Published to accompany an exhibition at MK Gallery, this is the first major survey of the work of contemporary British artist and photographer Ingrid Pollard, nominated for the Turner Prize 2022. This publication provides the first overview of works by British artist and photographer Ingrid Pollard. Pollard is renowned for using portrait and landscape photography to question our relationship with the natural world and to interrogate social constructs such as Britishness, race, sexuality and identity. Working across a variety of techniques from photography, printmaking, drawing and installation to artists' books, video and audio, Pollard combines meticulous research and experimental processes to make art that is at once deeply personal and socially resonant. 'Ingrid Pollard's practice has long been focused on the human body, astro-physics and geology, and in particular geology in the formation of the stars and planets. The title of this publication - Carbon Slowly Turning - invites us to reflect on geological time in relation to human time. On the one hand, the millennia in which carbon, rock and other natural materials are made, and on the other, the brevity of human existence by comparison and the affecting nature of geology on the human form. A number of Pollard's works reflect on the cyclical nature of history and human experience, where everything is subject to change, sometimes over hundreds or thousands of years, at other times in the blink of an eye.' - Gilane Tawadros, Curator, writer and CEO, DACS 'Ingrid Pollard's work slows down our looking to create space to consider alternative formations of history and landscape. Across four decades she has re-scripted Britishness, looking back in order that we might move forward differently. This is a profound and timely exploration of this vital British artist.' - Maria Balshaw, Director, Tate This book accompanies an exhibition at MK Gallery and Turner Contemporary, curated by Gilane Tawadros, with the artist, and supported by the Freelands Award 2020. Edited by Fay Blanchard and Anthony Spira. Essays by Anna Arabindan-Kesson, Cheryl Finley, Paul Gilroy, Mason Leaver-Yap and Gilane Tawadros.

Lumen, a survey of the four-decade career of British-Indian artist Sutapa Biswas, accompanies two solo exhibitions of the artist's work held in 2021-22. Biswas emigrated from India to the UK with her family in the 1960s. Taking the long histories of colonialism together with personal memories, Biswas's art meditates on questions of migration, identity and belonging. Her practice has consistently interrogated Western tradition and discourse, pushing past absences, exclusions and limited representations to make evident the entwined histories of culture and politics. This publication details Biswas's career from its origins in the Black Arts Movement in the 1980s to her important photographic installations of the 1990s and her subsequent major moving-image works, including her newly commissioned film Lumen. The first substantial publication on the artist in over 17 years, it features two new conversations with the artist and two commissioned essays. It also includes a republication of Griselda Pollock's important text on Biswas's work, along with a postface reflecting on their relationship in the decades since the essay's original publication. Published on the occasion of the exhibition: Sutapa Biswas: Lumen BALTIC Centre for Contemporary Art, Gateshead (26 June 2021-22 March 2022) and Kettle's Yard, University of Cambridge (16 October 2021-30 January 2022).

In Black Bodies, White Gold Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton-as both commodity and material-became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"-the textile worn by enslaved plantation workers-to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor.

In Black Bodies, White Gold Anna Arabindan-Kesson uses cotton, a commodity central to the slave trade and colonialism, as a focus for new interpretations of the way art, commerce, and colonialism were intertwined in the nineteenth-century Atlantic world. In doing so, Arabindan-Kesson models an art historical approach that makes the histories of the Black diaspora central to nineteenth-century cultural production. She traces the emergence of a speculative vision that informs perceptions of Blackness in which artistic renderings of cotton-as both commodity and material-became inexorably tied to the monetary value of Black bodies. From the production and representation of "negro cloth"-the textile worn by enslaved plantation workers-to depictions of Black sharecroppers in photographs and paintings, Arabindan-Kesson demonstrates that visuality was the mechanism through which Blackness and cotton became equated as resources for extraction. In addition to interrogating the work of nineteenth-century artists, she engages with contemporary artists such as Hank Willis Thomas, Lubaina Himid, and Yinka Shonibare CBE RA, who contend with the commercial and imperial processes shaping constructions of Blackness and meanings of labor.