Committed To Memory: Two Guyanese Artists Featured in Extensive Art Historical Text

Dr. Cheryl Finley’s Investigation into “The Art of the Slave Ship Icon”

Patrick Bova
Oct 3, 2018 · 2 min read
Roshini Kempadoo, “ECU: European Currency Unfolds 03 (Italian Lira)” 1992, digital print.

In an extensive new historical and theoretical survey Committed to Memory: The Art of the Slave Ship Icon, art historian Dr. Cheryl Finley “traces how the slave ship icon became a powerful tool in the hands of British and American abolitionists, and how its radical potential was rediscovered in the twentieth century by black artists, activists, writers, filmmakers, and curators…She demonstrates how the icon was transformed into poetry, literature, visual art, sculpture, performance, and film — and became a medium through which diasporic Africans have reasserted their common identity and memorialized their ancestors.”

Finley discusses the work of two Guyanese diasporic artists, Roshini Kempadoo and Ingrid Pollard, women whose multimedia practices came to fruition in the 80s and 90s—a generation that thought critically about migration, colonialism, and memory.

Image courtesy of Princeton University Press.

Committed to Memory can be purchased via Princeton University Press or on Amazon.

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