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Great website for ideas on artists to focus on and short video clips to use with classes focussed on topical themes. Good to use in KWL sessions.

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Great website for ideas on artists to focus on and short video clips to use with classes focussed on topical themes. Good to use in KWL sessions.

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Art Against Racism is a non-profit that combines the power of art with civic action to build community, elevate artists and fight racism.

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Interesting art links and fascinating story behind this extraordinary woman! Perfect for later in first level/second level.

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Excellent book for gender equality discussion…

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Excellent book for gender equality discussion…

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I adore this book and have had a lovely, child-friend gender-based equalities discussions with both my P1 classes off the back of this. It’s lovely to see how open children are at that age and see the world (usually!) in an unbiased way, as it should be!

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Gorgeous book for early years explaining why Muslims wear a hijab and also links nicely to first day at school. Perfect for the start of term in P1 or 2!

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Black, gay, British director and artist. He made an experimental documentary called looking for Langston which used the poetry of a well known Harlem poet from the 30s to discuss his experiences of being black and gay in 1980s britain

https://en.m.wikipedia.org/wiki/Isaac_Julien

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Sir Isaac Julien CBE RA (born 21 February 1960[1]) is a British installation artist, filmmaker,[2] and Distinguished Professor of the Arts at the University of California, Santa Cruz.[3]

Julien was born in the East End of London, one of the five children of his parents, who had migrated to Britain from St Lucia.[1] He graduated in 1985 from Saint Martin's School of Art, where he studied painting and fine art film. He co-founded Sankofa Film and Video Collective in 1983,[1] and was a founding member of Normal Films in 1991.[4]

In 1980, Julien organized the Sankofa Film and Video Collective[5] with, among others, Martina Attille, Maureen Blackwood, Nadine Marsh-Edwards, and which was "dedicated to developing an independent black film culture in the areas of production, exhibition and audience". He received a BA in fine-art film from Central Saint Martins School of Art, London (1984),[4] where he worked alongside artists including Sandra Lahire, Malcolm Le Grice, Lis Rhodes, Vera Neubauer, Adam Finch, and Tina Keane, and completed his postdoctoral studies at Les entrepreneurs de l'audiovisuel européen, Brussels (1989).[6]

What Freedom is to me Julien achieved prominence in the film world with his 1989 drama-documentary Looking for Langston, gaining a cult following with this poetic exploration of Langston Hughes and the Harlem Renaissance. His following grew when his film Young Soul Rebels won the Semaine de la Critique prize for best film at the Cannes Film Festival in 1991.[7]

One of the objectives of Julien's work is to break down the barriers that exist between different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting these to construct a powerfully visual narrative. Thematically, much of his work directly relates to experiences of black and gay identity (he is himself gay),[2] including issues of class, sexuality, and artistic and cultural history.[8][9]

Julien is a documentary filmmaker - his work in this genre includes BaadAsssss Cinema, a film on the history and influence of blaxploitation cinema.[10]

In 2023, the Tate Gallery inn London held a major retrospective of his work What Freedom is to me.[9][11][12]

Collaborations Edit

Julien cites cultural theorist and sociologist Stuart Hall as an important influence on his filmmaking. Hall narrates a portion of Looking for Langston. Julien involves Hall in his work once more in the 1996 film Frantz Fanon: Black Skin, White Mask,[13] which tells the story of Frantz Fanon, the theorist and psychiatrist from Martinique.[14] As a member of the Sankofa Film and Video Collective, Julien made The Passion of Remembrance (1986), "which attempts to deal with the difficulties of constructing a documentary history of black political experience by foregrounding questions of chauvinism and homophobia."[15]

In 2019, Julien was a member of the jury that selected Arthur Jafa as winner of the Prince Pierre Foundation's International Contemporary Art Prize.[16][17]

Julien was nominated for the Turner Prize in 2001, and in 2003 he won the Grand Jury Prize at the Kunstfilm Biennale in Cologne for his single-screen version of Baltimore.

