between the two my heart is balanced

The specific Pacific region settled by large-scale human migrations three thousand years ago

Micronesia

The artist, title, and year of the painting tracking the Viking search for arable land

Christian Krohg; Leiv Eirikson Discovering America; 1893

The Native American artistic practice that changed to mark the end of nomadic lifeways

Lakota beadwork practices (marking the beginning of the reservation era)

The photographer, title, year, and ancestral heritage of the subject in the iconic Great Depression photograph

Dorothea Lange; Migrant Mother; 1936; subject of white and Cherokee ancestry moving from Oklahoma to California

The artist, title, and timeline of the series depicting millions of Black Americans leaving the rural South

Jacob Lawrence; The Migration of the Negro; 1940-41

The post-WWII photojournalist explicitly named for documenting displaced populations

Henri Cartier-Bresson

The three 21st-century photographers documenting stories of modern displacement

Richard Mosse, Nilüfer Demir, and Alessio Paduano

The three primary drivers of 21st-century displacement and migration noted in the text

Wars, economic pressures, or extreme weather events

The definitions of "history" versus "memory" as explicitly outlined by the text

History: The official recounting of what happened Memory: A more personal process of recounting and reflecting on experiences

The definition of a "diaspora" given in the text

Communities of people from particular countries, ethnic groups, or religious backgrounds who have left a homeland and settled all over the world

The Liverpool-born artistic duo whose practice is shaped by traditional Indian miniature painting

The Singh Twins (representing shared British, Indian, Bengali, and Pakistani heritage)

Lubaina Himid's birth year and specific island/nation of birth

Born 1954 on the Indian Ocean island of Zanzibar (part of Tanzania)

The distinct ethnic and geographic backgrounds of Himid's mother and father

Mother was white and from England; father was of Comoran ethnicity from Zanzibar

The childhood tragedy that forced Himid's relocation to London

Her father died unexpectedly shortly after her birth

Himid's specific academic degrees and their corresponding institutions

Degree in Theatre Design (Wimbledon College of Art); MA in Cultural History (Royal College of Art)

The UK creative group Himid has prominently participated in since the 1980s

The Black British Art Movement

The specific objective of the Black British Art Movement

Pushed for more visibility and opportunity for contemporary artists with ancestry from Africa and the Caribbean

The name, location, and operational timeline of the gallery founded by Himid

The Elbow Room in London; operated between 1986 and 1990 to exhibit Black and Asian artists

Himid's signature stylistic medium/hallmark used alongside brightly colored paintings

Large-scale installations featuring painted cutouts of figures deployed with satirical humor

The year Himid won the Turner Prize, the titles of her two featured exhibitions, and her historical milestone

2017; Navigation Charts and Invisible Strategies; the first woman of African descent to win the award

The execution year and primary subjects of Between the Two my Heart is Balanced

1991; depicts two Black women in a boat speeding through choppy seas

The formal focus of the painting's simplified style rather than naturalistic representation

Colors, shapes, and the textures of the brushwork

The physical actions performed by the two figures in the boat

The right figure juggles two blue shapes while both rip up maps and cast fragments into the waves

The visual description of the left figure's profile and what historical artwork it resembles

An elongated head wrap causing her profile to resemble an ancient Egyptian wall relief

The four specific colors making up the thick, horizontal stripes on the left

Ochre, dark red, black, and blue green

The conceptual meaning behind the women tossing their navigational guides away

Charting a perilous but exhilarating journey across unknown depths, discarding Western narratives of exploration

The three potential meanings behind the painting's title

1. The two women in the boat 2. The two sides of Himid's family heritage 3. The two homelands she feels allegiance to (Britain and Zanzibar)

The real-life identities of the two models the figures are based upon

Lubaina Himid and her partner at the time, Maud Sulter

The French artist, title, and year of the 19th-century painting that directly inspired Himid's composition

James Tissot; Portsmouth Dockyard; 1877

The three specific characters seated at the rear of the boat in Tissot's original work

A Highland soldier positioned between two fashionably dressed women

The three simultaneous interpretations of the horizontal lines that Himid used to replace Tissot's male figure

A stack of maps, a length of brightly colored fabric, or the wake left by the passing boat

The professional background of Himid's mother referenced by the fabric interpretation

She was a textile designer

The psychological consequence of removing the male figure from the boat scene

The women are no longer prompted to rivalry or competition and are free to explore contented companionship or love

Himid's exact quote explaining the paradox of Black visibility in Western society

"The point I am often exploring vis-à-vis the Black experience is that of being so visible and different in the white Western everyday yet so very invisible and disregarded in the cultural, political or economic record or history."

The three other contemporary artists noted for using similar subversion tactics in British art

Sculptor Yinka Shonibare, painter Sonia Boyce, and graphic artist Barbara Walker

The two iconic, elite 18th-century English artworks whose worlds relied heavily on the invisible operation of global capital

Thomas Gainsborough's Mr. and Mrs. Andrews (1749) and William Hogarth's series Marriage A-la-Mode (c. 1743)

The economic system that generated the invisible global capital hidden in historic British masterworks

The transatlantic slave trade (the circulation of people)

The two quotes from curators/artists describing the depiction of the sea in Himid's art

Omar Kholeif: An "immeasurable expanse of water" Hannah Black: A "frightening sea"

The visual absence that directly troubles the calm expressions on the women's faces

The boat shows no oars or tiller to propel or steer, creating a threat of capsizing

The classic 1840 British Romantic painting by J.M.W. Turner recalled by Black figures in a tempestuous sea

The Slave Ship

Himid's exact written caption query for Between the Two my Heart is Balanced

"How many died crossing the water?"

The title, year, and mechanics of Himid's 2004 cutout installation giving backstories to enslaved individuals

Naming the Money; featured life-sized cutout figures to represent those living unrepresented lives

The titles, artists, and mediums of two other major British works reflecting on the legacy of the slave trade

1. Keith Piper's Go West Young Man (1987) [Graphic art] 2. John Akomfrah's Vertigo Sea (2015) [Video project]

The name of the ship and the specific year its arrival initiated the "Windrush era" of mass Caribbean immigration

HMT Empire Windrush; 1948

The ominous title of the broader artwork series that contains Between the Two my Heart is Balanced

The "Revenge" series

Himid's exact quote regarding the affirmative meaning behind her "Revenge" series title

"their revenge is that they are still here, they are still artists, that their creativity is still… committed to change, to change for the good."

The specific geographic setting of the pleasure boat in James Tissot's original Portsmouth Dockyard

A busy English harbor

The specific regional demographic group whose shared British experiences are represented by The Singh Twins

Britons of Indian, Bengali, and Pakistani heritages