Raven Row is a non-profit contemporary art exhibition centre in Spitalfields.
Raven Row’s programme is intended to appeal both to a specialist audience and a broader, curious public. It is led by a desire to test art's purpose outside the market place. It exhibits diverse work of the highest quality, often by established international artists, or those from the recent past, who have somehow escaped London's attention. However, the programme will remain improvisatory and un-dogmatic, and the qualities that might constitute Raven Row’s success, its ‘cultural value’, will remain open to question
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Raven Row is a non-profit contemporary art exhibition centre in Spitalfields.
Raven Row’s programme is intended to appeal both to a specialist audience and a broader, curious public. It is led by a desire to test art's purpose outside the market place. It exhibits diverse work of the highest quality, often by established international artists, or those from the recent past, who have somehow escaped London's attention. However, the programme will remain improvisatory and un-dogmatic, and the qualities that might constitute Raven Row’s success, its ‘cultural value’, will remain open to question
Feminist Domesticities in Art and Art History | Jo Applin, Francesca Berry, Tamar Garb, Teresa Kittler, Catherine Spencer, Amy Tobin
Saturday 6 May 2017
A special new issue of Oxford Art Journal titled 'Feminist Domesticities' is the starting point for this discussion. The issue gathers an emerging corpus of feminist research and addresses how we might encounter domesticity as concept, environment and object for art while resisting its oppressive pre-eminence in the definition of femininity. These questions will be considered in the context of '56 Artillery Lane', and open up discussion into belonging, precariousness, aging and activism. The panel will be chaired by Tamar Garb, with Oxford Art Journal editors, Jo Applin and Francesca Berry, and contributors, Teresa Kittler, Catherine Spencer and Amy Tobin.
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Presented as part of the exhibition '56 Artillery Lane' at Raven Row.
For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.
A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.
The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.
Please see our website for more details: www.ravenrow.org
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Image: Ida Applebroog, Monalisa, 2009. Photo by Abby Robinson. Courtesy of the artist and Hauser & Wirth.
Raven Row
Raven Row is a non-profit contemporary art exhibition centre in Spitalfields.
Raven Row’s programme is intended to appeal both to a specialist audience and a broader, curious public. It is led by a desire to test art's purpose outside the market place. It exhibits diverse work of the highest quality, often by established international artists, or those from the recent past, who have somehow escaped London's attention. However, the programme will remain improvisatory and un-dogmatic, and the qualities that might constitute Raven Row’s success, its ‘cultural value’, will remain open to question