Julien was appointed Commander of the Order of the British Empire (CBE) in the 2017 Birthday Honours for services to the arts[18] and was knighted in the 2022 Birthday Honours for services to diversity and inclusion in art.[19] He was elected a Royal Academician in 2017.[20]

Julien currently divides his time between living and working in London, England, and Santa Cruz, California. He works with his partner Mark Nash.

Julien was a visiting lecturer at Harvard University's Departments of Afro-American and Visual Environmental Studies, and was a visiting seminar leader in the MFA Art Practice programme at the School of Visual Arts, and a visiting professor at the Whitney Independent Study Program in New York City. He was also a research fellow at Goldsmiths College, University of London, and in September 2009 he became a professor at the Karlsruhe University of Arts and Design.[21]

In 2018, Julien joined UC Santa Cruz, where he is the distinguished professor of the arts.[22]

Julien is a patron of the Live Art Development Agency.[23]

Installation pieces Edit

Vagabondia (2000)

Paradise Omeros (2002)

Baltimore (2003)

Lost Boundaries (2003)

Radioactive (2004)

True North (2004)

Fantôme Afrique (2005)

Fantôme Créole (2005)

WESTERN UNION: Small Boats (2007)

Dungeness (2008)* Te Tonga Tuturu/True South (Apparatus) (2009)

TEN THOUSAND WAVES (2010)

PLAYTIME (2013)

A Marvellous Entanglement (2019)

Filmography Edit

Who Killed Colin Roach? (1983)

Territories (1984)

The Passion of Remembrance (1986)

This is Not an AIDS Advertisement (1987)

Looking for Langston (1989)

Young Soul Rebels (1991)

Black and White in Colour (1992)

The Attendant (1992)

Darker Side of Black (1993)

The Question of Equality (senior producer) (1994)

Frantz Fanon: Black Skin, White Mask (1996)

Three (1999)

The Long Road to Mazatlan (1999)

Paradise Omeros (2002)

BaadAsssss Cinema (2002)

Baltimore (2003)

Derek (2008)

Ten Thousand Waves (2010)

Kapital (2013)

Playtime (2014)

Stones Against Diamonds (2015)

Lessons of the hour (2019)

1. ^ Annette Kuhn, "Julien, Isaac (1960-)", BFI Screen Online.

2. ^

3. ^

4. ^ Dunks, Glenn (17 February 2018). "Isaac Julien: 'It's another watershed moment for history of queer rights'". The Guardian. ISSN 0261-3077.

5. ^

6. ^

7. ^ Weston, K. (January 2018). "Frantz Fanon: Black Skin White Mask". Sight & Sound. 28 (1): 100-103 - via International Bibliography of Theatre & Dance.

8. ^ Julien, Isaac (June 2015). "Muse: Stuart Hall". Art in America (June/July Issue): 48-49. Archived from the original on 3 June 2015.

9. ^ Shail, Robert. (2007). British film directors : a critical guide. Edinburgh: Edinburgh University Press. ISBN 9780748629688. OCLC 430823389.

10. Annie Armstrong (17 April 2019), ^ Here's the Shortlist for the $85,000 Prix International d'Art Contemporain ARTnews.

11. ^ Arthur Jafa Wins $83,000 International Prize for Contemporary Art Artforum, 16 October 2019.

12. ^ "No. 61962". The London Gazette (Supplement). 17 June 2017. p. B9.

13. ^ "No. 63714". The London Gazette (Supplement). 1 June 2022. p. B2.

14. ^ "Isaac Julien - Artist". London: Royal Academy of Arts.

15. ^ "Live Art Development Agency". Archived from the original on 3 October 2011.

16. ^ Sinanovic, Jasmina (24 September 2013). "Isaac Julien to Deliver the 2004 Kessler Lecture, December 10 - CLAGS: Center for LGBTQ Studies".

Also published in: The Other Cinema, The Cinema of the Other, UNOPress, Napoli.

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Sir Isaac Julien CBE RA (born 21 February 1960[1] ) is a British installation artist, filmmaker,[2] and Distinguished Professor of the Arts at the University of California, Santa Cruz.[3] Julien was born in the East End of London, one of the five children of his parents, who had migrated to Britain from St Lucia.[1] He graduated in 1985 from Saint Martin's School of Art, where he studied painting and fine art film.

