Abstract

This article examines a neglected example of slavery visualisation by Guyanese artist Stanley Greaves (1934–present). The work is called Slave Stock and is a unique example of abstract constructive sculpture made in 1965 while Greaves was studying at Newcastle University in the UK, where his tutors included Pop artist Richard Hamilton. After winning prizes in Newcastle and Guyana after Greaves’s return in 1968, Slave Stock entered the latter’s National Collection but was mysteriously destroyed sometime in the nineteen seventies. In 2018, over fifty years since its original conception, Greaves reconstructed this major lost work. Drawing on correspondence with the artist, this written reconstruction of Slave Stock locates its production and reception in relation to Greaves’s trajectory, encompassing his early artistic development in the context of British colonial education and Guyana’s ongoing independence struggle, as well as his engagement with transnational modernisms and wider histories of slavery visualisation and memorialisation.

摘要

本文考察了圭亚那艺术家斯坦利·格雷夫斯（Stanley Greaves，1934年至今）奴隶制形象化的一个被忽略的例子。作品被称为《奴隶股》，是1965年创作的抽象建筑雕塑的独特例子，格雷夫斯当时在英国纽卡斯尔大学学习，他的老师包括流行艺术家理查德·汉密尔顿。在1968年Greaves返回后，在纽卡斯尔和圭亚那赢得了奖项之后，Slave Stock进入了后者的国家收藏，但在19世纪70年代的某个时候被神秘地摧毁了。自2018年创立以来，格雷夫斯（Greaves）于2018年重建了这项重大的失窃作品。根据与艺术家的通信，这本《奴隶的存货》的书面改写 根据格雷夫斯的轨迹来定位其生产和接受，包括他在英国殖民主义教育和圭亚那持续的独立斗争的背景下的早期艺术发展，以及他对跨国现代主义以及奴隶制可视化和纪念的更广泛历史的参与。