Alexis Hunter
Radical Feminism in the 1970s
24 October to 24 November 2006
Monday to Saturday 10am to 5pm
Norwich School of Art & Design
Francis House, 3-7 Redwell Street
Norwich NR2 4SN
tel: 01603 756247
fax: 01603 615728
info [at] norwichgallery.co.uk
For feminist artists the personal is political was one of the most important slogans in the 1970s. Being subjective as women in our work was the bravest and most radical thing we could do at the time. This female subjectivity became the most hated aspect of our work: myself using my own hands not the hands of models; Mary Kelly using her sons diapers; Susan Hiller photographing her pregnant belly; Tina Keane making performances based on her relationship to her daughter. Although we were selected to show with male conceptual artists this gap between our subjectivity and their masculine objectivity was obvious, opening up a distinction between socio-political art and conceptual art.
It was the way conceptual art emphasised and utilised the perception of the viewer which was so useful to feminist artists. It was a way of connecting directly to other women without any of the prejudices they might have about aesthetic language and this is why artists chose documentary, popular mediums such as film, photography and performance. These mediums enabled us to find a gap in perception in which to situate our work within popular culture.
Alexis Hunter in conversation with John Roberts 1997
Alexis Hunters work will be featured along with that of Mary Kelly in the forthcoming exhibition WACK! Art and The Feminist Revolution at The Geffen Contemporary at MOCA, Los Angeles, USA 03.04.07 07.10.07.
Artists Book Alexis Hunter Radical Feminism in the 1970s
texts by Lucy Lippard and John Roberts
A4 126 pages colour perfect bound
For more information and hi res images contact Eleanor Cherry
01603 756247 e.cherry@nsad.ac.uk
Norwich Gallery
open Monday to Saturday 10 to 5
admission free
