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'Whose Housework, Whose Artwork? The Voice of Domestic Workers’
No full textThe first volume in the new ‘Plural’ series, this publication seeks to critically dissect the term “activism”, which today seems to have become a catchword for any woman’s empowerment through the arts, and reveal the diversity of practices and realities that it comprises. Presenting a range of critical insights, perspectives, and practices from artists, activists, and academics, it reflects on the role of feminist interventions in the field of contemporary art, the public sphere, and politics. In the process, it touches upon broader questions of cultural difference, history, class, economic standing, ecological issues, and sexual orientation, as well as the ways in which these intersect
Materialising dissent: Pussy Riot’s balaclavas, material culture and feminist agency
Full text linkThis chapter explores the specific material qualities of the balaclavas made and worn by the Russian feminist performance group Pussy Riot. The balaclavas are analysed as objects of activist feminist materiality with reference to the ‘feminine’ qualities of the materiality itself (tights), also to processes of material engagement (hasty hacking, the home made object), both materiality and making seen here as the manifestation of feminist dissent. In the essay What is a Feminist Object? Feminist Material Culture and the Making of the Activist Object, (2016) Alison Bartlett and Margaret Henderson propose a feminist system of objects within which the material culture of feminist activism is defined by the primacy of the object’s political agency. Bartlett and Henderson identify four major categories of feminist objects: corporeal things, world-making things, knowledge and communicative things, and protest things. I examine Pussy Riot’s balaclavas in relation to the identificatory criteria of each of these categories, as such presenting the balaclavas as objects of material culture with feminist agency
On Fictional Activism: Exploring The Film Trilogy Dissolution (2019)
No full textThis chapter explores my film trilogy Dissolution (2019), which includes the films House of Women (2017), The Fruit is There to be Eaten (2018) and The Eternal Return (2019) and my filmmaking methodology "Fictional Activism". Delving into politics of representation and race, which inform my art practice, the text offers alternative strategies to filmmaking to re-engage with the image-violence of imperial legacies in cinema and the moving image. This chapter forms the research base for developing an expanded artist’s monograph on Fictional Activism (2025), for which I have applied for major funding to research and produce.
‘Feminisms’ (as a plural) is widely used today to draw attention to inequalities and to critique the status quo in limiting women’s roles/ positions/ lives/ potential. Art can offer a vision of future worlds, manifesting a desire for projecting change, playing with existing realities and conventions. Feminist Art Artivism and Activism, two sides of the same coin, arise where art approaches, develops or transforms into activism and vice versa, where activisms become artivisms. In both, art emerges in differing forms of political intervention, at both an individual, shared or collective level, apparent in actions, events, identifications and practices.
This volume wants to reveal the diversity of these practices and realities. Representing a range of critical insights, perspectives and practices from artists, activists, curators, academics and writers, it explores and reflects on the enormous variety of feminist interventions in the field of contemporary art, social processes, the public sphere and politics. In doing so, Feminist Art Activisms and Artivisms touches upon broader questions of cultural difference, history, class, economic position, ecology, politics, sexual orientation, and the ways in which these intersect.
This is the first volume in the new PLURAL series. The series focuses on how the intersections between identity, power, representation and emancipation, play out in the arts and in cultural practices. The volumes in this series aim to do justice to the plurality of voices, experiences and perspectives in society and in the arts and to address the history and present and future meaning of these positions and their interrelations. PLURAL brings together new and critical insights from artists, arts professionals, activists, cultural and social researchers, journalists and theorists
A Particular Reality (APR): Developing a Nuanced Pedagogical Methodology in Practice-Based Higher Education Courses
No full textA Particular Reality (APR): Developing a Nuanced Pedagogical Methodology in Practice-Based Higher Education Courses was developed from my conference paper on Pedagogies at Middlesex University (2022). This essay details the innovative pedagogical strategies developed within APR to support BIPoC/Intersectional students on practice-based courses to develop strategies in non-hierarchal, co-learning
Equal but different: questions about rights, statistics and feminist strageties for change
Full text linkKaty DeepwellEqual but different: Questions about Rights, Statistics, and Feminist Strategies for Change One of the central paradoxes in feminist theory is the apparently double (and simultaneous) claim of feminism(s) for both equality and difference. How can women be both different and equal? How can we measure when, where, and how “equality” has been achieved: Is it a question of how we discuss rights, how we compile statistics, or the methods we apply to assess differences among women and between men and women? These seemingly simple questions about equality and difference appear to pull feminism in different directions, but they actually represent some of the more complex politics, aims, and strategies at work within feminist debates. This essay explores how these debates are manifest in assessments of the current position of women artists, attempts to measure their progress, and what constitutes a certain “avant-garde” contemporary feminist art (although this author takes it as a given that not all art produced by women today is feminist)
Reflections on textile and memory. The invisible hand and women's work: Dean Castle Textile Team at the Dick Institute, Kilmarnock
No full textA reflection on the 'Textile and Memory' project, published as a book section in Deepwell, Katy , ed. (2020) Feminist Art Activisms and Artivisms. Plural . Valiz, Amsterdam, The Netherlands. ISBN 9789492095725
Why feminist stories matter: Katy Deepwell interviews Clare Hemmings
No full textClare Hemmings is Professor of Feminist Theory and Director of the Gender Institute at the London School of Economics. She is the author of Why Stories Matter: The Political Grammar of Feminist Theory (Duke University Press, 2011). For this volume, Katy Deepwell interviewed her about her views on feminist historiography and feminist theory, which Hemmings has defined in terms of three dominant narratives about the direction of feminism’s past, present and future
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