Who’s Holding the Baby: Women’s Art Collectives Past and Present, Tate Britain

The Highest Product of Capitalism (after John Heartfield) 1979 by Jo Spence 1934-1992
The Highest Product of Capitalism (after John Heartfield) 1979 Jo Spence 1934-1992 Presented by Tate Patrons 2014 http://www.tate.org.uk/art/work/P80406

I’ll be in conversation with artist Rose Gibbs at Tate Britain on Saturday 18 June, discussing the legacies of second wave feminism, labour, and care, particularly in response to the Jo Spence display as part of Conceptual Art in Britain. Event sold out, wait list being taken.

Coinciding with the Jo Spence display, artist Rose Gibbs leads a discussion drawing on the legacy of the Hackney Flashers and women’s arts collectives, past and present, considering their work in relation to women and feminised labour.

Throughout the 1970s and 1980s there were an abundance of collective activities and projects working in and across many different fields. Artist collectives provided a feminist alternative to individualistic art practice, rejecting hierarchies and promoting equal modes of exchange.

The Hackney Flashers, a collective rooted both in gender and in place, circumnavigated traditional art institutions and held exhibitions in libraries across the UK. Their question Who’s Holding the Baby? remains highly apt in the current climate.

The Highest Product of Capitalism (after John Heartfield) 1979 by Jo Spence 1934-1992
The Highest Product of Capitalism (after John Heartfield) 1979 Jo Spence 1934-1992 Presented by Tate Patrons 2014 http://www.tate.org.uk/art/work/P80406

 

 

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