I said I had finished Aunt Joan's sampler and was starting the new body for work for the cleaners at Liverpool St Station. I showed Imogen the completed sampler and the new artwork, via my phone. I need to get the Ethics form done for the proposal for the cleaners.
Look up Orlan - performance art and cleaners/cleaning.
Mierle Laderman Ukeles.
I showed my writing on the history of samplers, working into modern samplers that I like - all with strong narrative about the maker's life.
I said I was doing 5 x 2 hour classes about Women at the National Portrait Gallery. So far it's been Queen Elizabeth I, other queens and Mary Beale. I suspect the women featured will all fit with masculinist criteria, as they will be powerful, or writers, surgeons or have some other skill valued by men. I am going to Hackney Museum today for the PV of 100 years of Women's Activism, and it will be interesting to see what the values behind the activism are. Will they be masculinist or not?
We had a debate about the people whose work I find interesting. Grayson Perry for his ability to convey a narrative about people without pulling his punches; Caren Garfen for her comment on women and eating disorders; Brendan Ahearn for his comment about experiences of being a gay man in the USA during the HIV epidemic; Andrea Deszo for waspish comments about her mother; Cornelia Parker for her inclusion of prisoners as stitchers for the Wikipedia Magna Carta stitchery. I've seen Miriam Schapiro's work at New Hall College and it leaves me cold - but Imogen said it was the catalyst for the appreciation of domestic women's art and has led to the huge Fibre Arts interest in the USA. Likewise for Judy Chicago, I've seen The Dinner Party at Brooklyn Museum. I think its interpretation is directed at a US audience and I think she ought to have acknowledged and named her skilled workers; but what is interesting is how this piece changed the direction of women's art in the US.
Look at modern artists. How is each piece placed in their oeuvre? What is the back story/social history? What are the contemporary events and issues they address? Why do I buy into the narrative?
Idea - do this for Grayson Perry; Caren Garfen; Cornelia Parker; (UK)
Brendan Ahearn; Andrea Deszo; Miriam Schapiro; Judy Chicago (US)
Read Mikel Dufrenne The World of the Aesthetic Object in The Continental Reader.
Writing:
Introduction - covers purpose, and backstory. 2,000 words
Chapter 1 7,000 words
Background - Why and rationale
Ideas about feminism - differences between UK and US.
Social change -v- art
Use of art to comment on social change
Sampler and narrative
Broad social/political/personal
Chapter 2 7,000 words
Contemporary issues dealing with how my work fits
Chapter 3 7,000 words
My actions and explain what and why and compare to others.
Reflection - institutionalisation and power.
Literature review is incorporated in Chapters 1 and 3.
Conclusion 2,000 words
__________
25,000 words
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