Acknowledgements

In researching and writing this book, I have incurred a number of debts of gratitude. I would, in the first instance, like to thank Philippa Brewster, of I.B. Tauris, for taking such a pronounced interest in my original proposal. I would similarly like to thank Anna Coatman and Lisa Goodrum, also of I.B. Tauris, who subsequently guided the project with great diligence. My profound thanks and gratitude are extended to my friend and colleague Richard Hylton, whose comments and suggestions did much to both enhance my manuscript and reassure me. From the other side of the Atlantic he responded to my numerous requests for information and references, with both patience and assiduity. I am particularly grateful to Stephen Cashmore, my sub-editor, whose rigour, objectivity and proficiency have improved the flow of this book enormously. Stephen gave my manuscript an extraordinarily close reading and in so doing, significantly enhanced the text. I came to value, and indeed, rely on his suggested revisions. In similar regard I thank Ricky Blue, for diligently guiding the manuscript in its final stages.

In identifying and sourcing images for this book, many individuals are to be thanked. Not for the first time, my profound thanks to Dawn O’Driscoll, Syndication Account Manager of the Telegraph Media Group, who provided me with a number of portraits of Yinka Shonibare for my consideration. I am, as ever, grateful to her. Rebecca Mei of Jack Shainman Gallery responded to my requests with speed, efficiency, and remarkable generosity. Lucy Kelly and several of her colleagues at Getty Images facilitated in my plans to use the Ronald Moody photogrpah that appears in this study. Domniki Papadimitriou, of Birmingham Museums Trust likewise facilitated my access to, and use of the Anwar Shemza and Francis Newton Souza paintings that are reproduced in this book. Mrs Hiltrud Egonu, Mrs Brenda Locke and Mrs Mary Shemza must be thanked, particularly for the diligence with which they responded to my approaches. Diane Symons was again characteristically generous in granting me permission to reproduce an image of one of Donald Rodney’s works. I would be remiss in not thanking Victoria Avery, Acquisitions Coordinator, Arts Council Collection, for guiding me through my use of Mowbray Odonkor’s Onward Christian Soldiers. In similar regard, Jessica Litherland, Senior Exhibitions Officer, Rugby Art Gallery and Museum guided me through my use of Winston Branch’s West Indian, and Sara Manco, Photo Services, Eliot Elisofon Photographic Archives at the Smithsonian National Museum of African Art who advised me about the use of the Sokari Douglas Camp image reproduced in this book. There would be one or two gaps in the range of images reproduced in this study, had it not been for the hard work of Amy English, Licensing Administrator of the Design and Copyright Society (DACS).

I need to thank the following artists and photographers, listed alphabetically, all of whom granted me generous and unrestricted permission to reproduce images of their work: Faisal Abdu’Allah, Said Adrus, Hurvin Anderson, Zarina Bhimji, Sonia Boyce, Winston Branch, Vanley Burke, Chila Kumari Burman, Romano Cagnoni, Sokari Douglas Camp, Kenwyn Crichlow, Godfried Donkor, Kimathi Donkor, Mary Evans, Denzil Forrester, Tam Joseph, Permindar Kaur, Shaheen Merali, Eugene Palmer, and Barbara Walker.

I thank Juginder Lamba for the swift and generous way in which he responded to a query. Since writing my doctoral dissertation in the 1990s it has been my hope to dialogue with Sue Smock, a fascinating US-born artist referenced in this study. When finally I was able to reach her, she was every bit as generous and engaging as I had hoped she would be. In seeking to reach Sue Smock, I must pay respects to Mora Beauchamp-Byrd, and William A. Fagaly, the Francoise Billion Richardson Curator of African Art, New Orleans Museum of Art, who helped me in my quest to locate Sue Smock. Timeri Murari provided me with invaluable information about a substantial feature on Sue Smock that he wrote for the Guardian many years ago. I’m grateful to Veena Stephenson for her help in identifying a text she wrote for the now defunct Bazaar magazine. A special note of thanks, gratitude and appreciation must go to Dr. Celeste-Marie Bernier, for her support.

No doubt other individuals helped me with one aspect or another of this publication. If I have overlooked anyone by name, please forgive me.