Some seats are still available at the ICA/n.paradoxa Feminist Art Seminars on 18 May and 15 June 2011, led and organised by Katy Deepwell, Editor of n.paradoxa (www.ktpress.co.uk)
Tickets for these events are £5 and can be booked online at www.ica.org.uk
or through the ICA Box Office +44 (0)20 7930 3647
Venue: Cinema 2, Institute of Contemporary Arts, The Mall, London SW1Y 5AH
Wednesday 18 May 2-4 pm – Eclipsing the Eighties
All too frequently today feminism in the visual arts is constructed as about the legacy of the 1970s and how younger generations of the artists in the 1990s or in the 2000s have dealt with this legacy. What were the dominant debates in feminism in the 1980s as it was absorbed or dissolved in the pluralism of the postmodern art scene and as feminism entered the academy? What were the challenges, often posed through identity politics, around inclusions/exclusions of black women artists, women of colour or lesbian women artists and as post-colonial critiques developed? What happened to those artists with strong feminist art practices who emerged in the 1980s? Mira Schor has called this group: the 2.5 generation, the group between those represented in either WACK! (2007) (art from the 1960s and 1970s) and Global Feminisms (2007) (artists born after 1960). What happened to feminism in the 1980s as women artists entered the mainstream, and as WAC and the Guerrilla Girls emerged as “new” tactics of dissent?
Wednesday 15 June 2-4 pm – Genealogies or cartographies of feminist art
Feminist art practices have a 40 year history. How we speak about this history will define how we understand these practices and feminisms’ contributions to art either in terms of a movement, a radical politics or an ongoing problematic. What frameworks do we routinely use to describe the multiplicity of strategies, the shifts in emphasis over time, the variety of art forms and the global dimensions of this history and how do these constrain or liberate how we think about feminisms today? This seminar will look at some key examples of these frameworks – generational/geo-political, post-colonial, post-postmodern, third world feminist as well as into new critiques of the glosses/citation practices feminists themselves have used to describe progress, loss and return in the narratives of feminism (defined by Claire Hemmings, 2011).
If you haven’t already seen it: n.paradoxa ‘Guide to Feminist Art, Art history and Criticism’ is now available as a PDF file at http://www.ktpress.co.uk/nparadoxaissue21.pdf This document might prove a useful starting point for a discussion with your students or for a very introductory course or class.
Editor of n.paradoxa
38 Bellot St,
SE10 0AQ, UK
Next volumes of n.paradoxa: Bio-politics (July 2011); Trans-Asia (Jan 2012).