From the Political to the Personal: Work and Class in 1970s British Feminist Art
From the Political to the Personal: Work and Class in 1970s British Feminist Art
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从政治到个人：20 世纪 70 年代英国女权主义艺术中的工作与阶级
DOI：
10.1093/tcbh/hwz030
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发表时间：
2020
影响因子：
0.9
通讯作者：
McLellan J
中科院分区：
文献类型：
--
作者：
McLellan J
20世纪70年代的英国女权主义艺术是如何表现工作和阶级的，这对更普遍的妇女运动有什么启示？本文讨论了艺术家的工作，包括鲍比贝克，女权主义和feministo集体，哈克尼闪光灯，和玛丽凯利。这些艺术家渴望将女权主义运动与左翼的其他斗争联系起来，因此最初被吸引去记录工人阶级妇女的有偿工作。他们表现“普通”工作生活的政治承诺往往导致长时间的研究，以及试图使创作过程和成品对新的参与者和观众开放。然而，在这一时期，发生了两个变化。首先，艺术家开始关注妇女的无报酬工作，提请注意家务工作和有报酬就业之间的紧张关系，以及缺乏解决这一问题的简单办法。其次，大多数人对艺术的力量失去了信心，艺术超越了个人和个人的表现经验。早期的政治理想主义让位于持续的自我反省，反思代表他人，特别是不同阶级背景的人的经验在智力、道德和美学上的困难。这篇文章，然后，表明，早期的英国妇女运动热衷于从事与工人阶级的经验，它这样做的方式是自我反思。最后，正是这种自我反思，以及它所产生的关于代表他人的道德、政治和美学的问题，导致了20世纪70年代后期的个人和心理转向。
How did British feminist art of the 1970s represent work and class, and what light does this shed on the women’s movement more generally? This article discusses the work of artists, including Bobby Baker, the Feministo and Fenix collectives, the Hackney Flashers, and Mary Kelly. These artists were eager to connect feminist activism to other struggles on the Left and were thus initially drawn to document working-class women’s paid work. Their political commitment to represent ‘ordinary’ working lives often led to lengthy periods of research, as well as attempts to make both the creative process and the finished product accessible to new participants and audiences. However, across this period, two changes took place. First, artists began to focus on women’s unpaid work, drawing attention to the tension between domestic work and paid employment, and the lack of easy solutions to this problem. Secondly, most lost faith in art’s power to represent the experience of work beyond the individual and the personal. Early political idealism gave way to sustained soul-searching about the intellectual, moral, and aesthetic difficulties of representing the experience of others, particularly those of a different class background. This article, then, shows that the early British women’s movement was keen to engage with working-class experience and that it did so in a way that was self-reflective. In the end, it was this self-reflection, and the questions that it generated about the morality, politics, and aesthetics of representing others, that led to the personal and psychological turn of the later 1970s.