Description:Q6364 - Revision history

Jessa Mockridge at 12:58, 28 August 2023

2023-08-28T12:58:01Z

← Older revision		Revision as of 12:58, 28 August 2023
Line 1:		Line 1:
	The Disoeuvre: a definition in progress		The Disoeuvre: a definition in progress

	People positioned as marginal to art’s production		People positioned as marginal to art’s production
	must work socially and institutionally, as well		must work socially and institutionally, as well

Jessa Mockridge at 12:57, 28 August 2023

2023-08-28T12:57:22Z

← Older revision		Revision as of 12:57, 28 August 2023
Line 1:		Line 1:
	The ~~concept of the~~ Disoeuvre ~~has been named and~~		The Disoeuvre: a definition in progress
	~~developed by Felicity Allen over the last decade~~		People positioned as marginal to art’s production
	~~through research and~~ in ~~dialogue with others - see~~		must work socially and institutionally, as well
	~~www.felicityallen.co.uk/the-disoeuvre for more~~		as in the studio, not only to make work, but to
	~~info. Recognising the often intermittent nature of~~		change existing structures so that their work can be
	~~an art practice for many women and those who~~		recognised and critically received as art.
	~~are~~ positioned as marginal to art’s production~~, the~~		Rather than disregarding those whose conventional
	~~Disoeuvre acknowledges that we have had to~~ work		oeuvre seems interrupted and inconsistent, we
	socially and institutionally, as well as in the studio,		should look for artistic consistency in an artist’s
	not only to make work, but to change existing		work made in and beyond the studio, through
	structures so that ~~our~~ work can be recognised and		employment at art’s institutions, or connected, for
			instance, to the labour of care, activism and other
			social practices.

	~~critically received as art~~. ~~Rather than failure~~ to		As a critical tool, the Disoeuvre takes account
	~~achieve consistency~~ through ~~an interrupted oeuvre~~,		of artists’ training in adaptability and their
	~~we can find originality and consistency by tracking~~		working lives across different sites. It responds to
	~~work undertaken not only in the studio but~~, for		practices persisting through ‘feminised’ labour (as
	~~instance~~, ~~at home or in paid employment during a~~		maintenance or precarity), domestic instability,
	~~career’s apparent interruptions~~.		transience of documentation, new recognition for
			overlooked visual activisms and curatorial strategies,
			archival gaps and is open to more.

Jessa Mockridge: Created page with "The concept of the Disoeuvre has been named and developed by Felicity Allen over the last decade through research and in dialogue with others - see www.felicityallen.co.uk/the-disoeuvre for more info. Recognising the often intermittent nature of an art practice for many women and those who are positioned as marginal to art’s production, the Disoeuvre acknowledges that we have had to work socially and institutionally, as well as in the studio, not only to make work, but..."

2023-08-15T07:56:28Z

Created page with "The concept of the Disoeuvre has been named and developed by Felicity Allen over the last decade through research and in dialogue with others - see www.felicityallen.co.uk/the-disoeuvre for more info. Recognising the often intermittent nature of an art practice for many women and those who are positioned as marginal to art’s production, the Disoeuvre acknowledges that we have had to work socially and institutionally, as well as in the studio, not only to make work, but..."

New page

The concept of the Disoeuvre has been named and
developed by Felicity Allen over the last decade
through research and in dialogue with others - see
www.felicityallen.co.uk/the-disoeuvre for more
info. Recognising the often intermittent nature of
an art practice for many women and those who
are positioned as marginal to art’s production, the
Disoeuvre acknowledges that we have had to work
socially and institutionally, as well as in the studio,
not only to make work, but to change existing
structures so that our work can be recognised and

critically received as art. Rather than failure to
achieve consistency through an interrupted oeuvre,
we can find originality and consistency by tracking
work undertaken not only in the studio but, for
instance, at home or in paid employment during a
career’s apparent interruptions.