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Who’s holding the baby? Women’s arts collectives past and present

Jo Spence, ‘The Highest Product of Capitalism (after John Heartfield)’ 1979
Jo Spence, The Highest Product of Capitalism (after John Heartfield) 1979. Tate. © The Jo Spence Memorial Archive

Artist Rose Gibbs discusses the legacy of women’s arts collectives, past and present

Coinciding with the Jo Spence display, artist Rose Gibbs leads a discussion drawing on the legacy of the Hackney Flashers and women’s arts collectives, past and present, considering their work in relation to women and feminised labour.

Throughout the 1970s and 1980s there were an abundance of collective activities and projects working in and across many different fields. Artist collectives provided a feminist alternative to individualistic art practice, rejecting hierarchies and promoting equal modes of exchange.

The Hackney Flashers, a collective rooted both in gender and in place, circumnavigated traditional art institutions and held exhibitions in libraries across the UK. Their question Who’s Holding the Baby? remains highly apt in the current climate.

Tate Talks is supported by The J Isaacs Charitable Trust 

This event has been provided by Tate Gallery on behalf of Tate Enterprises LTD

Tate Britain

Millbank
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Date & Time

18 June 2016 at 17.00–18.30

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