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A black and gay writer, he wrote about being black and gay in 1940s-60s America. Wrote a book Notes of a Native Son during civil rights movement

https://en.m.wikipedia.org/wiki/James_Baldwin

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James Arthur Baldwin (August 2, 1924 – December 1, 1987) was an American writer. He garnered acclaim for his work across several forms, including essays, novels, plays, and poems. His first novel, Go Tell It on the Mountain, was published in 1953; decades later, Time magazine included the novel on i…

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Great book looking at gender stereotypes and the front covers to encourage different people to read. Several front covers published, ones with dresses and others with football pitches. Great for discussion.

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Introduction and Recent Lessons

About

This section offers Teachers, Parents, Students, and Keith Haring fans alike, resources for enriching, explorative lessons for all ages and fields of study. We have gathered our lessons from education departments at Museums that have hosted Keith Haring exhibitions or have received funding from us for special projects, from some of our staff members and close affiliates of the Keith Haring Foundation, and finally, from visitors just like you, submitting their projects to us (see our link on the right to submit a project). We know how much kids love Keith Haring's work for his bold, vibrant images expressing hope and exploring identity, and have created this section in an effort to spread knowledge and appreciation for the messages he shared during his lifetime. We hope that you will find this resource to be inspiring and educational.

Easy Guide for Research

You may search by "Curriculum" (school subjects), "Subject" (art genres), "Age/Grade", "Materials", "Title", "Contributors", or "Locations" in the toolbar above, or by using the "Search" option to the right. With each search, a brief description will be provided as a result of your look-up. By clicking on the specific Title of the lesson you would like to see, the full version will come up. Use the "Back" and "Forward" options on your browser toolbar at the top to navigate back to your look-up page after reviewing a lesson.

Although we have provided age and grade recommendations for each of our lessons, please use your own discretion as to what seems age-appropriate for your specific audience.

If you are a visitor who has submitted a lesson and would like to see it on-line, choosing "Contributors will bring up your name easily in the list.

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Introduction and Recent Lessons This section offers Teachers, Parents, Students, and Keith Haring fans alike, resources for enriching, explorative lessons for all ages and fields of study.

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A Victorian Mental Asylum | Science Museum

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What was life really like in Victorian mental asylums? The story of Hanwell Mental Asylum reveals that they were kinder places than we might think.

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Trial of Oscar Wilde (Victorians LGBTQ+)

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Trial of Oscar Wilde (Victorians LGBTQ+)

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Described at the time in the pages of the Western Mail as ' one of the most sensational events in the criminal annals of England,' the arrest and prosecution of Oscar Wilde on charges of 'gross indecency' is a tragic chapter in LGBTQ history, and represents the wider persecution faced by the LGBTQ community at the time, as well as throughout the ensuing decades.
Oscar Wilde | Illustrated London News Register now and explore The Archive | 27 February 1892
In this special blog, we will explore how newspapers at the time reported on the arrest of Oscar Wilde, his trial and eventual imprisonment.

The Libel Case - Wilde versus Queensberry

On 18 February 1895, Oscar Wilde received a note at his club, the Albermarle, from the Marquess of Queensberry. The Marquess of Queensberry was the father of Wilde's lover, Lord Alfred Douglas, an outspoken Scottish nobleman with a passion for boxing. The note read: 'For Oscar Wilde, posing as a sodomite.'

Tip: Newspapers at the time would censor particular words deemed unsavoury, so you will find redacted renderings of the Marquess of Queensberry's note in our Archive.

The Marquess of Queensberry in the dock | Western Mail | 6 April 1895
Now, Wilde could have let this slur remain unanswered, but against the advice of his friends, he decided to sue Queensberry for slander, and criminal charges were brought against the Scottish peer. The case went to court, Queensberry freely admitted the slander, whilst his lawyers brought in evidence of Wilde's homosexual activity.

