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In A Time of One's Own Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists' engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined.
List of contents
Acknowledgments ix
Introduction. Anachronizing Feminism 1
1. Fans of Feminism 21
2.
Killjoy’s Kastle in London 47
3. A Time of One’s Own 67
4. A Feminist Chorus 87
5. Conversations and Constellations 109
Conclusion. Rooms of Our Own 133
Notes 151
Bibliography 179
Index 205
About the author
Catherine Grant
Summary
Catherine Grant examines how contemporary feminist artists such as Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, and Pauline Boudry and Renate Lorenz are turning to the history of feminism in the twenty-first century as a way to understand the present moment.
