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Thank you so much for the invitation and thank you to everyone who's been involved in this one conference.

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I'm really enjoying it. I'm sure everyone is. It's been it's been really fabulous so far.

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And hello to everyone who is online. And it's also such a pleasure to be part of this panel.

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Joe Spence. And what salzhauer from different generations yet they're both multitask as an activist working class women

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who became compelling photographers and both of whom were artists who interrogated time and time again.

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The artist self-portrait. Sure. So if you're not familiar with the work of Mosul Ultimate, this is a self portrait of hunched onscreen 2001 2002.

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It's large format. Polaroid just born in 1960 to keep the age of 47 in 2008.

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She's an artist and writer girl, Scottish and Ghanaian heritage,

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and she lived and worked in the UK but travelled extensively and networked internationally throughout her life.

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So I'm going to try and share with you here something of Seltzer's engagement with photographic practise,

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especially the photographic practise of women of colour.

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Between nineteen eighty five, when I think she organised her first photography show at an arts and community venue in central London in 1995,

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when she curated a major international photography exhibition, the Glasgow Street Naville Gallery.

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Now Cuscus Street level photo works. I'm focussing more on her writing on what I call her discursive, curating curatorial concepts,

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the photographers that she worked with, who she curated time and time again.

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And I'm looking also to work with in photography and with photography in those terms.

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And I'll touch a little bit on her practise as a photographer. So that's what I'm hoping to do today.

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So it's 30 years this year since her lump of passion discourses on Black Women's Creativity was published in 1990.

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And I'm taking fashion as a kind of pivot point across her critical decade between the

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artistic activism called Blackhearts movement of the 1980s and what would southward,

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optimistically call the more radical 90s. My subtitle comes from the preface to Passion, in which she explains,

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discourse is a primary tool against the weapon used to marginalise and ride out its contribution.

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She who writes her story rewrites history. There's much more that can be said about what follows.

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And that's the case across all the studies of her work. So much more research that needs to be done.

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So much more analysis and much more thinking. I'm indebted in my thinking to churn on another career.

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Catherine Grant the request and You Need Passion is the first book to document and showcase

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a wide range of artistic work and creative practise of contemporary women of colour.

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That's more, Insulter wrote. Passion included stunning new essays on what she called The Politics of Creativity and representation included poems,

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features on performance music, hair braiding and gardening. Long statements by artists, rightists and performance.

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A section of portfolio portfolios of artists, including photographer Parachini Kemper,

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do also showed that this was various other artists that she would go into work with a lot.

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Had been working with and documentation on exhibitions, catalogues and reviews.

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And it covered a huge range of creativity from childbirth or hair braiding to final music performance and writing while images Cerrado question.

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Central to the book is a obviously wonderful series of 24 photographs by Ingrid Pollard, contributors were photographed.

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We are Syal, Sadeq Marsing Berman, Nina Edge sisters and some theatre like women.

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Scenes of Notting Hill Carnival. Scenes of a feminist book for us.

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It's a really lovely portfolio of sea, beautiful photographs, very, very distinctive photographs.

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I mean, I think you can see very careful attention to lighting composition,

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catching women at a moment of creative energy use of those very special photographs.

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Passion and selfless activities across the 1980s were deeply embedded in the discourses and debates of the black arts movement.

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I'm sharing here a sample of archival materials included at the exhibition, the places here in 2007 assembled by the backoff sir through.

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Letters from different collections. But it just is just a sample of the intense activity that was going on.

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And I want to emphasise right at the outset that such as one of many women of colour who

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worked across art curating and writing in these years without secure funding or resources,

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these women produced books, brochures, leaflets, articles, interviews, posters, essays, artists, pages, magazines, exhibitions, events and catalogues.

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They founded, directed and curated an independent arts association's outreach to local communities and community venues.

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Unfortunately, assembled archives of what they did.

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Sometimes I believed that they were often stored under the bed.

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Nubeena Hamid, across this period, became one of the most significant and informed curators on contemporary art practise,

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with pioneering shows such as Thin Black Line at the RCA in 1985.

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Marlene Smith is exceptionally gifted. Our plans to this long worked as an independent curator.