We move now to 6 April 1895, when the Western Mail reported on the outcome of the libel trial. The tone of the newspaper is evidently mocking, as the article records how 'the Marquess of Queesnberry is placed in the dock on the charge of uttering an odious slander besmudging the dainty fame of Mr Oscar Wilde.'
Oscar Wilde in court | Western Mail | 6 April 1895
The Western Mail goes on to report that the Marquess of Queensberry had been 'absolutely unflinching through the proceedings. He admitted the libel and pleaded justification.' And, in a staggering twist, the prosecution withdrew, under instructions from Oscar Wilde himself. That meant that 'legally...the libel stands as true and its publication justified.' The judge instructed the jury to find a not guilty verdict, which they promptly gave 'without leaving the box.'
It would be impossible for me to prove my case without putting Lord Alfred Douglas in the witness-box against his father. Lord Alfred Douglas was extremely anxious to go into the box, but I would not let him do so. Rather than put him in so painful a position I determined to retire from the case and to bear on my own shoulders whatever ignominy and shame might result from my prosecution.
The Leeds Mercury describes how 'The verdict was received with applause...and becoming known in the streets, there was a demonstration of approval on the part of a large crowd.' Queensberry himself received 'the congratulations of his friends' at the court, and further applause.

But what had driven Wilde to withdraw from prosecuting Queensberry, in what was basically an admission of his sexuality, forbidden at that time under British law? The Western Mail professes to have an answer, publishing a letter reputedly sent by the writer to the London Evening News:

Wilde's words - considering the 'ignominy and shame' he might face in dropping the charges - would soon come back to haunt him, as the case took on a shocking turn.

Rumours of the Most Remarkable Character
All the railway stations from which trains were to leave last night in connection with steamers for foreign ports were being watched by detectives, and Wilde's description was sent by telegraph to the chiefs of police in British ports, with urgent requests that he might be arrested at sight.
Soon after the end of the libel trial, the Western Mail records how 'for some hours London and the whole country was thrown into a turmoil by rumours of the most the most remarkable character.' For it soon became known that the Public Prosecutor had issued a warrant for Wilde's arrest.
Illustrated Police News | 20 April 1895
The whole country, it seems, was put on the alert, the Leeds Mercury containing the following report:
Lord Alfred Douglas and Miss Scott-Snell attend a dinner at the Randolph some 37 years after the Oscar Wilde trial | The Tatler | 2 November 1932
Meanwhile the Marquess of Queesnberry did not mince his words, sending this message to Wilde: 'If the country allows you to leave all the better for the country, but if you take my son with you I will follow you wherever you go, and shoot you.'

But contrary to the rumours, Wilde had not fled, nor even attempted to do so. He was arrested 'shortly after seven o'clock,' according to the Leeds Mercury, at the Cadogan Hotel, Sloane Street. The Western Mail describes how Wilde was 'somewhat surprised' when the warrant was read to him, charged with 'committing acts of gross indecency with certain male persons.'
After a few minutes' delay it was intended that the case would be taken in the Extradition Court upstairs. Thereupon there was wild rush for this part of the building on the part of the public, who had by this time got within the gates. The small court was thronged to its fullest capacity by an assemblage of well-dressed men. Only one woman was present, and, seated immediately behind the dock, was the object of a great deal of attention.
He was taken to Bow Street, where Lord Alfred Douglas visited 'to inquire as to the possibility of the accused being bailed out.' Bail for Wilde was not possible, and Douglas 'appeared much distressed.'
Illustrated Police News | 20 April 1895 Arriving there about 10 o'clock they proceeded to the second or third floor and went to a sitting-room. No one was there but witness, and Wilde ordered whisky and soda, and two were brought. After the waiter had gone Wilde said, 'Come into my bedroom.' There was a door leading into a bedroom. They both went into the bedroom where acts of indecency took place.
Odious Charges
I have undertaken this responsibility on public grounds. I felt that the public mind had been prejudiced before the case begun, and I was anxious to give Mr Wilde any help I could to enable him to stand his trial in good health and spirits.
On 13 April 1895, the Cardiff Times reported that 'The Apostle of Culture,' namely Oscar Wilde, was facing 'odious charges.' The hearing, to be held at Bow Street, caused something of a pandemonium, due to notoriety of both the alleged crime and its famous perpetrator. The Cardiff Times describes how:
'Oscar Wilde Secretly Released from Prison at Night Time' | Illustrated London News | 29 May 1897
A key thread to the prosecution's case was Alfred Taylor, who, according to the Cardiff Times 'was a man most closely connected with the prisoner Wilde...and that he was engaged in acting for Wilde in procuring those with whom he should afterwards commit acts of gross indecency.'

