Claudette Johnson

MBE
Born
Claudette Elaine Johnson

1959 (age 64–65)
Manchester, England
Alma materWolverhampton Polytechnic
Known forVisual artist
MovementBLK Art Group

Claudette Elaine Johnson MBE (born 1959) is a British visual artist. She is known for her large-scale drawings of Black women and her involvement with the BLK Art Group, of which she was a founder member. She was described by Modern Art Oxford as "one of the most accomplished figurative artists working in Britain today".[1]

Biography

Claudette Johnson was born in Manchester, UK. She studied Fine Art at Wolverhampton Polytechnic. While still a student there, she became a founder member of the BLK Art Group and took part in their second show at the Africa Centre, London, in 1983.[2] Her talk, and seminar, at the First National Black Arts Conference in 1982 is recognised as a formative moment in the Black feminist art movement in the UK.[3]

Johnson's work has featured in important group exhibitions such as Five Black Women at London's Africa Centre Gallery in 1983, Black Woman Time Now at Battersea Arts Centre in the same year, and The Thin Black Line at the ICA in London in 1986.[4] Reviewing her 1992 solo exhibition In This Skin: Drawings by Claudette Johnson, at the Black Art Gallery, London, artist Steve McQueen (at the time a student at Goldsmiths College) wrote: "What she does is to bring out the soul, sensuality, dignity, and spirituality of the black woman....Claudette Johnson's work is rooted in her African heritage. Her talent is as powerful as it is obvious."[5]

Lubaina Himid describes Johnson's work as "deeply sensuous" and "richly coloured".[6] The artist calls the Black women in her drawings "monoliths, larger than life versions of women".[6] Eddie Chambers notes: "These portraits were imposing pieces that demanded the viewer’s attention, as well as their respect."[7]

In 2011, Johnson co-founded the BLK Arts Research Group with Marlene Smith and Keith Piper,[8] to re-examine the BLK Arts Group's body of work and historical legacy. In 2012, two major projects were staged by this research group: a symposium with a retrospective exhibition entitled The Blk Art Group was held at the Graves Gallery, Sheffield, and an international conference entitled "Reframing the Moment" was held at the University of Wolverhampton.[8] Her work was included in the Guildhall Art Gallery exhibition No Colour Bar: Black British Art in Action 1960–1990 (10 July 2015 – 24 January 2016).[9]

Johnson had a solo exhibition at Hollybush Gardens, London (17 November 2017 – 22 December 2017),[10] where a series of seven of her large-scale works on paper was presented, about which Frieze magazine said: "As a body of work, it possesses a profound and tender intimacy."[11]

In 2019, her first major institutional exhibition since 1990 was held at Modern Art Oxford, the show being described as "an overview of one of the most accomplished figurative artists working in Britain today....her art sets out to redress negative portrayals of black men and women and to counter the invisibility of black people in cultural spheres and beyond."[1] The reviewer for Art Fund wrote: "Intimate, powerful and sometimes deliberately uncomfortable, Claudette Johnson’s studies of black men and women demand attention and command respect."[12] According to Apollo magazine: "While Johnson asserts that blackness is a fiction created by colonialism, she insists that this fiction 'can be interrupted by an encounter with the stories that we have to tell about ourselves'. Johnson’s subjects, by turns defiant and wary, funny and challenging, represent the varieties of stories that can be told by, in the artist’s words, 'Blackwoman presence.' As Johnson says, 'I’m interested in our humanity, our feelings and our politics.' Her art encapsulates all this in the tenderness and willfulness of the individual human form."[13]

Claudette Johnson: Presence at the Courtauld Gallery opened in September 2023, marking the first monographic show of Johnson’s work at a major public gallery in London.[14] A critic at The Guardian praised the way Johnson "brilliantly questions depictions of non-white figures by such revered painters as Gauguin and Picasso", adding that "the quiet power of Johnson’s current work leaves theory behind" and "invites a more meditative response".[15]

In 2023, The Guardian commissioned Johnson to produce a portrait of transnational activist Sarah Parker Remond as part of its Cotton Capital project.[16][17]

Johnson's work is in the collections of the Tate Britain, Rugby Art Gallery, Arts Council England, Mappin Art Gallery, Manchester Art Gallery and Wolverhampton Art Gallery.[18]

Johnson was appointed Member of the Order of the British Empire (MBE) in the 2022 New Year Honours for services to art.[19]

