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Zanzibar-born British artist Lubaina Himid created this work as a reimagining of James Tissot’s nineteenth-century "The Gallery of HMS Calcutta (Portsmouth)", but she removes the flirtatious naval officer and centers the women instead. That change transforms the story. What had been a scene of Victorian social intrigue becomes one of female presence, Black visibility, and shared interior life. The title still carries the weight of empire: “H.M.S.” signals British naval power, while “Calcutta” evokes colonial naming and imperial routes across oceans.

Two Black women stand together on the deck (or maybe an enclosed viewing gallery) of a ship, facing toward a turbulent grey sea. The woman at right stands nearest the railing in a long cream dress, lavender-blue stockings, white heels, and a blue headwrap. Her body turns outward toward the water, while her head angles to the right. Behind her, the second woman wears a pale pink top and a long olive-green skirt. She holds the railing near the other women, creating a quiet link. Around them are several empty café-style chairs with yellow seats and thin curved metal legs. Slanted dark supports divide the view, and beyond them the sea is painted in gray-white, churning bands beneath a pale blue sky. The mood is calm, watchful, and slightly uncanny.

Himid, a pioneering figure in the British Black Arts Movement and an artist long committed to recovering erased histories, often revisits inherited images to ask who was left out, misseen, or never allowed full subjecthood. Here, the women are neither accessories nor symbols of someone else’s narrative. They occupy the picture with calm authority. Painted in 2021, after decades of Himid’s work challenging cultural amnesia, the canvas feels both historical and immediate like a meditation on race, gender, memory, and the possibility of looking out from history rather than being trapped inside it.

Zanzibar-born British artist Lubaina Himid created this work as a reimagining of James Tissot’s nineteenth-century "The Gallery of HMS Calcutta (Portsmouth)", but she removes the flirtatious naval officer and centers the women instead. That change transforms the story. What had been a scene of Victorian social intrigue becomes one of female presence, Black visibility, and shared interior life. The title still carries the weight of empire: “H.M.S.” signals British naval power, while “Calcutta” evokes colonial naming and imperial routes across oceans. Two Black women stand together on the deck (or maybe an enclosed viewing gallery) of a ship, facing toward a turbulent grey sea. The woman at right stands nearest the railing in a long cream dress, lavender-blue stockings, white heels, and a blue headwrap. Her body turns outward toward the water, while her head angles to the right. Behind her, the second woman wears a pale pink top and a long olive-green skirt. She holds the railing near the other women, creating a quiet link. Around them are several empty café-style chairs with yellow seats and thin curved metal legs. Slanted dark supports divide the view, and beyond them the sea is painted in gray-white, churning bands beneath a pale blue sky. The mood is calm, watchful, and slightly uncanny. Himid, a pioneering figure in the British Black Arts Movement and an artist long committed to recovering erased histories, often revisits inherited images to ask who was left out, misseen, or never allowed full subjecthood. Here, the women are neither accessories nor symbols of someone else’s narrative. They occupy the picture with calm authority. Painted in 2021, after decades of Himid’s work challenging cultural amnesia, the canvas feels both historical and immediate like a meditation on race, gender, memory, and the possibility of looking out from history rather than being trapped inside it.

“H.M.S. Calcutta” by Lubaina Himid (British, born Zanzibar) - Acrylic & charcoal on canvas / 2021 - Tate Britain (London, England) #WomenInArt #WomensArt #WomanArtist #WomenArtists #LubainaHimid #Himid #TateBritain #Tate #arttext #art #arte #BlackArt #BlackArtist #ContemporaryArt #BlackBritishArt

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Video

Lubaina Himid
Predicting History, Testing Translation
#LubainaHimid #BritishPavilion #VeniceBiennale @britishcouncil.bsky.social

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The other part of the Lubaina Himid exhibition @kettlesyard in Cambridge earlier this autumn was How May I Help You, large portraits of shopkeepers and their customers, with short scripts showing the difference between what is said and what is thought

