Circulations and Co-operations: Art, Feminism and film in 1960s and 1970s London
- Submitting institution
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The University of Westminster
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- qqw73
- Type
- C - Chapter in book
- DOI
-
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- Book title
- London Art Worlds: Mobile, Contingent and Ephemeral Networks, 1960-1980
- Publisher
- Pennsylvania State University Press
- ISBN
- 9780271078533
- Open access status
- Out of scope for open access requirements
- Month of publication
- December
- Year of publication
- 2017
- URL
-
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- This chapter examines the conditions for women's film and video practices in London in the early years of the Women's Movement in the UK, which coincided with a growing culture of experimental film and video culture. Reynolds’s research focuses on the early practices and experience of seminal artists such as Sally Potter, Annabel Nicolson, Carolee Schneemann, and Barbara Schwartz, situating them in the counter-cultural context of the London Film-makers' Co-operative and the Arts Lab. Through the synthesis of primary materials such as journals, publicity ephemera, interviews and archival research, Reynolds posits new perspectives about the impact of feminism on women artists working with film in London during this period. Her findings demonstrate that Potter, Nicolson and their peers continued to experience a 'double bind' of covert discrimination for their work, from male contemporaries in experimental film and visual arts communities alike, whilst not yet identifying fully with the campaigning activities of the nascent Women's Liberation movement.
The chapter contributes new insights to an emerging field of research and discourse within British art historical and experimental film scholarship, concerning the international art and film networks active in London in the 1960s and 1970s. The peer reviewed anthology of essays, of which this chapter is part, develops from the papers given at the symposium, 'London Art World: Mobile, Contingent and Ephemeral Networks, 1960-1980' at York University in November 2013. The chapter is part of Reynolds’s broader research activities on feminist art and film practices in Britain during the post-war period. On the strength of her research, she has been invited to disseminate her work as a member of the AHRC network Film and Other Arts, Intermediality, Medium Specificity, Creativity International Research Network (2016-2018).
- Author contribution statement
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- Non-English
- No
- English abstract
- -
