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“Make Do and Mend” includes two new works: a series of works she calls her Strategic Paintings and a series of 64 colorful anthropomorphic panels called Aunties. The latter are installed along the walls of FLAG, framed by the city’s glittering architecture and penetrating natural light. “When I was a kid, my life was surrounded by women coming in and out of the house, whether they were my own aunts or my mother’s friends,” says Himid, who moved to London from Zanzibar (now part of Tanzania) with her mother, a textile designer, when Himid was just a few months old. “They were the kind of women who had opinions about what you wore, opinions about who you hung out with, what you should do with the rest of your life.”
A leading figure in the British Black Arts Movement of the 1980s and 1990s, Himid has exhibited widely and received numerous prestigious awards, including the Turner Prize in 2017
and a CBE appointment in 2018. Most recently, she was awarded the Suzanne Deal Booth/FLAG Art Foundation Award, resulting in “Lubaina Himid: Make Do and Mend,” currently on view at the FLAG Art Foundation in New York. (The exhibition was co-organized by The Contemporary Austin, where it debuted earlier this year.)
As she grew older, Himid lost many of her childhood aunts and increasingly found herself playing the role. “I now try to make a meaningful contribution to other people’s lives,” she says. This reflection led her to create larger versions of her previous wood-plank installations, Drowned Orchard: Secret Boatyard, a 2014 work of 16 planks, and Old Boat / New Money from 2019, which consisted of 32 planks. Each of her 64 aunts has a distinct personality: “My team and I collected wood from everywhere we had garages, basements, workshops, workshops,” says Himid. After assembling the planks from salvaged parts, Himid began painting them and gluing pieces of ribbon, fabric, text, or even toys. (At least one unsealed shuttlecock caught my eye.)
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