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In the 1980s and early 1990s, she organised exhibitions and directed the Black Art Gallery in North London,

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discussing black women in photography in the closing decades of 20th century.

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At a token autograph last year, Joey Gregory highlighted the numerous artists that she would have included in her book.

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Had she been able to get funding racecourses support to do it.

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Sabrina Premji. She took a piece was Gloria do we sakurada you Mona had to Mumtaz currently Roshini Kempler to Jenny McKenzie,

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Ingrid Poulard, Monique, Amanda Porter, Mort Metro Tippity and Maxine Walkerville.

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We follow Wilma amongst the many working in these decades.

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And if we want to give a shout out to let us praise famous women, let's just give that shout out to these women and many more.

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Many of them are artists, writers, curators, activists, collaborating, working, networking, sharing,

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reaching out all the time that archives personal and institutional thinking of making history.

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It's visible. Extraordinary collection in Preston, for instance, provide rich evidence of what would otherwise be lost histories.

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Faced with a white establishment that continually and systematically marginalised and devalued their art,

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all these activities were as originally followed.

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Clayton identifies in her pitch Deep Onyx exhibition strategies and I quote,

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part of a strategy of self-reliance in a context where black artists were not well supported by institutions.

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Assessing black feminist writings of the 1980s,

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Joan and Amanto has analysed the extensive use of first person narratives to testify to individual political and institutional experience to connect.

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As she puts it, I quote from UNin Menta. The autobiographical, The Discursive and the historical in her mapping of a history of flat British feminism.

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She proposes what she calls textual braiding. And I think this is some relief.

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I mean, this is what's really, really important article.

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When I was thinking about how the writing was shaped, how it was written, and that her mother's attention to the first person,

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the use of ie the use of we the use of our kind of creating a community in the writing and thinking about who might be in that community,

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the use of you continually shuttling across conversations where women are talking to each other about the need for things to be done.

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That's a really, really kind of way of writing, which is very important.

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I think she's identified and I also found helpful concept of braiding in recognising

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the interweaving between the many strands of creative practise and activism,

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which were necessarily just simply for artistic survival. So whether that's hanging a picture on the wall, kind of very physical, corporeal art.

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Designing and making a brochure, writing something, making a piece of work.

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This kind of concept of braiding helps to understand, I think, this kind of interdependence of these creative strands.

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Passion. The book came out of a project called the Black Women's Creativity Project, which would sell to initiated in 1982,

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and she'd come down from London to London, from Glasgow in the late 70s to study London College of Fashion.

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She stayed in London for some years after that.

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She met with collaborated with Ingrid Poulard, writing short features published along Pull-Out Powerful Photographs.

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And from then on she wrote on photography, media, image film, as well as many other issues in magazines such as Ferid,

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feminist dance news, Djenne and photography magazines such as 10 eight.

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And we don't yet have a full bibliography. So much more to be discovered.

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And even the archives at the British Library of the Digitisation is buried yet hold all sorts of contributions to spare rib.

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I haven't got round to looking at the great Qualys buried in the corner somewhere.

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To find out what I heard yet in common with spend. She relied on the power of repetition and I think poetry too.

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Thank you very much for signalling the importance of repetition to circulate and recirculate key ideas, concepts and believe.

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Again and again, Salta argued for self representation. The urgency of documentation and analysis and understanding and shaping and creating

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a legacy for the creative practise of black women artists in the early 1980s.

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There's talk of the 1980s, let me sell to them, worked with the Women's Education and Resource Centre,

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outlining a project for the Black Women's Creativity and the magazine 10 producing

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this poster with its extraordinary listing of black women writers name after name,

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often name off to name. I'm sorry, that photograph of the best.

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The central image from the poster is from her, one of her own contemporary Agnes works a collage now in Birmingham Museum and Art Gallery,

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which takes its title from her award winning poem as a black woman.

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And Marlene Smith's rediscovered these works in there, buried in Birmingham museums.

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And we went see them for the exhibition and we just think struck by that headline,

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promising writer dies when we were looking at it can but its very powerful poster.

