All-women art spaces in Europe in the long 1970s
- Submitting institution
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Middlesex University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 1087
- Type
- B - Edited book
- DOI
-
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- Publisher
- Liverpool University Press
- ISBN
- 9781786940582
- Open access status
- -
- Month of publication
- January
- Year of publication
- 2018
- URL
-
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- Supplementary information
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- Request cross-referral to
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- 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
- No
- Additional information
- This co-edited volume contains 11 chapters on the histories of women-only artists’ exhibitions, festivals, collective art projects, groups and associations organised between 1968-1984 in Europe. Both co-editors contributed chapters as well as a joint introduction to the book. The book presents examples from 12 countries: Italy, Spain, the UK, Portugal, Austria, Poland, Denmark, Germany (East and West), the Netherlands, France and Sweden. This was a European collaboration as all were native speakers/researchers and many published in English for the first time. Katy Deepwell’s chapter considers collective actions and women artist’s groups in the UK: including the protests against Miss World, Women and Work, the Hackney Flashers, Feministo and Fenix.
The book’s focus on the collective production of women artists is intended as a correction to national art histories where these events are regarded as marginal and to accounts of feminist art history where the USA is dominant. How different initiatives engaged with feminist politics in art world contexts is explored as well as their creation of specific “heterotopias” (Michel Foucault) in relation to building diverse kinds of collaborative practices and models. The travelling views of/about feminisms are considered in connections made by women artists at international events or in exchanges. What emerged as a highly significant factor in the organisation of key feminist exhibitions was UNESCO’s Women’s Conferences, as a spur to national governments in Europe to organise or fund women’s cultural initiatives. What also emerged was how different the responses of women in each country was because of the political and art contexts within different liberal democracies, socialist states and the end of right-wing dictatorships in Spain and Portugal.
Most contributors took part in a panel organised by Agata Jakubowska at the Fourth Conference of the European Network for Avantgarde and Modernism Studies in 2014.
- Author contribution statement
- -
- Non-English
- No
- English abstract
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