- 26 June 2020
- 12:00 – 1:00 pm
- *EVENT POSTPONED*
This event has been postponed until further notice
This talk will look at The Waitresses’ Performentation by L.A. Women Artists, performed in Edinburgh and Glasgow in September 1978. Emerging out of the Los Angeles Women’s Building, The Waitresses – founded by Anne Gauldin and Jerri Allyn – produced public performance work between 1978 and 1984 rooted in its members’ shared experiences working as waitresses. Here their work will be situated as an essential corrective to a significant oversight in contemporary art-historical discourses on art and labour, which have almost exclusively focussed on the labour that goes into art-making directly, at the expense of consideration of the labour performed outside the field of art which financially supports and facilitates art production. The Waitresses’ practice will be discussed alongside more recent examples of artists producing work informed by their ‘second jobs’, including Shona Macnaughton, Mark McGowan and the low__demand Instagram account. This research sits alongside more sociological research I’ve recently been conducting into art in the gig economy, looking at art practitioners who support their work through ‘second shifts’ in the gig economy.
Guidelines and helpful tips for joining Zoom webinars
Before the event
- Please download Zoom software in advance.
- Please register to attend the Research Lunch webinar through Eventbrite.
- We will share the link to the Zoom webinar with you in advance by email through Eventbrite.
During the event
- There will be a Waiting Room feature that allows the host to control when all participants join the meeting
- You will be automatically muted when you join the webinar and can only communicate verbally if the host unmutes you
- We will wait for a few minutes at the start of the webinar to allow time for attendees to sign-in
- The talk will last for c. 25 minutes and will be followed by a Q&A where the chair will prompt discussion
- Use the Q&A box to ask/write your questions after the talk
- You can also use the virtual Raise Hand button if you have a question/comment to make by audio
- Use Chat box to make comments
- If you are experiencing any technical problems, please notify Ella Fleming (Events Manager) or Danielle Convey (Events Assistant) directly using the chat box function. Alternatively you can email them via email@example.com
- This session will not be recorded
- Any offensive behaviour will not be tolerated and attendees can be removed from the webinar by the host
The Paul Mellon Centre is aware of its obligations under the General Data Protection Regulations (GDPR) and is committed to processing your data securely and transparently. Staff hosting public meeting and events via Zoom will employ the appropriate security features to ensure meetings are not ‘bombed’ by unwanted participants. The Centre does not take photographs of Zoom events and participants are requested likewise not to do so. It will only record Zoom events where this has first been communicated to all participants as part of the pre-event information. Zoom events that are recorded will be saved to a secure location and the original recording deleted from the device used.
For more information on Zoom’s compliance with EU GDPR see: https://zoom.us/gdpr
About the speaker
Harry Weeks is Lecturer in Art History at Newcastle University. His research looks at the politics of contemporary art production, with particular focus on socially engaged practices, activist art and the labour of art production. He co-edited the May 2019 special issue of Third Text entitled ‘Anti-fascism, Art, Theory’, which also included his article ‘The Weapons of our Adversaries’ on Georges Bataille’s theorisation of community and fascism. He is currently working on a long-term project looking at art production in relation to the gig economy. He was previously IASH Postdoctoral Fellow (2015-16) and Teaching Fellow (2016-19), both at the University of Edinburgh.
17 Jul 2020
'Dying a Very British Death: Ecstatic Antibodies and the Possibilities of Censorship of Queer Art in Britain, c.1990'
29 May 2020
Uncertain Grounds and Absent Figures in Tina’s Keane’s Faded Wallpaper (1988)