Alison Jacques Gallery, in collaboration with the Hannah Wilke Collection and Archive, is pleased to announce a screening of archive films documenting performances by the artist Hannah Wilke. This will be followed by conversation with Jo Applin, Alexandra Kokoli and Laura Smith, discussing Wilke’s contemporary artistic legacy.
Hello Boys, 1975 (12 min)
Through the Large Glass, 1976 (10 min)
Intercourse with..., 1978 (27 min)
Monday 26 November 2018, 6:30pm
Institute of Contemporary Arts, London
Places are limited, RSVP Essential
Hannah Wilke (b. 1940, New York, NY, USA; d. 1993, Houston, TX, USA) used the various mediums of photography, performance, sculpture, and video to examine and challenge prevailing notions of femininity, feminism, and sexuality. During the 1970s, Wilke began to use her own body for performance pieces that she termed her 'performalist self-portraits.' These performances, immortalised on film or in photographs, confront erotic stereotypes by calling attention to and ironising the conventional gestures, poses, and attributes of the female body.
Jo Applin is a Reader in the History of Art and Head of History of Art Department at the Courtauld Institute of Art, London. Her research addresses questions of materiality, abstraction, eccentricity, feminism, sexuality, and subjectivity. She is the author of Lee Lozano: Not Working (Yale University Press, 2018), Eccentric Objects: Rethinking Sculpture in 1960s America (Yale University Press, 2012), and Yayoi Kusama: Infinity Mirror Room-Phalli’s Field (Afterall and MIT Press, 2012). Applin is reviews editor of Oxford Art Journal, and sits on the boards of ARTMargins, Tate Papers, and the Terra-Tate Research Project Refiguring American Art 1945-1980. Jo has also published widely on contemporary art and is an active critic, writing regularly for Artforum and other publications.
Alexandra Kokoli is a Senior Lecturer in Visual Culture at Middlesex University. Her research looks into the aesthetic mobilisation of discomfort to political ends, focusing on art practices informed by and committed to feminism, the fraught but fertile relationship between feminism and psychoanalysis, death, mourning and shame. She has published widely on feminism, art and visual culture in journals including Art Journal, Women and Performance, n.paradoxa, Performance Research, Oxford Art Journal and Hypatia. Her books include The Feminist Uncanny in Theory and Art Practice (2016); and (as editor) Feminism Reframed: Reflections on Art and Difference (2008); and The Provisional Texture of Reality: Selected Talks and Texts by Susan Hiller, 1977-2007 (2008).
Laura Smith was appointed Curator of Whitechapel Gallery in February 2018, where she is delighted to be working with artist Helen Cammock, winner of the 2017-19 Max Mara Art Prize for Women on her forthcoming exhibition, and where she recently opened the first UK survey exhibition of the work of Elmgreen & Dragset. Prior to Whitechapel Gallery, Laura was Curator at Tate where she was responsible for a series of international historic and contemporary projects by artists including Rebecca Warren, Jessica Warboys, Linder, Marlow Moss, R.H. Quaytman, Liliane Lijn, Bridget Riley, Lucy Stein, Nashashibi/Skaer and others. Most recently she curated Virginia Woolf: An Exhibition Inspired by Her Writings, a large-scale feminist group exhibition, including the work of Hannah Wilke, which is touring the UK throughout 2018.