Edward Lucie-Smith, Race, Sex, and Gender in Contemporary Art, Art Books International, London, 1994
From the flyleaf of the book:
“RACE, SEX AND GENDER IN CONTEMPORARY ART examines these controversial topics and the challenges they set for the artists of today. Their complex relationships with one another are revealed, as well as their role in the contemporary art world. After decades of interest in artistic form, content is again taking a leading part: issues such as racial identity, sexual orientation and feminism are providing a framework for passionately held beliefs about the role of art in society. "Minority" art, once by definition marginal, has moved into a central position, aided by the increasing alliance between the museums - symbols of "official" culture - and the avant garde. Is it true, as some have claimed, that traditional, supposedly objective, aesthetic judgements are in fact hierarchical, oppressive and unsuited to today's conditions? Do we need entirely new criteria by which to judge contemporary work?
Edward Lucie-Smith offers a timely, thought-provoking view of a new and unprecedented situation, analysing work by artists as diverse as Jean-Michel Basquiat, Ibrahim El-Salahi, Della Grace, David Hockney, Jeff Koons, Ana Mendiata, John Muafangejo, Martin Puryear, Chéri Samba, Cindy Sherman and Nancy Spero. Statements from the artists, from theoreticians and critics cast light on many of the issues raised by the emergence of "minority" culture. Inherent contradictions are revealed, yet the author also highlights the creative vitality and the ethical and social commitment which distinguish much of today's interesting art.”
Chapter Six, Racially Based Art in Britain, includes two reproductions of work by Eddie Chambers, How Much Longer… 1983, mixed media, 4’ x 8’/1.2 x 2.4m, Collection of Sheffield City Museums and Art Galleries, and Untitled (on Marcus Garvey), mixed media, 5’ x 4’/1.5 x 1.2m, Collection of the Artist. The reproductions appear alongside text on Eddie Chambers, including “A new generation of Afro-Caribbean artists, born in Britain, is producing a very different sort of work – cruder, more violent, openly militant. Two of the best-known protagonists are Eddie Chambers… and Keith Piper… who are also close associates. They first met when attending Lanchester Polytechnic, and throughout their careers they have been energetic organizers, devoting considerable time and energy to promoting radical black art in addition to being practicing artists.
Chambers has often been preoccupied with black history.” See pages 88-90.