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And you can see the kind of intersections that I was talking about, about making a poster and also about making her artwork,

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this collage with burnt paper and the way that she is using and picking up media in the contemporary domain,

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whether that's newspapers, the black feminist newsletter or a range of different materials.

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And also her own poem as a black one, which is excerpted and sort of torn and burnt paper.

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In the same year that she organised cheque it out just flat on the bottom of the post here.

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But it became a two week festival, a drill hole in London, a celebration of black and Asian women's creativity.

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Film, music, theatre readings, lots and lots of different activities over two weeks.

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Statement by her on the brochure about the Black Moon's creativity project.

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Her favourite quote from Sula by Toni Morrison, which she often cites and recites and circulates in different ways.

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You can see the extent of the programme that she organised. What's interesting here is the two exhibitions and the top right.

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Of top right? Claudette Johnson. Images of black women and nontax Grinchy women in China.

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She organised a third black women's creativity project exhibition, a multimedia group show, and the Finding of War exhibition for this series.

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Present the Lord's Passion photographs at Rochdale Art Gallery in 1990 be becoming on a little later to her work with Rochdale Art Gallery.

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And I'm just showing two different curatorial presentations here.

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One is sort of hang on the work at Rochdale in 1990 and a recent rehang of the work at the places here at Nottingham in 2017.

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And you can just see here. But the top right of the image on the bottom right.

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Photograph that Ingrid Pollard took of Maud Salter with a workshop at one of her Vahidi photographic exhibitions.

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That's a nice synergy there. That one was created to protect.

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Had three particular strands and aims to document and assess and analyse wounds,

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created a machine to counteract systemic marginalisation and invisibility.

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And to assert what it called the power, the revolutionary potential of black women's creativity.

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Let's just see that again. Nineteen eighty nine was one hundred and fifty is the anniversary of the invention of photography.

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And so to mark this momentous year with her majestic series of photographs of black women creatives out,

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this is on the left hand side display of support in the gallery and sampling of this series of nine here.

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Now, in the whole series is in the Victorian Albert Museum and bought early on.

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I just want to go back to something that Volle was talking about,

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the importance of curating and collecting and acquisition policies of Mark with Booth BNA in these years.

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He was really a set, simply a terrific collection of contemporary photography.

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Also, in 1989, more would sell to herself mark this momentous year with two exhibitions of photography,

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one of which included photography, one of which was separate from the exhibition.

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And she coedited a special issue of feminist Stults news on photography.

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And interestingly, 1989 is the year she's enrolled at her pioneering M.A Ready [INAUDIBLE] assembly.

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And Dolfi, then male photography. So the first of her 1989 exhibitions was called Passion, Black Women's Creativity.

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The African Diaspora, a mixed media group show that included two photographers, one fled to India, Sambo and Ingrid Pollard.

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So are Charlotte. Somebody is a Cameroonian photographer.

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There's long been based in Amsterdam. And Ingrid Pull-Out been collaborating with for many years.

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By now. Her second exhibition of.

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This year. Included. Some scientists call the Foskey Island by African-Americans photographer Gene, which is Sammy Ashe.

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Both were staged at the elbow room. In 1989, Levine, a limited setup, the upper room in Vine Yard, South London.

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To showcase particularly black women's art and Saltsman, he made a formidable couple in these shearers.

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They appeared in each other's art. They curated each other's art.

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They worked independently. They worked together.

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They coedited a special issue of feminist dance news in 1988 called the title of its exhibition to borrow this title again.

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Black Women's Creativity of the African Diaspora. For this issue.

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They wrote a joint editorial and this is on the far right as their page together in the closing section of passion.

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And so often with couples that it's quite difficult to disentangle later across the spaces of memory.

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Nuffin, not with sufficient documentation. Exactly who did what.

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So sometimes it could be difficulty in establishing, particularly now mortise died.

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What exactly was contributed by both people in the couple?

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A part of a couple? Well, with mine, my partner and I often work together.

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We both remember things quite differently at different moments. So an image from Jemal to some ashes,

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the frisky island is on the cover of this coedited issue on Blackmun's create creativity of the African diaspora,

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not greatly admired, which is summary ashes work to she this sorry, this fabulous crow.

