Maxine Walker

Maxine Walker (born 1962) is a British-Jamaican photographer and critic. Based in Handsworth and active between 1985 and 1997, Walker has been described by Rianna Jade Parker as "a force within the Black British Art movement".[1] Her photographs emphasise the fictive nature of documentary convention, and "raise questions about the nature of identity, challenging racial stereotypes".[2]

Life

Maxine Walker was born in 1962 in Birmingham.[3]

Walker's 1987 series Auntie Lindie's House challenged the unmediated nature of documentary photography, replicating photographic conventions within a fictional context. Black Beauty, a 1980s series, and Untitled, a series for the 1995 Self Evident exhibition, both consisted of self-portraits.[2] Untitled contained a sequence of ten closely-cropped black and white photographs, in which Walker appeared to peel away successive layers of her surface skin.[4]

Walker has written various reviews and texts for art magazines and exhibition-related publication.[5] After Polareyes, a 1987 exhibition of black women photographers at the Camden Arts Centre, she co-edited and contributed to a short-lived journal of the same name. In 1999 she published a short artist's book in the series published by Autograph.[6]

Works

Exhibitions

Writing
  • "Boxed Gems". Polareyes: A Journal by and about Black Women working in photography. 1: 42–43. 1987.
  • "We do not Wish to do it Quietly". Ten.8. 27: 42–45.
  • "Testimony: Three Black Women Photographers". Creative Camera. 4: 34. 1987.
  • "Beauty and the Beast: Have Images of Black Women in the Media Changed over the Years?". Blackboard Review. 2: 12–13. 1990.
  • 'Intimate Distance', in Jo Spence; Patricia Holland, eds. (1991). Family Snaps. London: Virago. pp. 222–225.
  • Mark Sealy, ed. (1999). Maxine Walker: Monograph. Autograph. ISBN 1899282505.

References
  1. Rianna Jade Parker (19 August 2019). "How British-Jamaican Photographer Maxine Walker Disrupted the Idea of an Approved Womanhood". frieze. Retrieved 15 February 2022.
  2. "Staying Power: Photographs of Black British Experience". Victoria and Albert Museum. Retrieved 15 February 2022.
  3. Barnwell, Andrea D. (2002). "Walker, Maxine". In Alison Donnell (ed.). Companion to Contemporary Black British Culture. Routledge. p. 319. ISBN 978-1-134-70025-7.
  4. "Maxine Walker: Untitled". Autograph. 2019.
  5. Melanie Keen; Liz Ward, eds. (1996). Recordings: A Select Bibliography of Contemporary African, Afro-Caribbean and Asian British Art. inIVA in collaboration with the Chelsea College of Art and Design. p. 108. ISBN 1899846069.
  6. Maxine Walker (1999). Mark Sealy (ed.). Maxine Walker: Monograph. Autograph. ISBN 1899282505.
  7. "Intimate Distance: Five Female Artists". Retrieved 15 February 2022.
  8. Martina Attille (November–December 1995). "Scared of you: Martina Attille on Self Evident". Women's Art Magazine. 67.
  9. "Maxine Walker: Untitled". What's On: Birmingham. 25 February 2020. Retrieved 15 February 2022.

Further reading
  • Joy Gregory (1987). "Fantasy: Joy Gregory Speaking to Maxine Walker". Polareyes. 1: 18–19.
  • "Portfolio: Maxine Walker". Creative Camera. 8/9: 42–43. 1987.
  • Gilane Tawadros (Spring 1992). "Redrawing the Boundaries: the Documentary work of David Lewis and Maxine Walker". Ten.8. 2 (3): 86–92.
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