To Do List for the exhibition

Get fabric for dress/waistcoat printed - ordered 23/7
Prepare introductory talk for PV - done 23/7
Write artist statements - started 23/7 Done 7/8
Make list of artworks - done 23/7
Contact Radio 4 Woman's Hour - done 24/7 No response
Get written confirmation of revised dates from RAWLabs - chase 24/7 done 26/7
Order more business cards - done 24/7
Get new printer/scanner - done 25/7
Scan samplers for publicity requirements - done 25/7
Chase Darren for publicity material once I have confirmation of dates - done 26/7
Make list of tools/equipment to set up show - started 27/7
Make full list of invitees - started 27/7. Done 7/8
Get website updated - done 29/7
Decide on how to stage sketchbooks - trestles, no need for making a plinth.  29/7
Get plinths made up - requested from Colin 28/7
Dress started - cut out and overlocked. 29/7
Dress made - awaiting bottom panel. 30/7 Finished 7/8
Poster designed - to final edits - 1/8
Get dress made - done 2/8
Send publicity material out to WI branches, all at art class, and others on my list - done 6/8
Finish Manual Worker Woman sampler. Done 6/8
Work out how to transport artwork (parking?) - 5 spaces available at RAWLabs.  Jim to drive stuff down, unload and return.

Get pattern for Darren's waistcoat
Get waistcoat made

Chase invoice for gallery

Make up artist statements on foam board.

Contact Essex Radio

Plan gallery layout - plinths, seating, tables

Contact RAWLabs coffee/chocolate tenants re catering requirements.

On the Way to Poetry Class

I arrived in London over an hour early for my poetry class.  I saw Mavis, the Liverpool Street toilet cleaner on the concourse, and asked to speak to Samuel, her supervisor.

Samuel was not on duty, but Robert was.  I told Robert about my art show, and showed him a photo of my sampler - and when he read the Twi script on it, he said he had read it before - he was the person who had translated it from English to Twi.  He was delighted at how it had been used.  I told Robert that when I floated the idea with Samuel he had hugged me, and when I met Richard the lead manager, he had given permission for interviews with Gifti, Mavis, and Sarpong.

I explained that I was soon to have my art show and that I would like to invite Gifti, Mavis and Sarpong to attend.  Robert was very enthusiastic about this.  I explained it gave the chance to look at the art, drink coffee/eat chocolate, and have a chat with whoever was there.  A bit of a celebration.  I said I would also try to get the audience, at the end of my introductory talk, to say 'Medasi' - thank you to the cleaners, and he really bought into this idea!

I explained my recent upheaval with altered dates, and said once I had the details confirmed, I would send the publicity.

So it looks like they will attend!

Poetry class at City Lit

I think poetry could be my next addition to my sketchbooks.  I've only written one poem, inspired by a competition entry for sketchbooks, that required an Oulipo poem. This is a poem, one word on each line, but with increasing numbers of letters in the words.  When added to my sketchbook it made it really powerful.  So I needed to find out more about poetry.

I found a poetry introduction day class at City Lit and it met my needs.  We covered what poetry is - an expressive form of words; invocation of images; or a stock cube of language (condensed and saying a lot in few words); a song without music (makes poetry more accessible); gives heightened status (excluding???).  Some definitions of words: Volta - a turn; caesurae - a break, a pause for breathing; anaphora - repetition; onomatopoeia - a word that sounds like what it means eg pop.

We looked at various poetic forms: free verse; blackout; concrete; acrostic; Haiku; couplets; quatrains; sonnets; villanelles, and had a go at writing something in many of the forms.

Free Verse

A bike ride to A&E

I rode over a squirrel and it scratched me.
I rang 111.
"Wash it in soapy water.  Go to A&E within an hour!"
I rode past a gardener.
"Can I use your bathroom? - I've been scratched by a squirrel."
She gave me a new bar of soap.
A&E were expecting me!
They mentioned sepsis.
I only waited 3 hours (not 4!)
Tetanus jab, antibiotics and a sore arm for a week.
Thank you A&E.

Blackout
Taken from tutor's instruction sheet with quote from Luke 23:34-43.

A Poet

Open the door
Verse
Share
Living
Doing
Watched
Saved
Offering
Deserve paradise!

Concrete   These poems are written in a specific shape, where the shape adds to the interpretation of the writing.  I drew round my hand, and wrote within the shape.

