'Make sure you get a proper job!' Susan Merrick 'draft' presentation for AAH Conference 2022
🎞️ · 20.04.2022 · 14:03:49 ··· MiTTwoch ⭐ 1 🎬 16
📺 Susan Merrick
🎬 · 20.04.2022 · 14:03:49 ··· MiTTwoch
😎 · 03.07.2024 · 15:40:29 ··· MiTTwoch
‘Make sure you get a proper job!’
Class expectations and access: entering the art world and establishing a practice from a (personal) feminist, working class perspective.
A draft version of the presentation that I gave at the AAH conference 2022 - some small changes were made to the live presentation including adding some additional resources to the resources slide. See bottom of this info!
Presented as part of:
Identifying the Disoeuvre: artistic labour beyond the oeuvre
Convenors:
Felicity Allen, independent scholar
Althea Greenan, Goldsmiths University of London
Janice Cheddie, independent
Alexandra Kokoli, Middlesex University London
Lina Dzuverovic, Birkbeck University of London
'People positioned as marginal to art’s production have to work socially and institutionally, as well as in the studio, in order not only to make work, but to change the structures to allow their work to be recognised and critically received as art. We propose that, rather than disregarding those whose conventional oeuvre seems interrupted and inconsistent, we should look for artistic consistency in an artist’s work made in and beyond the studio, through employment at art’s institutions, or connected, for instance, to the labour of care, activism, or other social practices.
This neologism, the Disoeuvre, was first published by Felicity Allen (b.1950s) in 2016 to elucidate the art careers of women of her generation, as an exemplar for others who might identify quite differently. As a critical tool, the Disoeuvre takes account of artists’ training in adaptability and their working lives across different sites. It responds to practices encountering and persisting through ‘feminised’ labour (as maintenance or precarity), domestic instability, transience of documentation, new recognition for overlooked visual activisms and curatorial strategies, archival gaps; and is open to more.
How and where should we look to recognise and understand potential Disoeuvres? How can the Disoeuvre contribute to intersectional feminist debates? Can we identify artists’ adaptable yet consistent practices to recognise value beyond the progressive market discipline of a conventional oeuvre?' Text as presented by the AAH conference.
Additions to the slide:
Just a handful of artists!
Mona Hatoum, Stefan Szelkun, Rita Keegan, Pauline Barrie, Jo Spence, Richard Billingham, Carol Morley, Alison Marchant, Rachel Harris, Claire Barclay, Val Murray, Nil Yalter, Gen Doy, Coco Fusco, Sabrina Mahfouz and all those who contributed to her recent book Smashing It. Fox Irving and @WomenWorkingClass
Enemies of Good Art/Desperate Artwives and Procreate Project, and more (Work and platforms created by Artist Mothers)
SEARCH
KT Press
n.paradoxa
Womens Art Library (formally Womens Art Slide Library)
Working Press Archives - UCA farnham
Feminist Libraries - London
And these are just some of the UK libraries/archives - many more internationally.
Images that I include of other artists/projects and their work have been shared with permission for either this presentation or the Woman Up! podcast. Thanks to Women Picturing Revolution, Nydia Blas, Bobby Baker, Shirley Cameron, Frances Hatherley, Jodie Hawkes, Nicola Hunter.
· 20.04.2022 · 14:03:49 ··· MiTTwoch
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