Rresponding to a comment by a “well-known non-artist” that “avant-garde art has nothing to do with black people” – and to prove that it did – in September 1983, artist Lorraine O’Grady brought her camera to the “biggest black space he could think of”: the Black Day Parade in Harlem, New Yorkto document the crowds for his series Art Is… Hiring a gold cloth-covered float, complete with a giant gold frame, O’Grady instructed 15 actors and dancers, all dressed in white, to approach excited viewers and make him pose inside empty gold frames.
With his camera, in bright sunlight, O’Grady took celebratory images of people of all ages and a myriad of personalities, ranging from energetic locals to those in a moment of reflection, taking it all in. But it’s the group of girls in Girlfriends Times Two, grinning from ear to ear with their hands clutching the gilt edges, confidently showing they belong in these frames, that I find happiest.
Over the past few weeks, we have watched Sarina Wiegman’s unstoppable England team thrill the nation at the Women’s Euro. There was Georgia Stanway’s 95th-minute long-range goal to secure her place in the semi-final, Alessia Russo’s back-heel to secure the Lionesses’ place in the final, and last night’s epic lob from Ella Toone gave them the lead. initial in the final. final, and then Chloe Kelly’s goal assuring England the triumphant and deserved victory. It’s all been documented by official team photographer Lynne Cameron, who captured the euphoria of their success, from the aftermath of Fran Kirby’s momentous goal to Rachel Daly storming onto the pitch to celebrate.
Just as the Lionesses have shattered any preconceptions that football belongs to a man’s world, as was shockingly revealed in an anonymous note. tweeted by Woman’s Hour host Emma Barnett – O’Grady also broke free from traditional ideas about what art is and where it should be located. Correctly ignoring society’s rigid views of a gender-unbalanced art world and returning art to its simplest and most effective terms, Art Is… proved that anyone can be worthy of belonging “in the frame”, of be a subject of “art”. . It is up to us, the spectators, the participants, or in the case of the England team, the fans, to rewrite the rules and include everyone.
This month, the Lionesses accomplished just that, not only through their incredible success on the field, but also through their impact on those who watched them play. A staggering 9.3 million people watched England defeat Sweden; records were broken when Sunday’s match became the most attended in a UEFA tournament
in men’s or women’s soccer; Television viewing figures have increased by 58% compared to the previous Women’s Euro Cup. Former England men’s star Ian Wright proclaimed after the team reached the final: “If after this, girls aren’t allowed to play football like boys at school, then what are we doing? ?”
Art Is… took art out of the museum and into the public realm. It expanded the fabric of photography and performance, and showed “non-artist acquaintances” (and perhaps the establishment they came from) the relevance of art and its power to drive inclusivity. He showed that art can be a performance, a question, a call to action, in a museum or on the street. For O’Grady, the art is “a joyous performance at the Harlem Black Day Parade.”
Just as O’Grady tells the radiant young women that they, too, should be included on the museum’s walls, the Lionesses encourage the next generation of footballers. It is described forcefully by forward Nikita Parris, who has written, “So I know how young women, young black women, feel growing up in today’s world because there’s not a lot of representation at the highest level, where they see a way or they feel a sense of ‘I can achieve that dream’”.
In the way that Art Is… was groundbreaking in the realm of art, the Lionesses, not only by making history by lifting their trophy last night, have changed minds and hearts. Now everyone can feel that they are worthy of being part of the game.