1,720,984 research outputs found
Introduction
No full textDuring the 1970s, adding 'women's' to 'art' was a powerfully political act. Fuelled by the momentum of the women's liberation movement, artists, art historians, critics and curators began to explore the women's art practice, as distinct from men's, and to challenge its invisibility in the established art world and historical canon. In the 1980s, they continued to creatively critique representations of female sexuality, and in the 1990s, some began to embrace the 'post-feminist' idea of difference and the performance of gender. Throughout this pivotal period, the MAKE magazine offered a unique platform for academics, artists and arts professionals to critically engage with women's art. Though the need to talk about 'women's art' seemed to lose some of its political urgency in the early 2000s, many artists, art historians and art students are now once again explicitly engaging with feminist art histories and art practices as possible models and precedents for resistance. Now is the time to revisit the past, in order to understand and galvanise the energy of the present.Gathering together the work of eminent writers such as Griselda Pollock and Marina Warner, on celebrated artists such as Helen Chadwick, Sarah Lucas and The Guerrilla Girls, this unparalleled anthology of material from the MAKE archive allows us to trace the lineages and links between then and now.
Maria Walsh and Mo Throp wrote the introductory chapter and also edited this book
The impenetrable power of the phallic Matron: the Sarah Palin syndrome
No full textA performative event with 25 participating artists, including students. Chelsea College of Art and Design, Green Room
Too Much of a Good Thing.
Full text linkCritical review of exhibition at the Serpentine Gallery, Londo
Enjoy your Alienation!
No full textConsiders the work of several young female British artists and focuses on their approaches to the idea of pleasure. The authors outline the key elements of recent feminist discourse on pleasure and cite the British artists Helen Chadwick, Kate Smith and Lucy Gunning as women whose acknowledged agenda includes the exploration of pleasure via non-linguistic means. They describe works by Gillian Wearing, Tracey Emin, and Sarah Lucas and comment on the writer Slavoj Zizek's theories of enjoyment, identity and representation. They refer to the abandonment of feminist politics and critical theory by the new generation of artists, and comment on the importance of defining the processes of representation and identity
Cosey Complex Reader
No full textMo Throp contributed to this publication.
COSEY COMPLEX Reader was produced as a discursive intervention produced in the ICA's Reading Room in the weeks leading up to COSEY COMPLEX at ICA, London on 27 March 2010
Configuring Desire
No full textConfiguring Desire was a presentation by Mo Throp to the BreadMatters III Forum, in West Cork, Ireland, as part of the Bread Matters series.
BreadMatters is a platform for exchange and collaboration, a medium for bringing together professionals from various disciplines, communities and cultural backgrounds to question and debate across a range of disciplines, focusing on contemporary issues such as migration and emigration; the construction of identity; power, globalization and equality; historical legacy; ritual and symbolism in contemporary life; connectedness and communion. BreadMatters thus explores the social, cultural, historical, philosophical, political, and theological issues around bread
Mermaid
No full textMermaid is a video work, exploring the relation between the human/animal/machine. It proposes that this relationship can be understood as multiple. The mermaid in this image (as artificial) is in morphing and conjoining with various animal/fish forms not in order to secure meaning that characterized animal symbolism in the 19th century, but ‘serves to resist or displace fixed meaning’ as Steve Baker puts it in his book ‘The Postmodern Animal’. The work does not merely represent animal forms but uses the animal as a creative space to generate hybrid sensibilities in-between the human and the animal. These in-between sensibilities are not imitative, but sites of ambiguity generating empathy and affect. The encounter between the human and animal form in this video allow for ‘non-human, non-pedestrian movement in the strange imaginative spaces of the animal’ (Baker) which transforms unitary identity and dismantles the perspective of human mastery over the animal. This video aims therefore to produce for the viewer a movement towards the animal in a more empathetic mode and at the same time provoke them to question the boundaries that constitute the relations between one form and another.
This research is informed by the process described by Gilles Deleuze and Felix Guattari as the ‘becoming-animal’. They state that a ‘becoming’ is neither one nor two, nor the relation of the two; it is the in-between (Deleuze & Guattari, ‘A Thousand Plateaus, Capitalism and Schizophrenia’). Here Throp describes an mythical underwater world as fluid, charming but disturbing.
This work is part of Mo Throp's ongoing research into subjectivity and identity informed by feminist theory, particularly that of Luce Irigaray
To Demand & To Receive
No full textA performative presentation of text and video which addresses the issues of power, equality, desire and the construction of identity. The text reads like a litany, a poetic address to the audience, in order to explore demands for satisfaction as both psychic and political in construct
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