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IIIF Actions
Hew Locke, born 1959
Published by Brodsky Center for Innovative Editions, Rutgers University, New Jersey
The Prize
Part Of:

Collective Title: Rivington Place Portfolio

Materials & Techniques:
Digital inkjet prints with silkscreen, collaged into a 3D structure, with plastic beads and flowers on moderately thick, smooth, white wove paper, mounted on white board
Overall: 30 x 20 x 5 inches (76.2 x 50.8 x 12.7 cm)

Inscribed in pen and black ink, lower right: "18/50 | Hew Locke 07"

Signed and dated in pen and black ink, lower right: "Hew Locke 07"

Credit Line:
Yale Center for British Art, Friends of British Art Fund
Copyright Status:
© The Artist
Accession Number:
Prints and Drawings
Accessible by appointment in the Study Room [Request]
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IIIF Manifest:

This portfolio was published in 2007 to support the foundation of Rivington Place, a public gallery and community space in Shoreditch, London. Rivington Place describes itself as the UK’s "first permanent public space dedicated to diversity in the visual arts" and is housed in an award-winning building designed by David Adjaye, a British architect of Ghanaian descent. As well as hosting regular exhibitions, film screenings, talks, and performances, it is the home of the Association of Black Photographers (Autograph ABP), the International Institute of Visual Arts (Iniva), and the Stuart Hall Library. The artists selected to contribute to the portfolio were chosen for their international reputations and commitment to creating work dealing explicitly with contemporary cultural issues.

Gallery label for installation of YCBA collection, 2016

Hew Locke is a British artist who spent his teenage years in Guyana (the home of his father, the sculptor Donald Locke) before returning to live in Brixton, London. Locke works primarily as a sculptor and collagist, often using cheap materials such as cardboard and plastic beads, and objects he collects on the street. His recent work has shown a particular interest in the language of power, globalization, and postcolonial identity. The Prize—a collage assembled from screenprinted images of found objects, onto which actual objects have been attached—tests the limits of printmaking, while engaging with the culture of trophy-making. Locke’s trophy is an overblown parody; a chaotic, troubling, and tasteless jumble of objects that are much less expensive than they look. The flowers are plastic and the gold is paper, suggesting that this is, in the end, something of a hollow prize.

Gallery label for installation of YCBA collection, 2016 Glenn Ligon is a New York-born artist who works in a variety of media, including paintings, films, and installation. His work constitutes a sustained and profound investigation of race, identity, gender, and sexuality. He regularly references African American writers such as James Baldwin, Ralph Ellison, and Gwendolyn Brooks. In 1996, Ligon began an extensive series of works entitled Stranger in response to Baldwin’s essay "Stranger in the Village" (1953), which describes his experience of living in a remote Swiss village whose inhabitants had never before seen a black man, and his resulting sense of alienation. The text in this print derives from a 1987 conservation analysis of the seventeenth-century Dutch artist Samuel van Hoogstraten’s Peepshow, owned by the National Gallery in London. But, the accompanying image is a cross-section of a paint sample from another source. This text recalls a passage in Ellison’s novel Invisible Man (1951) in which the protagonist (who is black) reminisces about working in a paint factory where only he knew the secret of mixing the perfect white paint by adding a secret quantity of black.

Gallery label for installation of YCBA collection, 2016

Born in Edinburgh in 1959, Hew Locke spent his late childhood and adolescence in the former British colony of Guyana, and trained as a printmaker and sculptor in London, where he now lives. Locke's work centers on the ways that culture and history are used as global commodities in post-colonial societies, and his elaborate and decorative cardboard constructions investigate the role played by international trade, packaging, and commodification in everyday lives. Locke's ongoing House of Windsor series of portraits of members of the British royal family, to which this print is related, reflects the artist's ambivalence about the legacies of empire.

Gallery label for Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale Center for British Art, 2007-09-27 - 2007-12-30)

Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale Center for British Art, 2007-09-27 - 2007-12-30) [YCBA Objects in the Exhibition] [Exhibition Description]

Timothy J. Barringer, Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds, Yale Center for British Art, New Haven, 2007, p. 184, fig. 11.5, N8243 S576 B37 2007 OVERSIZE (YCBA) [YCBA]

Martina Droth, Britain in the world: Highlights from the Yale Center for British Art in honor of Amy Meyers, Yale University Press, New Haven, London, p. 167, N6761 .Y33 2019 (LC) (YCBA) [YCBA]

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