The all-woman exhibition as a case for dissolving gender in the art world (Part One)
I have written a lot recently, and indeed over the past few years, about my nagging problem with the concept of the woman-only group exhibition. Is it an entirely First World Problem? Hear me out. Before the days of emergency responses to issues, in the way we are experiencing in a global pandemic, there was definitely a slower pace of life in terms of how industries external to systems of care and social responsibility reacted to social issues. Now, of course hindsight is a wonderful thing, and if you had told anyone in 2017 how "slow" their lifestyle and responses were, they would most likely be quite angry. But seriously, bottomless brunch on a Sunday afternoon? That's luxuriously slow living. Prudence Flint, David Jones #2, 2008. Oil on linen, 142cm x 107cm. Timothy Taylor, London. What I am trying to reach in this example is the various responses to #MeToo in 2017 (which actually started on MySpace many years before this, but of course this is when it really took f