The other part of the Lubaina Himid exhibition @kettlesyard in Cambridge earlier this autumn was How May I Help You, large portraits of shopkeepers and their customers, with short scripts showing the difference between what is said and what is thought

The other part of the Lubaina Himid exhibition @kettlesyard in Cambridge earlier this autumn was How May I Help You, large portraits of shopkeepers and their customers, with short scripts showing the difference between what is said and what is thought

The other part of the Lubaina Himid exhibition @kettlesyard in Cambridge earlier this autumn was How May I Help You, large portraits of shopkeepers and their customers, with short scripts showing the difference between what is said and what is thought

The other part of the Lubaina Himid exhibition @kettlesyard in Cambridge earlier this autumn was How May I Help You, large portraits of shopkeepers and their customers, with short scripts showing the difference between what is said and what is thought

The other part of the Lubaina Himid exhibition @kettlesyard in Cambridge earlier this autumn was How May I Help You, large portraits of shopkeepers and their customers, with short scripts showing the difference between what is said and what is thought

The other part of the Lubaina Himid exhibition @kettlesyard in Cambridge earlier this autumn was How May I Help You, large portraits of shopkeepers and their customers, with short scripts showing the difference between what is said and what is thought

The other part of the Lubaina Himid exhibition @kettlesyard in Cambridge earlier this autumn was How May I Help You, large portraits of shopkeepers and their customers, with short scripts showing the difference between what is said and what is thought

The other part of the Lubaina Himid exhibition at Kettle’s Yard in Cambridge earlier this autumn was How May I Help You, large portraits of shopkeepers and their customers, with short scripts showing the difference between what is said and what is thought #LubainaHimid

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Lubaina Himid Another Chance Encounter

Lubaina Himid Another Chance Encounter

Lubaina Himid Another Chance Encounter

Lubaina Himid Another Chance Encounter

Lubaina Himid Another Chance Encounter

Lubaina Himid Another Chance Encounter

Lubaina Himid Another Chance Encounter

Lubaina Himid Another Chance Encounter

This has ended now, but really enjoyed it at Kettle’s Yard in Cambridge - Lubaina Himid with Magda Stawarska: Another Chance Encounter #LubainaHimid

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#connectingthinblacklines #icalondon #contemporaryart #femaleartist #chilakumarisinghburman #neonart #lubainahimid

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Love that sometimes work admin takes me to great places- enjoyed checking out #GrundyBlackpool exhibition #DonkeyWork featuring #LubainaHimid #MarinaAbramovic #LauraFord #PaulNash. Riffing of Blackpool seaside heritage but also international and contemporary

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Friday
A day full of art
#art
#artmuseum
#luxembourg
#Mudam
#LisaOppenheim
#LubainaHimid
#photography

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Day 9 - Choose 20 paintings that have stayed with you or influenced you. One painting per day for 20 days, in no particular order. No explanations, no reviews, just paintings.
#Choose20paintings #blueskyart #art #painting #lubainahimid

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Great news & huge congratulations to #LubainaHimid

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Preview
Lubaina Himid: A Fine Toothed Comb – Interview part two — the Fourdrinier Writer Marjorie H Morgan continues her conversation with Lubaina Himid, CBE RA, the British Turner Prize-winning artist born in Zanzibar, Tanzania who moved to the UK at a young age. Following a car...

Part Two of the Lubaina Himid interview published by Fourdrinier:
www.thefourdrinier.com/lubaina-himi...
#artwriting #LubainaHimid #AFineToothedComb #Manchester #HOME #Writer

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Preview
Lubaina Himid: A Fine Toothed Comb – Interview part one — the Fourdrinier Writer Marjorie H Morgan had a conversation with Lubaina Himid – who was at the HOME gallery overseeing the final pre-opening work – to discuss her curation of the four installations in A Fine T...

Oct issue of the Fourdrinier
: 3 brand new pieces of writing – interview with Lubaina Himid / Passing Cloud a serialised journal / Immersive Watergrove review!

@MarjorieMorgan

#artwriting #LubainaHimid #AFineToothedComb #Manchester #HOME #Writer
www.thefourdrinier.com/lubaina-himi...

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