Senga Nengudi Gallery Discussion
- Henry Moore Institute
- Wednesday, 6 February 2019
- 6 - 7:30pm in the Institute's galleries
Join us in the galleries for a discussion of our major exhibition, Senga Nengudi. With the exhibition’s curator, Laurence Sillars (Henry Moore Institute), Adelaide Bannerman (Artist and Curator) and Veronica Ryan (Artist).
Born in Chicago in 1943, Nengudi has been a trailblazer in sculpture for fifty years. A vital figure in the African American avant-garde scenes of Los Angeles and New York in the 1960s and 1970s, her work is characterised by a persistently radical experimentation with material and form.
Adelaide Bannerman is a freelance project manager and curator based in London. Since 1998, Bannerman has worked for UK arts institutions that have included Autograph ABP, Iniva (Institute of International Visual Arts), African and Asian Visual Artists Archive (AAVAA), and Tate. She currently works for International Curators Forum and in partnership is developing an international residency programm. She is currently a trustee of Idle Women (an organisation that initiates and creates contemporary art with women) and Beaconsfield Gallery Vauxhall (an artist-run laboratory and presentation space for contemporary art). Bannerman is interested in exploring, noting and co-opting movement and improvisatory methods as part of her curatorial practice.
Veronica Ryan is a British artist who currently splits her time between New York and the UK. Born in 1956 in Montserrat, West Indies, she emigrated to England when she was two years old. She studied at Bath Academy of Art, the Slade School of Art and the School for Oriental and African Studies. With Spike Island, Bristol, she is the recipient of the annual Freelands Award 2018. Ryan’s forthcoming major solo exhibition at Spike Island will take place in autumn 2020. This follows solo exhibitions at The Art House, Wakefield, 2017; The Mattress Factory, Pittsburgh, 2012; Salena Gallery, Brooklyn, NY, 2003; Camden Arts Centre, London, 1994; The Wood Street Gallery, Pittsburgh, 1993; Kettle’s Yard, Cambridge, 1988; and Arnolfini, Bristol in 1987.
This event is free of charge and open to all, but booking is advised. For more information please contact Kirstie Gregory, our Research Coordinator.
Henry Moore Institute
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