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.

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

Advertisements

Artists’ Talk: Kim Dhillon and Andrea Francke, The Serpentine

b
Shapes, (Changing Play commission for the Serpentine, London at Portman Children’s Centre), Kim Dhillon and Andrea Francke, 2014-16

As part of our  commission with the Serpentine Galleries, Andrea Francke and I presented an artist’s talk at the gallery on 24 October 2015 which discussed the project, a partnership with the Portman’s Centre for Early Years Education, and the interrogation of early years education for a collaborative, research-based art practice.

You can watch the full talk here.

The RCA Creche, 1968-1982

1

In 1968 Jane Furst and Carolyn Lawson, two art students with children at the Royal College of Art, founded a creche in the Judo room. It grew into a full nursery, with trained staff, and was noted in the prospectus, until it was closed in 1982 during building redevelopments. Now, there is no creche, no childcare provision, and children are banned from all spaces of the college except the cafe and the public galleries, except during installation. I’ve been campaigning to re-establish childcare in the College and to change the ban on kids.

You can follow me on Twitter @ RCAkids: https://twitter.com/RCAkids