This volume comprises challenging essays and interviews with women of different generations who discuss their conflicts and goals as artists and who portray men as objects of sexual desire, as persecutors, poseurs, emotional dependants or friends. The book evolved out of the controversy aroused by an exhibition of the same name which opened at the Institute of Contemporary Arts in London and toured Britain. Many critics denounced the show for its scratching and biting savagery.
Sarah Kent (born 1947) is a British art critic, formerly art editor of the weekly London 'what's on' guide Time Out. She was an early supporter of the Young British Artists in general, and Tracey Emin in particular, helping her to get early exposure. This has led to polarised reactions of praise and opposition for Kent. She adopts a feminist stance and has stated her position to be that of "a spokesperson, especially for women artists, in a country that is essentially hostile to contemporary art."
Thought provoking and inspirational - second time reading an 80s feminist art book and expecting women's experiences and discussions to be drastically different than now, but again, wrong. A few dated aspects, but largely precise analysis that worded exact feelings and contradictions I had felt so alone in when preparing my solo show. While reading, I learned of a James Baldwin quote that really encapsulates this: "You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, who had ever been alive.":)