The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women’s art practices provide a fascinating instance of women’s eccentric experiences of the myriad effects of globalization.
The contributors to this book, writing from a variety of subject disciplines and interests, explore a range of the uses of autobiography from the nineteenth-century to the present day, and from Africa, USA, the Middle East, France, New Zealand, as well as Britain.
Exhibition catalogue; Arts Centre Melbourne, 11 February – 21 May 2017
Examines the surge of queer performance produced across Ireland since the first stirrings of the Celtic Tiger in the mid-1990s, up to the passing of the Marriage Equality referendum in the Republic in 2015.
On Project O’s performances at the Forest Fringe Microfestival, Progress Festival, Theatre Centre, Toronto, Canada, February 2016
Analysis of representation and interculturalism in Back to Back Theatre's production.
A new publication celebrating the various communities of barbershops across East London. Comissioned by CUT Festival: The Art of Barbering.
Interview conducted by Lynnette Morgan, as part of the Collaborative Arts Partnership Programme residency.
Using memories of her experience of masquerades in Nigeria, the artist employs movement and masks of hair as power objects, which conceal and reveal the black body, the black female.
Exhibition catalogue with documentation from the installations in Cardiff, Portsmouth, Derry, London and Berlin.
Part of the Study Room Guide on Live Art and Displacement (P3107).