricature to convey very political messages within her work. The incorporation of collage allowed her to explore more complex pieces. It is important to note Boyce's utilization of caricature within her work. The caricature is historically meant to showcase exaggerated features of individuals. They are often grotesque and can incite negative perceptions of their subjects. By using caricatures she allows herself to reclaim them in her own image.[16]

MessageEdit

Boyce's work is vastly politically affiliated. She utilizes a variety of mediums within the same work to convey messages revolving around black representation, perceptions of the black body and pervasive notions that arose from colonial pseudoscience. Within her bodies of work Boyce wishes to convey the personal isolation that results from being black in a white supremacist society. In her work she explores notions of the Black Body as the "other". Commonly, she uses collage to convey a body of art that incites a complicated history. Boyce rose as a prominent artist in the 1980s when the Black Cultural Renaissance took place in the United Kingdom. The movement arose out of Margaret Thatcher's conservatism and also Enoch Powell's racism. Using this societal backdrop, Boyce takes conventional English narrative surrounding the black body and turns it upside down. Through her art she conveys a hope to overturn ethnographic notions of race that pervaded throughout slavery and after the slaves had been emancipated.[16]

ExhibitionsEdit

SoloEdit

GroupEdit

  • Five Black Women, Africa Centre, London (1983)
  • Black Woman Time Now, Battersea Arts Centre, London (1983)
  • Strip Language, Gimpel Fils, London (1984)
  • Into The Open, Mappin Art Gallery, Sheffield (1984)
  • Heroes And Heroines, The Black-Art Gallery, London (1984)
  • Room At The Top, Nicola Jacobs Gallery, London (1985)
  • Blackskins/Bluecoat, Bluecoat Gallery, Liverpool (1985)[17]
  • Celebrations/Demonstrations, St Matthews Meeting Place, London (1985)[17]
  • No More Little White Lies, Chapter Arts Centre, Cardiff (1985)[17]
  • Reflections, Riverside Studios, London (1985)[17]
  • The Thin Black Line, ICA, London (1985)[17]
  • From Generation To Generation, Black Art Gallery, London (1985)[17]
  • Some Of Us Are Brave – All Of Us Are Strong, Black Art Gallery London (1986)
  • Unrecorded Truths, Elbow Room, London (1986)
  • From Two Worlds, Whitechapel Art Gallery, London (1986)
  • Caribbean Expressions In Britain, Leicestershire Museum and Art Gallery (1986)
  • Basel Art Fair, Switzerland (1986)
  • State Of The Art, ICA, London (1986)
  • A Cabinet Of Drawings, Gimpel Fils, London (1986)
  • The Image Employed – The Use Of Narrative In Black Art, Cornerhouse, Manchester (1987)
  • Critical Realism, Nottingham Castle Museum and Art Gallery (1987)