One of the key prosecution witnesses brought to the stand was Charles Parker, who was one of the young men Taylor had introduced to Wilde. Parker testified that upon meeting Wilde, Wilde had declared that he was 'the boy for me,' and the two went to the Savoy Hotel.

Despite this evidence from the prosecution, the jury were unable to reach a verdict and Wilde was bailed, under surety from one Reverend Stewart Headlam. The East & South Devon Advertiser carries a statement from Headlam, who describes why he had decided to stand as surety for Wilde:
Addressing the prisoners, His Lordship said the case was both the most painful and the worst of its kind which had ever come before him, and he had not a shadow of a doubt that the verdict the jury had arrived at was a right one. It would be of no use for him to address them upon the wickedness of their behaviour, because people who could commit the offences which had been brought home to them must be dead to any sense of shame, and one could not hope to make any impression upon them. They had been convicted of the most hideous crimes, and he should not be doing his duty unless he passed upon them the severest sentence which the law permitted, which was one of two years' hard labour. That was the sentence he passed upon each, and he felt that it was totally inadequate.
The East & South Devon Advertiser describes Wilde's release, and how he was 'dressed, as usual, with scrupulous care.' Dressed in a dark frock-coat and a silk hat, he 'walked, erect and self-possessed, with all the old air of being superior to, and untouched by, circumstances.'

But this attitude was not something even Wilde could maintain. By the ending of his second trial, he was appearing 'ill and anxious,' according to the Boston Guardian.

Placed before the jury where letters between Wilde and Douglas, which referred to 'rose leaf lips and the madness of kissing.' The defence tried to position this a 'prose poem which [the jury] could not appreciate,' something the prosecution rigorously contested. After 'rather more than two hours' the jury returned with their verdict - 'guilty upon each of the eight counts of the indictment.'
Edinburgh Evening News | 14 November 1895
The judge's summing up was a brutal one, as according to the Boston Guardian he wished to impose a harsher punishment upon Wilde and Taylor:
Illustrated Police News | 20 April 1895
Wilde must have had some supporters left, however, as the judge's verdict was met with 'hisses' in the gallery. But that could not stop his sentence being served, and he was taken initially to Pentonville Prison, thence to Wandsworth, and finally to Reading Gaol.

Oscar Wilde As He Is Today

Imprisonment was not the final trial faced by Oscar Wilde, throughout which he suffered from ill health. In November 1895 he was back in court, this time the London Bankruptcy Court. His liabilities were estimated at £3,591 9s 6d, with no 'available assets,' according to the Westminster Gazette.

Meanwhile, the Edinburgh Evening News published a pitiful sketch, which had been published in the London Star newpspaer. 'Pale and haggard,' Wilde looked a 'mere shadow of his former self,' and worse, like 'an invalid who has just left a sick bed.'

And more suffering was in store for Wilde. Although he was released just over two years later, on 19 May 1897, his health was fatally weakened and he died, in exile, in Paris three years later.

The tragedy of the Wilde case perhaps lies in how it was avoidable - Wilde did not, ultimately, have to take Queensberry to court, and once he did, his lifestyle and his sexuality where put under the microscope of public opinion, ridiculed and discussed in the pages of contemporary newspapers, as can be found on our Archive. Once he stepped into the court, Wilde had no chance. He was different, an outsider, the 'Apostle of Aestheticism' which conservative Victorian morality had, for some time, no doubt wanted to put behind bars.