My hands are how I make my art.
They are so precious to me.
But when I ride my bike, I do not repair my own punctures.
Puncture repairs are too hard on my hands for me to damage them,
prising off types, getting covered in oil and dirt.
My solution to a tyre puncture,
is to give the bike (or the problem) to my husband
so he can repair it.
While I make him a cake.
Which he enjoys.
And we each use our optimal skills.

Cathy MacTaggart, "My Hands"

Acrostic

Theme of where we live

Bike ride to Maldon

Riding downhill

Across the railway lines

Into Kelvedon

Next up the hill

Through Tiptree

Riding the flatlands to the

Estuary at Osea

Easy Riding.

Haiku

5-7-5 syllables. About nature and zen moments

Bike ride in winter

Careful in the ice and snow

Do not slip or slide

Bike ride in springtime

Cycle quickly to keep warm

Cafes need bike trade

Bike ride in summer

Essential to wear sun cream

Dry and bright and hot

Bike ride in autumn

Gravel and leaves - I can skid

Rising mist on fields

Couplets

Purely for pleasure I ride my Bike
Most of the time I go where I like
Breathing hard as I warm up slowly
Fell off hard, now my knee is hole-y.
Brush off gravel, spit on the graze
This slight slip-up won't leave me fazed.
Pedalling on, attacking the hill
Ride the chicane, precluding a spill.
Drop down the gears to maintain cadence
Spin, spin, and spin, this is sport science.
Cresting the hill and freewheeling down
Ecstatically laughing, just like a clown.
Desperate with thirst, I spy a tea shop
Perfectly timed, as I'm ready to drop
Search for the padlock, remember the number
Spin the digits and run to the counter
"Your largest scone, and tea on the side
With extra hot water as we are so dried"
Refreshed and renewed we're back on our bikes
Next time we go out - could use our trikes?

There were about 12 class members, all women, from early 20s to 60ish.  I was surprised at how many young women were there.  Quite a few had done an English degree, but most claimed not to have done poetry there.  Most (not all) were confident enough to read their work out loud, and I was amazed at the power of what could be said, using comparatively few words.  Quite a few of the youngsters were working in marketing and disliked the quality of writing by journalists and copy writers, yet were aware that the calibre of output was due to restricted word count, soundbites and clickbait.  One said she was trying to build confidence to resign, go freelance and actually start introducing herself as "I am a writer".    I so understood this, as I spent 10 years saying "I am a student", and only recently have been able to say "I am an artist".

We went round the table for participants to read out a poem they had written - either in class or one they had brought in.  Oh My Word!  The power of what was read out.  Very diverse.  One youngster read a short poem where a lecturer told her she was toxic, and then tried to make a pass at her!  I bet that really happened!  Another older lady (who said she was depressive - which many of the class were) read a poignant poem written to her mother when she was dying. So impressively articulate!

My poems were all at the lighter end of the scale.  But when it was my turn, I got out my Toilet Cleaners sketchbook, explained I had come to poetry because of an art competition entry, where I learned what an Oulipo poem was, and had decided to find out about more forms of poetry.  I explained how I had discovered that poetic words made the art more powerful.  I showed the sketchbook, and read my poem.  It was relieving and encouraging that the class gave it a good reception.  I received feedback that I had turned it into a performance (one class member was a Performing Arts teacher - who gave us the definition "a poem is a song without music").  This made me think about my exhibition, and the Private View, when I will stand up and give an introduction to my work.  I will do the usual thanks to my supporters and lecturers, but I also want to focus on one body of work - Gifti, Mavis and Sarpong.  Based on the feedback from class, I will read the Oulipo poem, which ends I, We, Can, Will, Thank Toilet Cleaners. Then go on to explain that Medasi is the Twi word for thank you, and get the audience to say, with me, "Medasi" to Gifti, Mavis and Sarpong, for the work they do.

This class gave me exactly what I needed.

Bombshell - change of exhibition dates.

Just had an email from RAWlabs.  They need to change the dates of my exhibition, from 13-15 September to 23-25 August, ie the weekend of the August Bank Holiday.

Have emailed Imogen, who says run with it.  She can't make it as she will be gallivanting in the USA.  Lucky her!  We think the assessors will be able to do it but not sure yet - but I have to run with it.

Actually I am quite glad the date has been brought forward.  I'm ready to get on with it.  There is just a little work left on the Manual Woman sampler, but other than that, all the artwork is done.  I hope Darren can change the dates - he's waiting on a date for his Progress Review.

I need to make a plan for everything that needs to be done to hit the new date.

