Add to ORKGA text written for the magazine of feminism and contemporary art, SALT. Ripley concerns the experience of installing two works by Eva Hesse, Hang-Up and Accretion, for the first major exhibition of her work in Europe. The show opened at the Whitechapel Art Gallery on May 3, 1979, the same day that Margaret Thatcher was first elected Prime Minister. The text weaves personal experience, Hesse's writings, feminist socialist theory, the politics of separatism and references to the popular culture of the time using language that consciously acknowledges feminism's critique of the implicitly patriarchal nature of then current forms of address
Freddie Robins discusses her practice with curators Day+Gluckman in the context of textiles, feminis...
In this submission, I argue for a re-thinking of the concept of an artist's oeuvre, to extend it con...
This article is based on interviews with the curators of two large feminist art exhibitions which op...
[Summary of the book containing this chapter:] What happens to art when feminism grips the curatoria...
This essay charts a journey through a series of concentric circles. Like a pebble dropped into a sti...
‘Everything in Eva Hesse’s work was different…’ is a chapter I contributed to an international publi...
An essay on the sculpture of Eva Rothschild for the monograph on her work published by Stuart Shave/...
Review of the group exhibition 'Do you keep thinking there must be another way,' featuring work by G...
This article makes an original contribution to the histories of sculpture in Britain, a phenomenon t...
This article briefly reviews two concurrent exhibitions of Eva Hesse’s art, one at The Jewish Museum...
Can the female feel at home in nature, myth and on screen, realms where she is so often laid to rest...
In November 2002 I chaired a panel of artist speakers in a session called “The Studio Encounter” a...
A one-person exhibition of two new bodies of work; 'Fluid' and 'Bound' - each comprising of a group ...
This essay emerged from an exhibition in 2006 in which notions of the Wunderkammer became central in...
During the 1970s, adding 'women's' to 'art' was a powerfully political act. Fuelled by the momentum ...
Freddie Robins discusses her practice with curators Day+Gluckman in the context of textiles, feminis...
In this submission, I argue for a re-thinking of the concept of an artist's oeuvre, to extend it con...
This article is based on interviews with the curators of two large feminist art exhibitions which op...
[Summary of the book containing this chapter:] What happens to art when feminism grips the curatoria...
This essay charts a journey through a series of concentric circles. Like a pebble dropped into a sti...
‘Everything in Eva Hesse’s work was different…’ is a chapter I contributed to an international publi...
An essay on the sculpture of Eva Rothschild for the monograph on her work published by Stuart Shave/...
Review of the group exhibition 'Do you keep thinking there must be another way,' featuring work by G...
This article makes an original contribution to the histories of sculpture in Britain, a phenomenon t...
This article briefly reviews two concurrent exhibitions of Eva Hesse’s art, one at The Jewish Museum...
Can the female feel at home in nature, myth and on screen, realms where she is so often laid to rest...
In November 2002 I chaired a panel of artist speakers in a session called “The Studio Encounter” a...
A one-person exhibition of two new bodies of work; 'Fluid' and 'Bound' - each comprising of a group ...
This essay emerged from an exhibition in 2006 in which notions of the Wunderkammer became central in...
During the 1970s, adding 'women's' to 'art' was a powerfully political act. Fuelled by the momentum ...
Freddie Robins discusses her practice with curators Day+Gluckman in the context of textiles, feminis...
In this submission, I argue for a re-thinking of the concept of an artist's oeuvre, to extend it con...
This article is based on interviews with the curators of two large feminist art exhibitions which op...