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The 'Sensational' Trial of Oscar Wilde - Reports of Ignominy, Shame and Tragedy

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Described at the time in the pages of the Western Mail as ' one of the most sensational events in the criminal annals of England,' the arrest and prosecution of Oscar Wilde on charges of 'gross indecency' is a tragic chapter in LGBTQ history, and represents the wider persecution faced by the LGBTQ community at the time, as well as throughout the ensuing decades.

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real modern "people" sculptures

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British artist Thomas J Price studied at the Royal College of Art. Known for his stop-motion animations and bronze sculptures of contemporary male figures and heads. Represented by Hales Gallery, exhibitions include Yorkshire Sculpture Park, Beck's beer and has appeared on the BBC.

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Christopher Ofili, (born 10 October 1968) is a British Turner Prize-winning painter who is best known for his paintings incorporating elephant dung. He was one of the Young British Artists. Since 2005, Ofili has been living and working in Trinidad and Tobago, where he currently resides in Port of Spain. He also lives and works in London and Brooklyn.

Ofili has utilized resin, beads, oil paint, glitter, lumps of elephant dung, cut-outs from porn magazines as painting elements. His work has been classified as "punk art."

Ofili was born in Manchester to May and Michael Ofili. When he was eleven, his father left the family and moved back to Nigeria. Ofili was for some years educated at St. Pius X High School for Boys, and then at Xaverian College in Victoria Park, Manchester. Ofili completed a foundation course in art at Tameside College in Ashton-under-Lyne in Greater Manchester and then studied in London, at the Chelsea School of Art from 1988 to 1991 and at the Royal College of Art from 1991 to 1993. In the autumn of 1992, he got a one-year exchange scholarship to Universität der Künste Berlin.

Ofili visited Trinidad for the first time in 2000, when he was invited by an international art trust to attend a painting workshop in Port of Spain. He permanently moved to Trinidad in 2005. In 2002, he married Roba El-Essawy, former singer with trip-hop band Attica Blues. They divorced in 2019. He maintains a studio in Port of Spain, Trinidad.

Ofili's early work was heavily influenced by Jean-Michel Basquiat, Georg Baselitz, Philip Guston, and George Condo. Peter Doig was doing graduate work at the Chelsea College of Arts when Ofili was an undergraduate, and they soon became friends. In 2014, art critic Roberta Smith held that Ofili has much in common with painters like Mickalene Thomas, Kerry James Marshall, Robert Colescott and Ellen Gallagher, and with more distant precedents such as Bob Thompson, Beauford Delaney and William H. Johnson.

Ofili was established through exhibitions by Charles Saatchi at his gallery in north London and the travelling exhibition (1997), becoming recognised as one of the few British artists of African / Caribbean descent to break through as a member of the Young British Artists group. Ofili has also had numerous solo shows since the early 1990s, including at the Serpentine Gallery. In 1998, Ofili won the Turner Prize, and in 2003 he was selected to represent Britain at the Venice Biennale of that year, where his work for the British Pavilion was done in collaboration with the architect David Adjaye.

In 1992 he won a scholarship that allowed him to travel to Zimbabwe. Ofili studied cave paintings there, which had some effect on his style.

Between 1995 and 2005, Ofili focused on a series of watercolors, each about 9½ by 6½ inches and produced in a single sitting. They predominantly feature heads of men and women, as well as some studies of flowers and birds. Ofili's paintings also make reference to blaxploitation films and gangsta rap, seeking to question racial and sexual stereotypes in a humorous way. In a series of faces that Ofili called Harems, each arrangement consists of one man with as many as four women on each side of him.

Ofili's work is often built up in layers of paint, resin, glitter, dung (mainly elephant) and other materials to create a collage. Though Ofili's detractors often state that he "splatters" elephant dung on his pictures, this is inaccurate: he sometimes applies it directly to the canvas in the form of dried spherical lumps, and sometimes, in the same form, uses it as varnished foot-like supports on which the paintings stand.

