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.

20世纪70年代末，尽管在整个社会推进女权主义行动，但艺术界仍出现了严重的性别排斥现象。许多艺术学校都认可焊接的袖子卷起的物理性，并结合对“临界”过程的好斗方法：安东尼·卡罗在圣马丁艺术学院任职期间建立的根深蒂固的方法。女性的展览机会很少（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，科尔内利亚帕克炸毁了一个花园小屋，把烧焦的碎片挂在天花板上，安雅·格莱西奥在卡斯滕·舒伯特的画廊窗户上留下了数百棵非洲菊。1993年，雷切尔·怀特里德凭借《房子》（1993年，1994年被毁）成为第一位获得特纳奖的女性：这是一座伦敦住宅的内部装饰。我将描绘这些变革的岁月，指出促成这种从实质性排斥到谨慎乐观的转变的行动和突破。研究将借鉴女性主义艺术史的方法，包括恢复从文学中抹去的艺术家（Nochlin 1971;帕克，波洛克1978; Tickner 2002）。国际视角，即露西·利帕德对雕塑非物质化的探索（1973年）和她对伊娃黑森的作品（1976年），将是追踪后最低限度背景和更广泛影响的关键。哲学文本的影响也将被考虑，从加斯顿巴什拉的工作（1957年）的遗产，吕斯Irigaray的语言（1974年）的女权主义调查和朱莉娅克里斯特瓦的本能论（1980年）。虽然在1950年之前，女性在绘制雕塑方面取得了显著的成就（Rose 2020），但除了对“家喻户晓”的名字进行专题评估之外，很少有后续实践的记录。“打破模具”展览可能会引发相当大的兴趣，使现在成为领导这项研究的时刻。考虑到当前艺术史非殖民化的努力，这项工作也是及时的。我的预测是，1978年至1993年期间见证了英国艺术机构内部第一次非殖民化的浪潮。然而，我的核心目标是解开将雕塑实践与坚持的白色、男性、异性规范的生产模式联系在一起的线程。我将开发一个实质性的反叙事，以驱逐对英国雕塑的话语，前景男性生产力（塔克1977，奈恩/塞罗塔1981，柯蒂斯/威尔逊2011）。在放松这种束缚的过程中，我打算为更丰富、更有活力的环境腾出空间。这种强有力的干预具有很大的潜力，可以为战后女性雕塑的更广泛研究提供信息和促进。