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Sure. And she did her exhibition. She called it a stunning meditation on plagues.

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That frisky island was a series of black and white photographs by which some Yarosh of the

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couple speaking black inhabitants of an island situated off the southeast coast of the U.S.

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The show starts the death set at the elbow room tour to Derby and then on to street level photo works in Glassco,

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then directed by photographer Martin McCullough, who also invited Salter to show up and work on street level.

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Interesting that there are some artistic parallels between Moutoussamy Ashes

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for Ski Island on the left and Salters first made to put a graphic series,

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Sphinx 1987, photographed on a visit to Kunta Kinte Island and can be a river in West Africa in 1986.

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By contrast. Which the on the Ashes fortunes of community lie locations and people sing

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seems characterised by a deep sense of loss for those who have been murdered,

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brutalised and displaced by slavery and the slave trade.

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A melancholy and melancholic mourning for do it takes place at the sites of witness.

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Sota had included an interview with Jean, some action specialists who she credited with the had been humiliated feminist top news.

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And in a coded interview,

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Seltzer reflected on the two artists shared interest in the legacies of slavery in photography and transatlantic cultural connexions.

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This is the cover on contents of Selter special issue of Feminist Arts News on photography,

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which she is Richie coedited with the art historian Jane Beckett, and it's published in 1989.

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And it says a special bumper issue has a huge range of different contributions.

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Lisa, take now from Barbara Kruger.

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Roberta McGraths on feminist theory and photographic practise, discussions of student were current law showcasing the work of two first students.

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Karen was then teaching at LCD al-Sisi. Quite a lot of links to LCAC today.

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Discussions of private lives.

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Public property is a discussion of family photo albums, very similar interests to the work that she has been talking about.

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This project by Rhonda Wilson and Nasty Cold Poseurs about photography in Birmingham,

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the dental road workshop, darkroom giving community support and community resources for photography.

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A huge range of contributors.

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Amanda King contributing, for instance, whose one development officer in photography at the Greater London Authority and this year.

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So lots and lots of interesting things report on women's on a big photography conference.

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So it brings together an extraordinary, interesting range of material.

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It features also quite a lot of discussion about Jean, which Sammy Arch.

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Viewfinders, Black Women Photographers book is reviewed by what Psalter in the Issues and the

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cover image is one of only four known photographs by African-American photographer.

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Philomena Roberts depicts an unidentified woman seated with three children and somehow this image when I

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since recanted can seem to just speak so much about the importance of documentation and debating the plot.

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The work of black women photographers. So, I mean, we know that Philomena Roberts, thanks to the work still of Jean, which somee Irish,

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but she was a photographer, but we still have very few known photographs that she attributed to her.

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The special issue also included a conversation between which Ash and Selter on the American white American

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photographer Francis Benjamin Johnson and her images of black students at the Hampton Institute to Virginia.

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In her review of viewfinders, Salta emphasised again, as she had so many times before,

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the urgency of networking, the importance of collaboration between black women.

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And this hostile world of quota systems to the marginalisation of women is creativity.

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We network and maintain communication channels across oceans, continents and time zones.

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So almost against the odds. We know what moves are afoot to dam flow.

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We negotiated a reign where the path has been forged by our own souls across the continuum, which funds the black diaspora.

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And another contribution to this issue. That's also contributed.

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She wrote about this is the title, The Nature of Photography Lack Notes from the Underground.

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Here she reflected on photography, long histories and engagement with slavery,

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pornography, colonial oppression, criminal classification system schooling,

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a fiercely forensic analysis of photographies tainted past photographies birth pangs

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concurrent with the abolition of slavery and many of the uses to which it was first put.

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The start of categorising the other anthropological studies were produced to help

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justify the criminal act of slaughter inherent in slavery and its after-effects.

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Its current uses include the promotion of female sexual Serbians through the medium of pornography,

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the encouragement of consumerism to stay in capitalistic concern,

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and the objectification of black people in order to criminalise and then justify the continued whiff of racism endemic in the aftermath of slavery.