Ofili has been founder and prime mover behind the short-lived Freeness Project. This project involved the coming together of artists, producers and musicians of minority ethnic groups (Asian and African) in an attempt to expose the music that may be unheard in other spaces. Freeness allowed the creativity of unsigned contemporary British ethnic minority artists to be heard. The result of months of tours to 10 cities in the UK resulted in Freeness Volume 1 - a compilation of works that were shown during the tour.

After relocating to Trinidad in 2005, Ofili began a series of blue paintings inspired by the Jab Jab or "blue devils" who participate in the Trinidad and Tobago Carnival, and the Expressionist group of German and Russian artists, Der Blaue Reiter. These paintings often employed the use of a silver, acrylic background with layers of dark oil pigment on top. Later iterations of these works were shown at Ofili's solo show Chris Ofili: Day and Night at The New Museum of New York which were installed in a very dimly lit room, causing viewers to adjust their eyes to the darkness in order to see the paintings.

Ofili was appointed Commander of the Order of the British Empire (CBE) in the 2017 New Year Honours for services to art. Ofili was included in the 2019 edition of the Powerlist, ranking the 100 most influential Black Britons.

Ofili's work was featured in a museum in the 1995 exhibition Brilliant! New Art from London at the Walker Art Center. Significant solo exhibitions include the Arts Club of Chicago (2010), Kestnergesellschaft, Hanover (2006), the Studio Museum in Harlem, New York (2005), and Southampton City Art Gallery (1998). In 2010, Tate Britain presented the most extensive exhibition of his work to date. In 2014, The New Museum in New York presented the first, major solo show of Ofili's work in the U.S. titled Chris Ofili: Night and Day.

One of his paintings, The Holy Virgin Mary, a depiction of the Virgin Mary, was at issue in a lawsuit between the mayor of New York City, Rudy Giuliani, and the Brooklyn Museum of Art when it was exhibited there in 1999 as a part of the "Sensation" exhibit. The painting depicted a Black Madonna surrounded by images from blaxploitation movies and close-ups of female genitalia cut from pornographic magazines, and elephant dung. These were formed into shapes reminiscent of the cherubim and seraphim commonly depicted in images of the Immaculate Conception and the Assumption of Mary. Following the scandal surrounding this painting, Bernard Goldberg ranked Ofili No. 86 in 100 People Who Are Screwing Up America. Red Grooms showed his support of the artist by purchasing one of Ofili's paintings in 1999, even after Giuliani famously exclaimed, "There's nothing in the First Amendment that supports horrible and disgusting projects!" The painting was owned by David Walsh and was on display at the Museum of Old and New Art in Hobart, Tasmania. Steven A. Cohen then owned it for three years and donated the painting to the Museum of Modern Art.

The Upper Room and the Tate Gallery

The Upper Room is an installation of 13 paintings of rhesus macaque monkeys by Ofili in a specially designed room. It was bought by the Tate Gallery in 2005 and caused controversy as Ofili was on the board of the Tate Trustees at the time of the purchase. In 2006 the Charity Commission censured the Tate for this purchase.

His Orgena, a glittery portrait of a black woman created by the artist for his Turner Prize-winning exhibit at the Tate in 1998 was sold to an American collector for a record GBP 1.8 million, over its GBP 1 million high estimate, at Christie's London in 2010. In 2015, art collector David Walsh sold Ofili's 8-foot-tall The Holy Virgin Mary for 2.9 million pounds at Christie's.

Caroline Deeds and Kate Vogel "Artist Chris Ofili: beyond the tears", The Guardian, 3 February 2010. Tate Media film about Chris Ofili's 2010 exhibition at Tate Modern and how his move to Trinidad has freed up his work.

Chris Ofili at the Museum of Modern Art

Chris Ofili page, David Zwirner.

Victoria Miro Gallery: Chris Ofili

"Turner Prize 1998 artists: Chris Ofili", Tate.

"Chris Ofili profile", BBC, 1 December 1998

Defence of the Tate The Upper Room purchase.

Criticism of the Tate The Upper Room purchase. Stuckism.

Mark Hudson, "Chris Ofili: 'I wander deep into the forest - where it's scary'", The Telegraph, 25 January 2010.