Selected exhibitions

References

  1. 1 2 3 "Claudette Johnson: I Came to Dance | 1 June — 8 September 2019". Modern Art Oxford. 2019. Archived from the original on 5 July 2022. Retrieved 25 April 2023.
  2. ↑ "Keith Piper, a short history". keithpiper.info/. Archived from the original on 18 April 2023. Retrieved 17 July 2015.
  3. ↑ "Politics of the Art School: Black Art Movement Then and Now". Nottingham Contemporary. 30 April 2015. Archived from the original on 26 April 2023. Retrieved 19 July 2015.
  4. ↑ "Claudette Johnson" at Diaspora Artists.
  5. ↑ McQueen, Steven (August 1992), "In This Skin: featuring Claudette Johnson", African Peoples Review, p. 5. Quoted in Eddie Chambers, Black Artists in British Art: A History from 1950 to the Present, pp. 146–147.
  6. 1 2 3 Biswas, Sutapa; et al. (2011). Thin Black Line(s) (PDF). Making Histories Visible Project, Centre for Contemporary Art, UCLAN. ISBN 978-0-9571579-0-3.
  7. ↑ Chambers, Eddie (2014), Black Artists in British Art: A History from 1950 to the Present, I.B. Tauris, p. 146.
  8. 1 2 "Blk Art Group Research Project 2012". www.blkartgroup.info.
  9. ↑ "Claudette Johnson", No Colour Bar website.
  10. ↑ "Claudette Johnson", ArtRabbit.
  11. ↑ Dyer, Sonya (14 December 2017), "Claudette Johnson" (review), Frieze.
  12. ↑ "Claudette Johnson: I Came to Dance: Modern Art Oxford: 1 June – 8 September 2019", ArtFund.
  13. ↑ Caddell, Jillian (28 June 2019), "Claudette Johnson’s body of work feels as necessary as ever", Apollo.
  14. ↑ "Claudette Johnson: Presence opens at The Courtauld Gallery". The Courtauld. 29 September 2023. Retrieved 23 October 2023.
  15. ↑ Jones, Jonathan (28 September 2023). "Claudette Johnson: Presence review – subtle swipes at the exploitative modern masters". The Guardian. ISSN 0261-3077. Retrieved 23 October 2023.
  16. ↑ Bakare, Lanre (1 April 2023). "Painting a new pantheon: portrait series honours Black radicals". The Guardian. ISSN 0261-3077. Retrieved 28 October 2023.
  17. ↑ Bakare, Lanre. "The radicals: from abolitionists to activists, new portraits of those who resisted slavery". The Guardian. Retrieved 28 October 2023.
  18. ↑ "About the Artists". Thin Black Line(s), Tate Britain, 2012. Archived from the original on 21 July 2015. Retrieved 17 July 2015.
  19. ↑ "No. 63571". The London Gazette (Supplement). 1 January 2022. p. N20.
  20. 1 2 3 4 5 Chambers, Eddie (2014). Black Artists in British Art: A History from 1950 to the Present. I.B.Tauris. pp. 254–. ISBN 978-1-78076-272-2.
  21. ↑ Ratnam, Niru (2002). "Black Woman Time Now". In Donnell, Alison (ed.). Companion to Contemporary Black British Culture. Routledge. pp. 49–. ISBN 978-1-134-70025-7.
  22. ↑ "Claudette Johnson". Diaspora Artists. Retrieved 19 July 2015.
  23. ↑ "Claudette Johnson, Hollybush Gardens, London", GalleriesNow.
  24. ↑ "Claudette Johnson: Presence". The Courtauld. Retrieved 23 October 2023.

Further reading

  • Johnson, Claudette, Claudette Johnson: I Came to Dance, (Oxford, Modern Art Oxford, 2019) ISBN 9781999640422
  • Brooks, Frederica, "Ancestral Links: The Art of Claudette Johnson" in Sulter, Maud (ed.), Passion: Discourses on Blackwomen's Creativity (Urban Fox Press, 1990), ISBN 1872124313
  • Himid, Lubaina (ed.), Claudette Johnson: Pushing Back the Boundaries (Rochdale Art Galleries, Rochdale, 1990)
  • Johnson, Claudette, "Issues Surrounding the Representation of the Naked Body of a Woman". FAN: Feminist Arts News 3 (1-10): 12–14.
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