Work in Progress: We Tell Ourselves Stories in Order to Live

I’m making a new work for CCA Glasgow, looking at 1970s non-sexist, multi-racial kids books made by feminist publishing collectives, particularly Lollipop Power who were in Chapel Hill in the early 70s. If everyone had been as ahead of the game as these women, maybe we wouldn’t be in the mess we’re in. They’re all nearly 70 now, and they’re still awesome. This is a back cover from The Sheep Book, by Carmen Goodyear, 1972.recycled

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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”

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

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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.

‘Mother and Child Divided’, Jennifer Thatcher

ArtMonthly_JenThatcher_JulyAug2015

Critic Jennifer Thatcher writes a feature about mothers in the UK art world in the July August 2015 issue of Art Monthly, and focuses on my projects Crib Notes and the campaign for childcare re-instatement at the RCA.

(“Mother and Child Divided,” Jennifer Thatcher, Art Monthly, 388, July-Aug 2015, pp. 11-14)

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