![Untitled [Young lady points to 'Keep Britain White' graffiti at the International Personnel training centre in Balham] top image](https://framemark.vam.ac.uk/collections/2013GC9796/full/735,/0/default.jpg)
Untitled [Young lady points to 'Keep Britain White' graffiti at the International Personnel training centre in Balham]
Photograph
1974 (Photographed), 2011 (Printed)
1974 (Photographed), 2011 (Printed)
| Artist/Maker | |
| Place of origin |
Photographer Neil Kenlock (born 1950) moved to South London from Jamaica in 1963 and became determined to document black pride in the face of racial prejudice. He became the official photographer for the civil rights activists the British Black Panthers, and took photographs for the early black British newspaper, West Indian World.
Kenlock’s photojournalism for West Indian World included recording instances of racism against the black British community. The ‘keep Britain white’ graffiti in this photograph defaced the door to a training centre for black women headed by a key member of the British Black Panther movement, David Udah. To prove that the graffiti was real Kenlock asked Barbara Grey, a woman working at the centre, to be part of the photograph.
The V&A acquired ten photographs by Kenlock alongside work by his contemporaries Charlie Phillips and Armet Francis as part of the Staying Power project. Staying Power is a five year partnership between the V&A and Black Cultural Archives. The project aims to explore black British experience from the 1950s to the 1990s through photographs acquired by the V&A and oral histories conducted by Black Cultural Archives.
Kenlock’s photojournalism for West Indian World included recording instances of racism against the black British community. The ‘keep Britain white’ graffiti in this photograph defaced the door to a training centre for black women headed by a key member of the British Black Panther movement, David Udah. To prove that the graffiti was real Kenlock asked Barbara Grey, a woman working at the centre, to be part of the photograph.
The V&A acquired ten photographs by Kenlock alongside work by his contemporaries Charlie Phillips and Armet Francis as part of the Staying Power project. Staying Power is a five year partnership between the V&A and Black Cultural Archives. The project aims to explore black British experience from the 1950s to the 1990s through photographs acquired by the V&A and oral histories conducted by Black Cultural Archives.
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Object details
| Categories | |
| Object type | |
| Title | Untitled [Young lady points to 'Keep Britain White' graffiti at the International Personnel training centre in Balham] (assigned by artist) |
| Materials and techniques | Gelatin silver print |
| Brief description | Photograph by Neil Kenlock, 'Untitled [Young lady points to 'Keep Britain White' graffiti at the International Personnel training centre in Balham]', gelatin silver print, London, 1974, printed 2011 |
| Physical description | A black and white photograph of a young black woman standing in front of a doorway, pointing to graffiti on the door which reads 'KEEP BRITAIN WHITE'. She wears a long skirt and cardigan. A sign at the top of the door reads 'INTERNATIONAL PERSONNEL' with further text underneath this heading. |
| Dimensions |
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| Styles | |
| Credit line | Supported by the National Lottery Heritage Fund. |
| Object history | The V&A acquired this photograph as part of the Staying Power project. Staying Power is a five year partnership between the V&A and Black Cultural Archives. The project aims to explore black British experience from the 1950s to the 1990s through photographs acquired by the V&A and oral histories conducted by Black Cultural Archives. |
| Subjects depicted | |
| Association | |
| Summary | Photographer Neil Kenlock (born 1950) moved to South London from Jamaica in 1963 and became determined to document black pride in the face of racial prejudice. He became the official photographer for the civil rights activists the British Black Panthers, and took photographs for the early black British newspaper, West Indian World. Kenlock’s photojournalism for West Indian World included recording instances of racism against the black British community. The ‘keep Britain white’ graffiti in this photograph defaced the door to a training centre for black women headed by a key member of the British Black Panther movement, David Udah. To prove that the graffiti was real Kenlock asked Barbara Grey, a woman working at the centre, to be part of the photograph. The V&A acquired ten photographs by Kenlock alongside work by his contemporaries Charlie Phillips and Armet Francis as part of the Staying Power project. Staying Power is a five year partnership between the V&A and Black Cultural Archives. The project aims to explore black British experience from the 1950s to the 1990s through photographs acquired by the V&A and oral histories conducted by Black Cultural Archives. |
| Associated objects |
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| Collection | |
| Accession number | E217-2012 |
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| Record created | April 5, 2012 |
| Record URL |
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