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http://research.gold.ac.uk/7103/
Abstract or Description. The article discusses the absence of feminist art or gendered analysis within accounts of relational art, a phenomenon that is especially problematic given how closely relational aesthetics emulates and draws upon forms of under-valued feminized labour. The essay argues that Nicolas Bourriaud, the curator responsible for propogating the concept of relational aesthetics, …
https://research.gold.ac.uk/id/eprint/7103/1/PGC10Reckitt_FINAL.pdf
Forgotten Relations: Feminist Artists and Relational Aesthetics Helena Reckitt Among the more than thirty contributors to c.7,500,i the landmark 1973 exhibition of female conceptual artists curated by Lucy Lippard, there was one artist whose work could almost not be seen. Rather than having been withdrawn for reasons of
https://1000invisiblethings.com/2016/11/01/reckitt_forgotten_relations/
Nov 01, 2016 · Protected: Forgotten Relations: Feminist Artists and Relational Aesthetics by Helena Reckitt November 1, 2016 November 1, 2016 This content is password protected.
http://summit.sfu.ca/item/14333
As part of the repudiation of feminist politics, feminist art’s contributions to contemporary art have arguably been absorbed into and forgotten by social practice art. Elements of social practice art are compatible with neoliberal discourses, contributing to its depoliticization. This thesis questions the depoliticization of Papergirl Vancouver.
https://www.theartstory.org/movement/relational-aesthetics/history-and-concepts/
Apr 28, 2020 · Traffic included many of the artists that Bourriaud would associate with Relational Aesthetics over the next decade like Henry Bond, Vanessa Beecroft, Maurizio Cattelan, Dominique Gonzalez-Foerster, Liam Gillick, Christine Hill, Carsten Höller, Pierre Huyghe, Miltos Manetas, Jorge Pardo, Philippe Parreno, and Rirkrit Tiravanija.
https://mademers.com/why-helena-reckitt-pissed-me-off/
Nov 17, 2010 · Forgotten Relations focuses on feminist performance artists of the last fifty years who Reckitt feels didn’t receive their critical due, whose works have been largely discounted by the mainstream art world because, among many reasons, the art world prefers art it can commodify, that it can sell, and performance art is ephemeral in nature and thus difficult to package. In the Q&A that …
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