Further information on A Time of One’s Own: Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists’ engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined.

BIOGRAPHIES

Catherine Grant is a Reader in Modern and Contemporary Art at the Courtauld Institute of Art, London. Her book A Time of One’s Own: histories of feminism in contemporary art, was published by Duke University Press in September 2022. She is also the co-editor of Fandom as Methodology (2019) and Creative Writing and Art History (2012), and a co-lead of two research networks: “Group Work: Feminism and Contemporary Art” and “Animating Archives”.

Laura Guy is a writer and curator based in Glasgow where she coordinates PhD research in the School of Fine Art, Glasgow School of Art. Her research on queer feminist art and photography has been published widely. She is editor of Phyllis Christopher, Dark Room: San Francisco Sex and Protest, 1988-2003 (Bookworks, 2022) and co-editor with Glyn Davis of Queer Print in Europe (Bloomsbury, 2022).

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