  • Basel Art Fair, Switzerland (1987)
  • Royal Overseas League, London (1987)
  • The Essential Black Art, Chisenhale Gallery, London (1988)
  • The Impossible Self, Winnipeg Art Gallery, Winnipeg (1988)
  • The Thatcher Years, Angela Flowers Gallery, London (1988)
  • Fashioning Feminine Identities, University of Essex, Colchester (1988)
  • Along The Lines of Resistance, Cooper Art Gallery, Barnsley (1988)
  • The Wedding, Mappin Art Gallery, Sheffield (1989)
  • The Other Story, Hayward Gallery, London (1989)
  • The Cuban Biennale, Wifredo Lam Cultural Centre, Havana (1989)
  • The British Art Show, McLellan Galleries, Glasgow (1990)
  • Distinguishing Marks, University of London (1990)
  • The Invisible City, Photographers Gallery, London (1990)
  • Black Markets, Cornerhouse, Manchester (1990)
  • Delfina Open Studios, London (1991)
  • Shocks To The System, South Bank Centre, London (1991)
  • Delfina Annual Summer Show, London (1991)
  • An English Summer, Palazzo della Crepadona, Belluna, Italy (1991)
  • Photo Video, Photographers Gallery, London (1991)
  • Delfina Annual Summer Show, London (1992)
  • White Noise, IKON Gallery, Birmingham (1992)
  • Northern Adventures, Camden Arts Centre and St Pancras Station, London (1992)
  • Nosepaint Artist Club, London (1992)
  • Innocence And Experience, Manchester City Art Galleries (1992)
  • New England Purpose Built: Long Distance Information, Real Art Ways, Hartford, USA (1993)
  • Thinking Aloud, Small Mansions Art Centre, London (1994)
  • Wish You Were Here, BANK, London (1994)
  • Glass Vitrine, INIVA Launch, London (1994)
  • Free Stories, LA Galerie, Frankfurt (1995)
  • Portable Fabric Shelters, London Printworks Trust, London (1995)
  • Fetishism, Brighton Museum, Brighton (1995)
  • Mirage, ICA, London (1995)
  • Photogenetic, Street Level, Glasgow (1995)
  • Cottage Industry, Beaconsfield, London (1995)
  • Picturing Blackness in British Art, Tate, London (1996)
  • Kiss This, Focalpoint Gallery, Southend (1996)[17]
  • Video Positive: the Other Side of Zero, Bluecoat Gallery, Liverpool (2000)
  • New Woman Narratives, World-Wide Video Festival, Amsterdam (2000)
  • Century City: art and culture in the modern metropolis, Tate Modern, London (2001)[18]
  • Sharjah International Biennial: 7, Sharjah (2005)
  • Menschen und Orte, Kunstverein Konstanz, Konstanz (2008)
  • Praxis: Art in Times of Uncertainty, Thessaloniki Biennal 2, Greece (2009)
  • Afro Modern: Journeys through the Black Atlantic, Tate Liverpool and tour (2010)
  • Walls Are Talking: Wallpaper, Art and Culture, Whitworth Art Gallery, Manchester (2010)
  • Griot Girlz: Feminist Art and the Black Atlantic, Kunstlerhaus Büchenhausen, Innsbruck (2010)
  • ¡Afuera! Art in Public Spaces, Centro Cultural España/Cordoba, Argentina (2010)

