Collection Display: Identity

See how ideas around identity have been explored by artists including Isaac Julien, Hew Locke, Donald Rodney, Marlene Smith, Sam Taylor-Johnson and Grayson Perry. You'll also find a display exploring the work of female British artists during the 20^th century.

Our identity reflects how we see ourselves as individuals as well as our place within different communities. Identity is a multi-layered idea that can change over time. Many artists examine aspects of both personal and social identity in their work, exploring themes such as race, gender, politics, class, sexuality, heritage and the body.  Some artists encourage us to think about our attitudes towards other people, raising questions about stereotypes, prejudices and how we relate to others.

The works displayed here explore identity in a range of ways. Some are personal self-portraits that explore an artist’s individual identity, while others investigate ideas of nationhood and belonging, questioning what creates a community. 

See work including Claudette Johnson's And I have my own business, 1982, Mark Quinn's Kiss, 2001, Tam Joseph's Spirit of the Carnival, 1988, as well photography by Linda Benedict-Jones, Ahmet Francis and Isaac Julien.

Modern British Women

Art made by women is underrepresented in most British public collections despite the wealth of talent. Women often faced barriers and prejudice, making it difficult for them to become recognised within the male dominated artworld. They frequently had the challenge of juggling the roles of mother, wife, daughter and artist. Women artists were also regularly overshadowed by their male counterparts - lovers, husbands or brothers.

The 20^th century was a time of great change for many women. New opportunities in education and greater social mobility led to increased freedom for some women. This enabled female artists to break new ground and engage more fully in creative practices. Today women are a significant part of the art world as artists, dealers, critics and curators. However, there is still an imbalance in the attention and importance given to work created by women.

See work including Cathleen Mann's Composition in Pink and Green, 1931, Edna Manley's Eve, 1929, and Gwen John's A Corner of the Artists' Room in Paris, 1907-1909.

These displays are part of a five-year programme of change and redisplay at the Graves Gallery generously supported by the Ampersand Foundation.