researchic (Wollstonochlincraft 1791-1971)

Frearson, A. ORCID: https://orcid.org/0000-0001-5223-7972 (2022) researchic (Wollstonochlincraft 1791-1971). [Project]

Abstract/Summary

'Wollstonochlincraft 1791–1971' is a text-based art project that forges compound neologisms from two emblematic feminist texts that are mirrored in their dates and message: 'A Vindication of the Rights of Woman' (Wollstonecraft, 1791) and 'Why Have There Been No Great Women Artists?' (Nochlin, 1971). Following two exhibitions of other words from 'Wollstonochlincraft' in Los Angeles and London, the curators Kirsten Cooke and Ann Harezlak invited contributions from participating artists as part of a wider publication 'Archives on Show', as described in the Publisher statement below. Archives on Show. Ghosting, Challenging, Transforming - A Curatorial Glossary, within series The Nomadic Curriculum - A Manual Series, Academy at Haus der Kulturen der Welt, Berlin, ed. Beatrice von Bismarck, 2022. Please see online publication for full list of contributors, too many to list here.

Item Type	Project
URI	https://reading-clone.eprints-hosting.org/id/eprint/120370
Divisions	Arts, Humanities and Social Science > School of Arts and Communication Design > Art > Fine Art
Uncontrolled Keywords	artwork, text-based artwork, Mary Wollstoncraft, Linda Nochlin, feminism, neologism, curating, archives, research, chic
Publisher	Archive Books
Publisher Statement	Archives on Show brings the potential of reformulating the social and political relevance of archives by curatorial means into focus. Based on the specific properties, faculties and methods of curation, the volume highlights those techniques and strategies that deal with archives not only to make their genesis and history apparent but also to open them up for the future. The 22 different ways of dealing with archives testify to the curatorial participation in (re)shaping the archival logic, structures and conditions. As process-oriented, collective and relational modes of producing meaning, these curatorial practices allow for the alteration, reconfiguration and mobilization of the laws, norms and narratives that the archive preserves as preconditions of its power. The contributions to this volume by artists, curators and theorists demonstrate approaches that curatorially insist on building other relations between human and non-human archival participants. Each is using the book to create a curatorial constellation that generates and forms new connections between different times and spaces, narratives, disciplines and discourses. Configured as a glossary, the positions assembled in this volume exemplify curatorial methods with which to treat the archive as site and tool of collective, ongoing negotiations over its potential societal role and function.
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