Research positionsEdit

Selected publicationsEdit

  • Gilane Tawadros, Sonia Boyce: Speaking in Tongues, Kala Press, 1997.
  • Annotations 2/Sonia Boyce: Performance (ed. Mark Crinson, Iniva – the Institute of International Visual Arts, 1998)
  • In 2007, Boyce, David A. Bailey and Ian Baucom jointly received the History of British Art Book Prize (USA) for the edited volume Shades of Black: Assembling Black Art in 1980s Britain, published by Duke University Press in collaboration with Iniva and AAVAA.
  • Allison Thompson, "Sonia Boyce and Crop Over", Small Axe, Volume 13, Number 2, 2009.[24]
  • Like Love, Spike Island, Bristol and tour (ed. Axel Lapp, Green Box Press, Berlin, 2010)[25][26]

ReferencesEdit

  1. ^ Tom Banks (3 January 2014). "UAL appoints nine new cross-university heads". Design Week.
  2. ^ Boyce, Sonia. "Professor Sonia Boyce: TrAIN Member". www.transnational.org.uk. University of the Arts London. Retrieved 16 May 2016.
  3. ^ Tawadros, Gilane. (1997). Sonia Boyce : speaking in tongues. Boyce, Sonia, 1962-. London: Kala Press. ISBN 0947753095. OCLC 40180489.
  4. ^ Tawadros, Gilane. (1997). Sonia Boyce : speaking in tongues. Boyce, Sonia, 1962-. London: Kala Press. ISBN 0947753095. OCLC 40180489.
  5. ^ a b Rebecca Fortnum, Contemporary British Women Artists: In Their Own Words, I.B.Tauris, 2007, p. 113. ISBN 1-84511-224-5
  6. ^ Kwesi Owusu, Black British Culture and Society: A Text-Reader, Routledge, 1999, p. 4. ISBN 0-415-17846-0
  7. ^ 'Critical Decade: Black British Photography in the 80s', Ten.8 vol. 2, no. 3, 1992
  8. ^ Peggy Phelan and Helena Reckitt, Art and Feminism. London: Phaidon, 2001.
  9. ^ Exley, Roy. "Sonia Boyce Artists Talking". a-n The Artists Information Company. Retrieved 25 April 2014.
  10. ^ a b Oxford Art Online, www.oxfordartonline.com.
  11. ^ Crinson, Mark (1998). Sonia Boyce: Performance. London: Institute of International Visual Arts (INIVA). ISBN 1 899846 15 8.
  12. ^ Sonia Boyce "Artist biography", Tate online.
  13. ^ Government Art Collection. Sonia Boyce
  14. ^ "Birthday honours: London list", BBC News, 16 June 2007; accessed 6 September 2007.
  15. ^ "Sonia Boyce RA", Royal Academy, 9 March 2016; accessed 24 April 2016.
  16. ^ a b Noel, Samantha (28 March 2014). "Putting on a Bold-Face". Third Text. 28 (2): 163–176. doi:10.1080/09528822.2014.890789.
  17. ^ a b c d e f g h Tawadros, Gilane. (1997). Sonia Boyce : speaking in tongues. Boyce, Sonia, 1962-. London: Kala Press. ISBN 0947753095. OCLC 40180489.
  18. ^ "Sonia Boyce | Artist | Royal Academy of Arts". www.royalacademy.org.uk. Retrieved 29 May 2019.
  19. ^ Gallery, Hayward; Johnstone, Isobel; Sandhu, Sukhdev; Jones, Ann; Gallery, Leeds (England) City Art; Gallery, Tullie House Museum and Art; Centre, University College of Wales (Aberystwyth, Wales) Arts; Gallery, Usher Art; Museum, Nottingham Castle (1 January 2004). Stranger than fiction. Hayward Gallery. ISBN 9781853322396.
  20. ^ Boyce, Sonia. "Art and Design Research Institute". Retrieved 25 April 2014.
  21. ^ "TransNational Member Page". Retrieved 25 April 2014.
  22. ^ "BAM - Black Artists and Modernism". www.rcuk.ac.uk. Research Councils UK. Retrieved 16 May 2016.
  23. ^ "Black Artists and Modernism (BAM)". www.transnational.org.uk. University of the Arts London. Retrieved 16 May 2016.
  24. ^ Boyce, Sonia. "Professor Sonia Boyce". www.transnational.org.uk. University of the Arts London. Retrieved 16 May 2016.
  25. ^ Boyce, Sonia. "Professor Sonia Boyce: TrAIN Member". www.transnational.org.uk. University of Arts London. Retrieved 16 May 2016.
  26. ^ Boyce, Sonia (2010). Like Love. The Green Box. ISBN 9783941644168.

Further readingEdit

  • Sonia Boyce (exhibition catalogue, intro Pitika Ntuli; London, Air Gallery, 1987) [texts by Boyce]
  • The Impossible Self (exhibition catalogue by B. Ferguson, S. Nairne, S. Boyce and others, Winnipeg, A.G., 1988)
  • M. Corris: "Sonia Boyce at Vanessa Devereux Gallery", Artforum, xxx (1992), p. 124
  • Gilane Tawadros, Sonia Boyce: Speaking in Tongues. Kala Press, 1997. ISBN 0947753095
  • Recent Sonia Boyce: La, La, La (exhibition catalogue by S. Fillin-Yeh and M. Verhagen; Portland, OR, Reed Coll, Cooley A.G.; 2001)
  • David A. Bailey, Kobena Mercer, Catherine Ugwu (eds), MIRAGE: Enigmas of Race, Difference and Desire, ICA, 1995. ISBN 0905263847.
  • M. Crinson (ed.): Sonia Boyce: Performance, Institute of International Visual Arts in collaboration with Cornerhouse (London, 1998)

External linksEdit