More than Muses - Women Make Sculpture

5/7/19. Claire Mander, Director, National Museum of Women in Arts.  Washington

Men disappear, ie do not attend, women's events.  Washington NMWA - small.  Started in 1981 by Wilhelmina and Wallace Holladay, showing their private collection from 1987 by opening their home.  In 1970s there was little information about practising women artists.  It was the only museum for women in the arts.

Advocates for better representation of women by

- leadership, communication, engagement, and social change
- exchange of ideas and art
- addresses gender imbalance - seeks out unknown artists and great women today.  Renaissance to date.
- Challenges cliches of gender and race.
- Advocacy, campaigning and research.
- Seeks other museums to pledge - commit to X works by women - change to 50% women.  Writes to museums to say thank you when they achieve it.
- Buy work by women
- museum as hub - women naturally collaborate.  Music, film, fashion, art, poetry, concerts.

Museum to feel like a home, a space to learn and be accepted.


Women's History Month - they hold an Wikipedia Edit-a-thon to rewrite entries about women artists -  in line with the wiki rules.  4000 people took part.

Seek out Women to Watch.  Look for refreshing work.

There is an organisation called UK Friends of NMWA.  They run Women to Watch; events; Whitechapel Gallery collaboration; listings; gifts to museum; Fresh Talks.

Women at the Top roundtable discussion.

Sylvie Garmenzano (dealer) Claire Mander ( curator)

Issues for women at the top of art; issues for women artists; issues for greater representation of women artists.

Issues for women at the top of art - selling - young, female dealers really have to prove themselves.  Men instantly get more social currency.  Selling often has a boozing, lad-culture - not a space for women.  Not take seriously.  Find female clients.  Self confidence is not easily accepted by others - need to build it yourself as there will be few supporters.  Build relationships by social contacts - family, friends, clothes - preamble chat.  People think she (speaker) is pushy - but would not think this of a man behaving the same.

Claire Mander.  Art historian/academician OK as woman.  Not necessarily a gender issue.  But also has been taken as the tea girl!  Commercial sales - tea, ... but drink, skirt, heels NO!    Artists more educated and open.  Less into heirarchy.  Museums - hierarchical on male terms.  This needs to be dealt with as an issue of Infrastructure - corporate, law, government.  Women's thought processes are different.

V&A funding for lack of female leaders.  Salaried staff - privileged position as not freelance.  Women in institutions to help others to rise?

Other young galleries - blue chip galleries have high prices; small galleries share the unknown, more interesting artists.

Men working in small galleries have high turnover.  (Dealer) prefers to employ women as technicians.  She has had issues with men not liking being told what to do.  When she says to hang work 'like this' she wants them to get on and do it, not suggest other ways of doing it. Expects her authority respected and work done promptly.  Women techs get on with it and get it done quicker.

The market.  Male taste in sculpture - big, stands up, male shape.   Retraining of consciousness - art codified as masculine.

Market prices - Women to buy women.  More likely from people with money.  Women  artists have different aims - not famous; work in series; under radar; content with work.  Need show in National Museum.  Maybe not a national success.  Female sculptors do not churn out lots of work; and don't forgo all for riches, fame and noteriety.  Men - judge by span of career - this is not for women.

Women working to business commission - unknown historically.  Needs a fundamental shift - women sculptors as equal.   Art critics needed to up the game of women sculptors.  Reacts with buyers.  Jennifer Higgie the only female art critic identified as writing about women.

Art communicates the lived experience.  Institutions need to consider decolonising the institution - include more women and people of colour.  Walker Gallery Liverpool is a good example.

Grayson Perry at Guildhall for City Lit Bursary Fund

Disclaimer from GP - some self-righteous know-alls may be upset by the content of this lecture (too right!!)

Divided Britain.

He learned all his important things at adult education.  Key theme for tonight - 'its all your fault!'  Looking at left and right wing politics.

Culture is upstream from Politics.  (Briebart US rightwing website).
Narcissism of small differences.  Whole lives her on the trivial.  Culture is the mythical glue that binds us together in large numbers.

Working class:
Net curtains; Fiat 500; books (left wing); iPhone

Middle class:
Stuff!  de classe! ; reusable water bottle; yoga mat; reusable tote bag.

Bowls of pebbles to show class - flash stones - hairdresser; minimalist - show home; old school - middle class; in loo - hipster; sea glass - upper class.

Value clans  - Paula Surridge.  Roots in culture, not politics.

Inverted triangle of culture

Homo sapiens
Sex
Modern western culture
National culture
Social class
Tribe
Family
Upbringing
Education.