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Now, she concludes in her final paragraph. Black women have been using cameras ever since they were invented.

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I think what she's doing here, too, is I mean, you can see that how alert, attentive, quick she is.

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She's reading reading readings. A lot of U.S. and British theory on photography, on the question of representation, merging studies of anthropology.

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Shickel uses of photography. The discussions about how photography was used in the prison system to classification to classify criminals.

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So she's very much on top of what's going on.

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She is extremely well-informed and it's an interesting essay with this very fierce tone as very strong, powerful voice.

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I want to pause now for a moment. On the cusp of 1990s this year.

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Nineteen eighty nine. Nineteen ninety. Self has a residency at Tate Liverpool, which will produce hysteria.

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In his second studio series, The Artist herself, her friends,

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confidence and lovers in the studio circle of a fictitious character called Hysteria, who is an artist who goes to study in 19th century Rome.

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This series, I think more than any other, is deeply embedded in and addresses the history of photography.

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Large scale reprieves of 19th century cop, BBC and portrait photographs and its interrogation of photographies collusion in the invention of hysteria.

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A new clinical classification in the late 19th century.

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A feminine disorder. A disorder as femininity. This is Selter on the left.

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Performative self-portrait as hysteria. Her friends.

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Confident and lovers on the top, perhaps, of the studio's circle of hysteria.

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Vinnie, I've just put a cart duty seat of Princess Alice and one of the plates from Shockley's Econo Graffy Photographic Dinner us something.

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The state organises state Liverpool.

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Photography features quite, quite large in a way.

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Carrie Mae Weems gives an electrifying presentation on her just completed kitchen table series.

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What else is going on in this cusk as 1980 moves to 1990,

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sharing alongside more Seltzer's designs for a national postage stamp Blue Gallery, Liverpool.

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This is another landmark exhibition created for photography, 150 anniversary exhibitions selected by she leaned toward Druss,

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first shown at the photographer's gallery in London in 1989 called Intimate Distance.

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And for this show, Schilling selects a range of artists to demonstrating the complex syndicated work by black women artists working for Turker office.

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Such Scott workplace Irina Bingy should. But this was Moner her too.

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Ingrid Pollard and Maxine Walker. And you can just see on the second photograph alone.

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Here, this is the display of work by Ingrid Pollard.

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This is from Oceans Apart series now in Tate. The back here is shut up.

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This was his infestations. They are in water along this wall.

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This Maxi Walker series The Bride and I just put up since so much it's yet and worms panel together.

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This is the country. Yes review. Fabulous reviews of the exhibition.

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In the early 1990s, Salta curated exhibitions at Rochdale Art Gallery with the progressive, inclusive, radical,

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far reaching programme devised by Joe Morgan that made Rochdale one of the most exciting art spaces in the UK.

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I think it's important to remember that through the 80s and into the 90s,

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some of the most important and exciting contemporary art wasn't seen in London necessarily.

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It was seen in galleries outside London. So Rochdale actually was an amazing place to see contemporary art.

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Curating exhibition, says Seltzer's seise the opportunity. Sorry, just got to get.

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seise the opportunity and resources, including a museum or environment, to select internationally renowned artists.

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And these are installation shots on some of the works shown at an exhibition called The Fortune Teller,

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which brought together photographs by Karen No from her series Capital Investigating Financial Institutions.

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Olivia Schantz still lives. And she'd been told by the beauty shop and they and works by the artist Lorna Citizen.

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I think this is just a really fabulous show. You can see Lorna Simpson's work.

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These are works by Lorna Simpson, Mike Delana holding and breaking current law here.

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Olivia Reshow here. And then we're back to the back wall with lowness citizens again.

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NSA seems to be I sensed a certain hesitancy and I'd be really interested if anyone knows the detail on this seems to be one of the

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UK first UK based curators to show works by Lorna Simpson in the U.K. The fortune teller included really recent work by Simpson.

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Practical joke. Nervous condition.

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They know all works, holding and breaking, all from the same year of the show, 1992,

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as well as very recent work by Noah and Reshow in the late 1980s, Salta testified that most of the texts available.

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To us in Britain have been written by black sisters from the US.