Chris Ofili, Rizzoli International, Fall 2009. Contributors include David Adjaye, Thelma Golden, Okwui Enwezor, Peter Doig and Kara Walker.

"Shock and awe: The art of Chris Ofili"; feature by Michael Glover, and extract from "Ekow Eshun interviews Chris Ofili", edited by Helen Little in Chris Ofili (Tate Publishing, 2010), The Independent, 22 January 2010.

Chris Ofili. Edited by Massimiliano Gioni, Gary Carrion-Murayari and Margot Norton. Skira Rizzoli, 2014. ISBN 978-0-8478-4456-2

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Christopher Ofili, (born 10 October 1968) is a British Turner Prize-winning painter who is best known for his paintings incorporating elephant dung. He was one of the Young British Artists. Since 2005, Ofili has been living and working in Trinidad and Tobago, where he currently resides in Port of Spain.

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Yinka Shonibare Black British Artist (YBA Movement)

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Yinka Shonibare Black British Artist (YBA Movement)

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Yinka Shonibare CBE RA - Yinka Shonibare CBE RA

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Yinka Shonibare CBE RA's interdisciplinary practice examines race, class and cultural identity through the media of sculpture, painting, photography, film, textiles and public works.

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THE MARINE Gardens opened in Portobello in 1909 and attracted visitors from all over the country.

The Edinburgh Marine Gardens were advertised as "one of the most notable outdoor attractions" in the city when they first opened to the public on the 31st of May 1909. The plan to build the gardens followed the hugely successful Scottish National Exhibition held in Saughton Park which had attracted over 3.5 million visitors the year before. Ambitious local entrepreneurs spurred on by the 1908 exhibition's massive popularity decided that its beautiful pavilions and grand halls could be preserved and relocated to a more permanent site. The Marine Gardens were located on thirty acres of coastline immediately west of King's Road, Portobello. Admission on day one was 7d and included a return rail journey from Waverley. An astounding three quarters of a million visitors flocked to the Gardens in the first year.

The Empress Ballroom, the largest of its kind in the city at the time, was the main building of the complex. It was joined by an auditorium which played host to daily all-star variety acts. Scotland's biggest roller-skating rink was another key feature and was hugely successful. The rest of the park boasted a broad mix of attractions including Bostock's Circus and Zoo, The Marine Cinema and Theatre, a scenic railway, ornamental gardens with a Hampton Court-inspired maze, a sports stadium and various other amusements.

One of the more peculiar attractions was the Somali village inhabited by seventy natives shipped over from Africa. The Somali natives lived in a small compound of mud huts and were paid to perform mock fights with spears accompanied with "uncouth cries and the beating of tom-toms". Their purpose was simply to provide exotic entertainment to the park's visitors. Although it is incredibly hard to imagine today, such human-zoos were all the rage across Europe during the Victorian and Edwardian eras.

During the First World War, the park was closed and a great number of its buildings demolished as it was converted for use by the military as a temporary barracks. The Marine Gardens eventually reopened but many of its attractions were gone for good. Along with the ever popular ballroom, the sports stadium had been retained and was briefly used by Leith Athletic as their home ground. A bumper crowd in excess of 20,000 would witness Leith Athletic lose 3-0 to a Jimmy McGrory-inspired Celtic at Marine Gardens in 1931. Speedway motor-cycle racing also attracted large audiences with an impressive 34,000 in attendance at a World Championship match in the late 1930s.

Following the arrival of the Second World War, the area around Seafield Road was utilised once again by the military. The old ballroom, amusement park and sports stadium were removed and the Marine Gardens as an entertainment complex was lost forever.

In 1962 Edinburgh Corporation Transport opened the Marine Garage bus depot on the site which exists to this day. All remaining buildings were demolished in 1966 and there is now no evidence left of the once immensely popular Edinburgh Marine Gardens.

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When Portobello had a human zoo as an attraction

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THE MARINE Gardens opened in Portobello in 1909 and attracted visitors from all over the country. The Edinburgh Marine Gardens were advertised as "one of the most notable outdoor attractions" in the city when they first opened to the public on the 31st of May 1909.