Icarus Redeemed: Rebecca Horn (original) (raw)

The Legacy of 1970s Feminist Artistic Practices on Contemporary Activist Art

2011

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"Radical Women," Critical Perspectives on Two Landmark Exhibitions

SECAC, 2019

Two recent exhibitions, We Wanted a Revolution: Black Radical Women, 1965-85 and Radical Women: Latin American Art, 1960–1985, examined the groundbreaking contributions of Black and Latin American women to the art and political struggles of the period. However, the word “radical” present in both exhibitions’ titles has become a commonplace in recent art criticism, which may also signal the term's progressive emptying out. Has “radical” merely replaced “original” in art historians’ vocabularies as a means to contend with the significance of an artist’s practice? Or does the term respond to increasing demands for a consideration of the overlap of an artist’s work with her political engagements to measure its success? Furthermore, “radical,” despite its Latin origins linking it to the word “root,” suggests a break from convention. Does the term’s contemporary emphasis on rupture isolate the work of these women from other traditions of art-making and activism not yet written into history? This panel invites papers that deepen or expand critical discourses addressing the work of artists included in or related to either exhibition to promote a more nuanced understanding of their work and of other practices to which they may respond.

The radical gesture, feminism and performance art in the 1970s

1997

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Once More with Feeling: an abbreviated history of feminist performance art

Feminist Review, 2010

This article describes the event entitled 'Once More with Feeling' at Tate Modern on 27 June 2009, which was the culmination of the Women's Art Library/ Feminist Review Art in the Archive' bursary. The event responded to The Women's Art Library based at Goldsmiths University of London, by performing an abbreviated history of feminist performance art through playful and unorthodox reenactments of works originally created in the late 1960s to the 1990s by contemporary practitioners including Oreet Ashery, Lilibeth Cuenca Rasmussen, Caroline Smith, Katherine Araniello, Davina Drummond, Nadine Jarvis, Lucy Thane and the author. The article explains each artwork and the overarching premise of the project to not only celebrate feminist art but to locate intergenerational points of connection.

Feminism, the global art system and identity: interview with Amelia Jones

Arte & Ensaios, 2022

In this interview, art historian Amelia Jones shares reflections around the emergence of feminist art in the field of art and the system she calls Global Art, considering works that include black feminist writing in the US and indigenous feminist work. Her methodological approach to the analysis of artistic works is based on the relationship between visual culture and identity politics, including queerness.