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

20世纪70年代末，尽管整个社会都在推进女权主义运动，但艺术界仍存在严重的性别排斥。许多艺术学校认可卷起袖子的焊接物理，并采用一种好斗的方法来处理“Crit”过程：这是安东尼·卡罗在圣马丁艺术学院任职期间确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)，(康普顿，海沃德画廊1977)。到1993年，越来越多的妇女受到国际关注。1991年，科妮莉亚·帕克炸毁了一个花园小屋，将烧焦的碎片从天花板上悬挂下来，安雅·加拉西奥将数百株非洲菊留在卡斯滕·舒伯特的画廊窗户里腐烂。雷切尔·怀特雷德于1993年凭借《豪斯》(House)(1993,1994年被毁)成为第一位获得特纳奖的女性：伦敦一户人家的演员阵容。我将绘制这些变革性年份的地图，准确地指出推动这种从实质性排斥到谨慎乐观转变的行动和突破。研究将借鉴女权主义艺术史的方法论，包括从文学中抹去的艺术家的复职(Nochlin 1971；Parker，Pollock 1978；Tickner 2002)。国际视角，即Lucy Lippard对雕塑非物质化的探索(1973)和她关于Eva Hesse的工作(1976)，对于追踪后极简背景和更广泛的影响将是至关重要的。哲学文本的影响也将被考虑，从加斯顿·巴舍拉德的作品(1957)的遗产，到卢斯·伊里加雷的女权主义语言探索(1974)和朱莉娅·克里斯特娃(Julia Kristeva)的关于卑鄙的发自内心的论文(1980)。尽管在1950年前的女性地图雕塑(Rose 2020)方面已经完成了大量工作，但除了对家喻户晓的名字进行专题评估外，很少有关于后来的实践的描述。《打破模式》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。考虑到当前对艺术史去殖民化的努力，这项工作也是及时的。我的预测是，1978年至1993年期间，英国艺术机构内部出现了第一波所谓的机构去殖民化浪潮。然而，我的核心目标是解开将雕塑实践与坚持的白人、男性、异性恋者生产方式联系在一起的线索。我将发展一个实质性的反叙事，以排除关于英国雕塑的话语，这些话语突出了男性生产力(Tucker 1977，Nairne/Serota 1981，Curtis/Wilson 2011)。通过放松这种束缚，我打算为一系列更丰富、更有活力的情况腾出空间。这一强有力的干预具有很大的潜力，可以为妇女更广泛地研究战后雕塑提供信息和促进。

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.