Culture changes over time.  In 19th century, pink was for boys.  Mame Eisenhower brought in pink for girls by wearing her favourite colour a lot.

Twitter emphasises divides.  Diaphobia - fear of people who disagree with them.

The biggest divide in modern UK society is whether or not a person attended university.  Its closest correlation with the Brexit vote.  Those who attended uni, voted stay; those who did not, voted leave.

Education has been over-sold as a panacea.

GP directs 'it's all your fault' at top 20% of earners, not top 1%.  But in the Occupy protests in NY, many of the protesters were brokers, therefore in the top 20% of earners - but they were protesting against the top 1%. Metropolitan liberal elite need to be the ones to make concessions.  Adjust their view of the world. Focus on commonality.

More Than Muses - Women in Art - Herstory and Herstorians

Marcelle Joseph, Curator 28/6/19

Herstory means history from feminist or female perspective.

Worthy art - gains value and meaning - critical recognition, reviews and sales.

UK gender pay gap 77%
68% of artists at top galleries are men
65% of post graduate arts students are women
Auction houses 88% sales - men artists
Senior staff in art & design institutions 68% men.    Institutions refers to the like of Tate Modern, Chisenhale, Whitechapel.

53% of not-for-profit museum directors are women.

Solo shows 55% women.  Only 3 female Turner Prize winners.  Charlotte Prodger; Lubaina Himid, Helen Martin.  Lubaina Himid only eligible to be considered when they removed upper age limit.  And she was the first woman of colour.  Like many women she organised and curated her own exhibitions (from 1979).  In the 80s showed work by black women artists - 11 creative black women - including Sonia Boyce RA, and Claudette Johnson.  Her star ascended in 2010, made the Honours list, solo show 2013.  Not overlooked by curators or other artists, but not written about.  Celebrates black women.  Resilience and determination  of black women - undermines the patriarchal system

Venice Biennale.  36% to 50% representation of women over last 20 years.

Phyllida Barlow. Sculpture at Slade.  5 children.  Did not exhibit after her MA 1966 but taught and raised children.  Aged 66, 2010, 2 person show at Serpentine Gallery.  Then solo exhibition UK, NY and Venice Biennale.  Hepworth prize nominee.  44 years to emerge?  Why?  Large and colourful.  Menacing and playful.  Low grade materials.  (Not largely understood??)

Sothebys - 12 sales for women.

Jenny Savile - most expensive woman.  Self portrait - £8.3 million.

The only Old Masters woman in NY is Gentileschi.

In the Best Artists List for most money, Yayoi Kusama is the first woman listed, at 20th position.  Had her first solo show in 1998 aged 69, received favourable reviews by Judd.  Lots of mental illness - obsessive compulsive neurosis.

1962. Kusama created surfaces with long soft phalluses.  Accumulation No 1.  Lots of talk no purchases.  Class Oldenburg - soft sculpture 1964.  Plagiarised her idea.  When she saw his soft sculptures at his exhibition, he said 'Sorry' to her.

Aggregation 10000 boat show 1964.  Self obliteration.  Repeat wallpaper and floor paper.  Ripped off by Andy Warhol 1966 repeating wallpaper.

Venice Biennale 1966. 1973 returned to Tokyo and put herself into mental institution.

2019 Women Artist solo shows:
Lee (formerly Lena) Krasner (first since 1965)
Cindy Sherman
Tate - Women artists display
Chisenhale and Serpentine - only women shows this year.
Commercial Galleries - Hauser and Wirth Phyllida Barlow and Luchita Hurtado
Lisson Gallery - Carmen Herrara.

Rose Wylie RA.  Roy Oxley - husband died, and her career took off in 2013, now aged 83.

What holds women back?  - galleries promoted husbands; women had large families and their time was focussed on children; women given hobbyist status?  Or childless or ethnic minority so not promoted? (This needs further explanation)

Ways to address:

Women artist with children are the most disadvantaged.

- residencies to cater for artists with children by providing childcare.

Networking restricted by children.
Galleries to support mid career women with children
Art schools to employ more female art tutors to relate to student interests
Collectors to invest in excellence - it does not have a gender or race
More women decision makers.
(My addition - women to go to look at exhibitions of women artists, whether or not their work initially appeals)

What is excellence?

Women, queer, colour.
- Performative of identity politics.
- material led.
- not necessarily be beautiful.
- consider ceramic, textiles, paint
- show the artist's hand and process of making.

Look at FT and Guardian Arts pages.  Worth following.