Alexis Hunter, Approach to Fear XVII Masculinisation of Society – Exorcise, 1977, Signed 10 vintage colour photographs, mounted on 2 panels. Courtesy Alexis Hunter Estate
The Feminist Archive, with Dr Althea Greenan
Dr Althea Greenan gave a tour of archival items drawn from the Womens’ Art Library (WAL), which were on show as part of Goldsmiths CCA’s exhibition of work by Alexis Hunter.
Hunter meticulously documented her practice, donating decades worth of slides, posters, ephemera and photographs to the WAL in order to preserve both her own practice, and the history of the feminist art movement. Archiving for Hunter was an explicitly political act, that addressed the lack of representation of women artists in institutions, and more broadly, art history.
Dr Althea Greenan works in Special Collections and Archives at Goldsmiths University of London and curates the Women’s Art Library (WAL) collection, working with this material since 1989. She works with artists and academic researchers to help realise new projects based on the Women’s Art Library collection, in particular those that position the collection in contemporary practices. She has written on the work of women artists since the 1980s and her doctoral research at the University of Brighton considers the Women’s Art Library slide collection as a feminist post-digital space.
Dr Althea Greenan gave a tour of archival items drawn from the Womens’ Art Library (WAL), which were on show as part of Goldsmiths CCA’s exhibition of work by Alexis Hunter.
Hunter meticulously documented her practice, donating decades worth of slides, posters, ephemera and photographs to the WAL in order to preserve both her own practice, and the history of the feminist art movement. Archiving for Hunter was an explicitly political act, that addressed the lack of representation of women artists in institutions, and more broadly, art history.
Dr Althea Greenan works in Special Collections and Archives at Goldsmiths University of London and curates the Women’s Art Library (WAL) collection, working with this material since 1989. She works with artists and academic researchers to help realise new projects based on the Women’s Art Library collection, in particular those that position the collection in contemporary practices. She has written on the work of women artists since the 1980s and her doctoral research at the University of Brighton considers the Women’s Art Library slide collection as a feminist post-digital space.
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