Lost and Found: Material Precarity in British Sculpture by Women, 1978-1993

失而复得：英国女性雕塑中的物质匮乏，1978-1993

• 批准号: 2586266
• 金额: --
• 依托单位: University of Birmingham
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2586266
• 关键词: Lost; Found; Material; Precarity; British

The late 1970s witnessed significant gender exclusion in the art world despite advancing feminist actions across society. Many art schools endorsed the sleeves-rolled-up physicality of welding combined with a combative approach to 'crit' processes: entrenched methods established during Anthony Caro's tenure at St Martin's School of Art. Exhibition opportunities for women were scarce (Royal Academy 1972), (Tucker, Hayward Gallery 1975), (Compton, Hayward Gallery 1977). By 1993 a growing number of women were receiving international attention. In 1991, Cornelia Parker exploded a garden shed, suspending the charred fragments from the ceiling and Anya Gallaccio left hundreds of gerberas to rot in Karsten Schubert's gallery window. Rachel Whiteread became the first woman to win the Turner Prize in 1993 for 'House' (1993, destroyed 1994): the cast interior of a London home. I will map these transformative years, pinpointing the actions and breakthroughs that facilitated this shift from substantial exclusion to cautious optimism.The research will draw on the methodologies of feminist art history including the reinstatement of artists erased from the literature (Nochlin 1971; Parker, Pollock 1978; Tickner 2002). International perspectives, i.e. Lucy Lippard's exploration of sculptural dematerialisation (1973) and her work on Eva Hesse (1976), will be crucial for tracing post-minimal contexts and wider influences. The impact of philosophical texts will also be considered, from the legacies of Gaston Bachelard's work (1957), to Luce Irigaray's feminist enquiry into language (1974) and Julia Kristeva's visceral treatise on abjection (1980). Although significant work had been achieved in mapping sculpture by women pre-1950 (Rose 2020), there are few accounts of subsequent practice beyond monographic assessments of 'household' names.The 'Breaking the Mould' exhibition is likely to spark considerable interest making now the moment to lead this research. This work is also timely given current efforts to decolonise art history. My prediction is that the period 1978-93 witnessed the first asserted wave of institutional decolonisation within the British art establishment. My core aim, however, is to unpick the threads that tie sculptural practice to an insistent white, male, heteronormative mode of production. I will develop a substantial counter-narrative to dislodge the discourses on British sculpture which foreground male productivity (Tucker 1977, Nairne/Serota 1981, Curtis/Wilson 2011). In loosening this stranglehold, I intend to make space for a much richer and more dynamic set of circumstances. This powerful intervention holds substantial potential to inform and promote the wider study of post-war sculpture by women.

尽管在社会上推动了女权主义行动，但1970年代后期仍在艺术界看到了重大的性别排斥。许多艺术学校认可焊接袖子的身体，并结合了“击球”过程的好斗方法：在圣马丁艺术学院的安东尼·卡罗（Anthony Caro）任职期间建立的根深蒂固的方法。妇女的展览机会是稀缺的（皇家学院，1972年），（塔克，海沃德画廊，1975年），（康普顿，海沃德画廊，1977年）。到1993年，越来越多的妇女受到国际关注。 1991年，Cornelia Parker爆炸了一个花园棚，悬挂了天花板上的烧焦碎片，Anya Gallaccio留下了数百个Gerberas，在Karsten Schubert的画廊窗口中腐烂。雷切尔·怀特雷德（Rachel Whiteread）成为1993年赢得特纳奖（Turner）奖的第一位女士（1993年，摧毁了1994年）：伦敦房屋的铸造内部。我将绘制这些变革的年份，以指出从实质性排斥转变为谨慎的乐观的促进的行动和突破。这项研究将借鉴女权主义艺术史的方法论，包括恢复从文学中删除的艺术家（Nochlin 1971； Parker，Pollock，Pollock，Pollock，Pollock，Pollock，Pollock，Pollock，Pollock，Pollock） 1978; Tickner 2002）。国际观点，即露西·利帕德（Lucy Lippard）对雕塑魔鬼化的探索（1973）以及她对伊娃·黑森（Eva Hesse）（1976）的工作，对于追踪最小后环境和更广泛的影响至关重要。从加斯顿·巴切拉德（Gaston Bachelard）作品的遗产（1957年）到卢斯·艾里加里（Luce Irigaray）对语言的女权主义探究（1974）和朱莉娅·克里斯蒂娃（Julia Kristeva）的《 Abjection》（1980年），还将考虑哲学文本的影响。尽管1950年以前的女性（Rose 2020）在映射雕塑方面已经实现了重大的工作，但除了对“家用”名称的专着评估之外，几乎没有关于随后的练习的记载。“破坏霉菌”展览可能会引起广泛的兴趣。领导这项研究的时刻。鉴于目前为非殖民化艺术史而努力，这项工作也是及时的。我的预测是，1978 - 93年的时期见证了英国艺术机构中第一浪的机构非殖民化浪潮。但是，我的核心目的是取消将雕塑练习与坚持的白色，男性，异规范生产方式联系起来的线程。我将开发出一种大量的反叙事，以消除对英国雕塑的论述，而英国雕塑则是男性生产力（Tucker 1977，Nairne/Serota 1981，Curtis/Wilson 2011）。在放松这个勒索的过程中，我打算为一个更丰富，更具动态的情况腾出空间。这种强大的干预措施具有巨大的潜力，可以为战后雕塑的更广泛研究提供信息。