Nina Edge (born 1962) is an English ceramicist, feminist and writer.
Life
Nina Edge is the daughter of a Ugandan Asian and an Englishman.[1] She trained in
ceramics in
Cardiff.[2]
Edge participated in 'Jagrati', a 1986 exhibition at
Greenwich Citizens Gallery by thirteen Asian women artists.[3] Her mixed media artwork 'Snakes and Ladders' (1988) used batik on paper, ceramic and text.[4] Part of the touring exhibition 'Along the Lines of Resistance', it "brought social politics into craft and images of black women into mainstream art galleries and museums".[5]
^Melanie Keen & Elizabeth Ward, eds., Recordings: A Select Bibliography of Contemporary African, Afro-Caribbean and Asian British Art, London: Institute of International Visual Arts and Chelsea College of Art and Design, 1996.
^Himid & Maud Sulter, Lubaina. "'Along the Lines of Resistance: Some Contributions from the Exhibition'". FAN: Feminist Art News. 9 (2): 9–13.
^Currah, Mark (1–8 June 1989). "'Black Art: Plotting the Course'". City Limits.
^Sikand, Gurminder (Summer 1992). "'Crossing Black Waters'". Bazaar. no. 21: 20–21. {{
cite journal}}: |volume= has extra text (
help)
^Piper, Keith; Tawadros, Gilane (1994). Trophies of Empire. Liverpool: Bluecoat Gallery;John Moores University School of Design & Visual Arts.
^"Images". Spare Rib. December 1992 – January 1993.
^Chambers, Eddie (December 1991 – January 1992). "'Trophies of Empire'". Art Monthly. no.162: 13–15. {{
cite journal}}: |volume= has extra text (
help)
^Cubitt, Sean (Spring 1993). "Going Native: Columbus, Liverpool, Identity and Memory". Third Text. no.21: 107–120. {{
cite journal}}: |volume= has extra text (
help)
Nina Edge (born 1962) is an English ceramicist, feminist and writer.
Life
Nina Edge is the daughter of a Ugandan Asian and an Englishman.[1] She trained in
ceramics in
Cardiff.[2]
Edge participated in 'Jagrati', a 1986 exhibition at
Greenwich Citizens Gallery by thirteen Asian women artists.[3] Her mixed media artwork 'Snakes and Ladders' (1988) used batik on paper, ceramic and text.[4] Part of the touring exhibition 'Along the Lines of Resistance', it "brought social politics into craft and images of black women into mainstream art galleries and museums".[5]
^Melanie Keen & Elizabeth Ward, eds., Recordings: A Select Bibliography of Contemporary African, Afro-Caribbean and Asian British Art, London: Institute of International Visual Arts and Chelsea College of Art and Design, 1996.
^Himid & Maud Sulter, Lubaina. "'Along the Lines of Resistance: Some Contributions from the Exhibition'". FAN: Feminist Art News. 9 (2): 9–13.
^Currah, Mark (1–8 June 1989). "'Black Art: Plotting the Course'". City Limits.
^Sikand, Gurminder (Summer 1992). "'Crossing Black Waters'". Bazaar. no. 21: 20–21. {{
cite journal}}: |volume= has extra text (
help)
^Piper, Keith; Tawadros, Gilane (1994). Trophies of Empire. Liverpool: Bluecoat Gallery;John Moores University School of Design & Visual Arts.
^"Images". Spare Rib. December 1992 – January 1993.
^Chambers, Eddie (December 1991 – January 1992). "'Trophies of Empire'". Art Monthly. no.162: 13–15. {{
cite journal}}: |volume= has extra text (
help)
^Cubitt, Sean (Spring 1993). "Going Native: Columbus, Liverpool, Identity and Memory". Third Text. no.21: 107–120. {{
cite journal}}: |volume= has extra text (
help)