Welcome to the first issue of ‘Decorating Dissidence’, an online magazine dedicated to exploring the political, aesthetic, and conceptual qualities of craft and the decorative arts, from the early twentieth century to the contemporary moment. Casting a spotlight on overlooked artists, who work in experimental or non-traditional modes of making, it will explore the legacy of craft’s hidden histories and the alternative practices of contemporary artists. It asks questions such as: how can craft disrupt the spaces of ‘high’ art and culture? Can the decorative be political? What might a feminist genealogy of decorative art and craft look like?
In this issue, we are delighted to introduce you to the work of three exciting contemporary artists whose work utilises craft and traditional modes of making to confront socio-political issues. Jade French interviews multimedia digital sculptor, writer, and curator Rayvenn Shaleigha D’Clark, who combines styles ‘[borrowed] from the decorative traditions of Renaissance sculpture’ with digital technology to create striking works that challenge the commodification of race and gender. Similarly, artist Pinkie Macclure draws on traditional methods of making to explore modern day stereotypes: ‘Beauty Tricks’ reworks styles typical of medieval stained-glass narratives to critique the beauty industry’s harmful effects on women and the environment. Severija Inčirauskaitė-Kriaunevičienė also disrupts decorative notions of femininity with her unique embroidered metal objects. Mixing domestic and industrial textures, her work highlights the labour-intensive nature of embroidery and challenges the distinction between public and private space. Her work is in dialogue with the post-Soviet landscape of her native Lithuania and the craft of her mother and grandmother.
Lottie Whalen’s article on Geta Brătescu (1926-2018) highlights the work of a wonderfully innovative multidisciplinary artist, who created tactile, colourful worlds that explore the interconnected relationship between art, the body, and everyday life. The staggering length of her career (which lasted right up until her death aged 92) and its combination of modernist influences with conceptual techniques sets up an interesting link with Dorothea Tanning (1910-2012); like Brătescu, Tanning continued to create innovative, timely work that encompassed both twentieth-century avant-garde practices and early twenty-first-century innovation. Working across mediums, both artists decentre notions of modern art and invite us to contemplate alternative genealogies of feminist art. Polly Hember’s review of Tate Modern’s thrilling Tanning retrospective explores the artist’s representation of ‘unknown but knowable states’ across her diverse body of work. Finally, Suzanna Petot’s review of Lee Minora’s recent show ‘White Feminism’ looks at the ways that the actor’s portrayal of tone-deaf stereotypical pop-feminist Becky Harlowe shines a spotlight on how we are all guilty of crafting woke personas. As we work to construct new feminist cultural genealogies, Petot reminds us that is vital to reflect on our own practices and to be mindful of ‘how can we be better allies to our fellow feminists of all backgrounds.’
We warmly encourage submissions from all disciplines – art practitioners, curators, makers, activists, academics, writers – as we strive to break down disciplinary boundaries and find new ways to intervene in feminist art history. Take a look at our Call for Submissions and get in touch: firstname.lastname@example.org.