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As a curator, she reached out to build transatlantic links with several African-American artists known as Simpson and Carrie Mae Weems.

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Betty saw Beverly Buchanan and many others. Selfless exhibitions were often characterised the company with free, stylish exhibition catalogues.

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They are historic, Corton attests, elegantly designed, replete with juxtaposed images, information and analysis.

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Was it equally well, he says, describe her own artistic practise.

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In 1993, the following year, when she's had to print at Manchester Metropolitan University,

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she created another exhibition called Borderless Print to showcase a huge range of print techniques and surfaces from computer generated print,

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more conventional print etching. And also including photography with a stunning line-up.

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You can see some of these. Serrano Betty saw Chris Ophelia, Donald, Rodney, Elizabeth Catlett, Faith Ringgold.

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I mean, astonishing. That's just the first list. That's incredible.

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Show Serrano is to be verbally or top seed by the curator.

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Three. In 1995, Salta curated photo Tonette Genetic reviewing the lens of history commissioned by Martha McCulloch for street level.

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Again, she secured a terrific list of exhibitors photo ID, genetic set out to transnational curatorial vision,

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forged around the legacies of colonialism and the afterlives of the archive by artists working in an artist working with photography.

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Artists working in photography included or shell it, too, in December.

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Emily Buchanan, Ingrid Coloured.

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These are lower lower left OK to works by Ingrid Pull-Out called Gawde in which the photographs are attached to the inside of a gourd.

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And I apologise. These are photographs that I took out of our archives from the year, the exhibition, and they were taken with the wrong films.

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They will have this awful plew cost to them. Louvain.

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Hey, midsts, Harriet Tubman, Cut-out on the left above and on the right is known as Simpson's contribution of self-possession to from

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1990 to those working with photography for inventing family snaps or colonial photographs in their work.

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Soniya Boyce's past still a major work about a major work in any history of art.

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She ain't holding them up. She's holding on some English rose.

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Nineteen eighty six large canvases by ropin Cokey was White-Out series on the interview to fight Maori

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woman number five and number six repurpose photographs from the Colonial Archives of New Zealand.

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And next to them you can see. My installation shot three outstanding performative self portraits, but Giler woman by Fiona Foley,

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which required the following year by the Museum of Contemporary Art in Sydney,

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re-enact ethnographic imagery to honour the legacy of Patala people, to celebrate survival and reclaim the artist's history and fish,

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and an image for attention and a genetic charolette seltzer's changing concerns into photographic practise.

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She moved away in this decade from studio photography and portraiture in the early 1990s.

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She photographed African art objects against the plain white ground, mimicking textbook illustrations.

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Here she is on the left in New York to show that New York de la.

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An exhibition she's showing fetish. College is the circus.

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1993 assemble textbooks, illustrations of African masks, hats and figurines with images from Western art, popular media, postcards and photography.

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Salties Photography shows her exhibitions of her work. Well, presented in a range of locations, community centres,

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venues established by black artists and activists, art galleries and museums, independent galleries.

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And in 1999, she set up her own premises. Named to it more than a little irony.

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Cold, rich women of Sitrick in Clerkenwell, London, not very far from potential premises.

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Well, sells practise as an artist working in which photography was creatively independent, interdependent with her writings and interviews.

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The exhibitions and events she organised, the debates and discourses she initiated and sustained in assessing how critical decade 1995 from 1995.

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I'd like to return to Jean Animator's concept of Brading to connect the textual individual,

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the discursive and the practical highlight the density of connexions between cells, thus making about the making of discourses and debates.

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I'll close picking up on a discussion this morning with file about.

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The importance of Tony, of artists themselves creating archives,

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but the importance of this work, securing its legacy by entering national collections.

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I've spoken about how work and BNA very early on support, and I'll close by just celebrating a little love in this awful year, 2020.

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Just before Lockdown Mode sells a series of performative self portraits from 2002,

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LAPE issue has finally been acquired by Tate by a very pioneering and very dedicated curator who put forward

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so slight to say maybe that in this really distressing and challenging year there are one or two good things.

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So thank you very much and look forward to the discussion.