Durational Feminisms: Collectivity, Support and Intergenerational Exchange

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Reckitt, Helena. 2019. 'Durational Feminisms: Collectivity, Support and Intergenerational Exchange'. In: Re-Writing the Canon?. Courtauld Institute, London, United Kingdom 14 May 2019. [Conference or Workshop Item]

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Image (Rer-Writing the Canon, roundtable discussion, Contemporary Art Society annual conference, 2019)
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Image (Helena Reckitt on the Feminist Duration Reading Group, Contemporary Art Society annual conference, 2019)
Re-Writing the Canon_ Helena Reckitt talk, Contemporary Art Society, 2019.png
Available under License Creative Commons Attribution Non-commercial.
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Official URL: https://www.contemporaryartsociety.org/resources/a...

Abstract or Description

Helena Reckitt discusses how the Feminist Duration Reading Group, which she initiated in 2015, attempts to bring feminist texts, movements and ideas from previous eras into dialogue with current urgencies. She explains the group’s process, which includes incorporating practices of entrustment drawn from Italian feminism, and of reading out loud together in intimate gatherings.

Following her talk Reckitt joins a roundtable discussion on how current scholarly, curatorial and artistic projects are putting art canons under pressure.

Item Type:

Conference or Workshop Item (Talk)

Additional Information:

The 2019 CAS Annual Conference brought together scholars, curators and museum professionals to consider significant recent initiatives in collecting, exhibitions and display, and the issues they raise.
In recent decades, notions of a fixed “canon”, or a single narrative in modern and contemporary art has come under question from all sides. Museums and galleries have been at the centre of the debate, playing an active part in revising art history. Modern art as a story of national histories and defined stylistic movements has come under scrutiny, with international museums adopting global, post‐colonial and supra‐national perspectives ranging far beyond the traditional Western‐centric model. Boundaries and hierarchies of value between different art forms have been dismantled. Issues of identity and representation have come to the fore, and renewed attention is being paid to museums’ responsibilities to their local communities.
How can museums keep pace and respond to these new imperatives? What happens when ‘the grand narratives’ are no longer considered fit for purpose? How are collections, exhibitions and displays to be rethought – according to what criteria, and for whom?

Keywords:

intergenerational feminism feminist duration reading group

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