Richard Saltoun is (Re)Staging the Muse: A Man’s Perspective on Feminist Art
The pre-eminence of the Richard Saltoun Gallery is not exclusive to its penchant for promoting Post-War art, but extends to the gallery’s unparalleled emphasis on the timeliness and timelessness of 1970’s feminist and conceptual art. By reintroducing and representing the exceptional works from the likes of Renate Bertlmann, Gina Pane, Jo Spence and Marie Yates, Saltoun has single-handedly elevated the
relevancy of contemporary art history within modern discourse.
Post Frieze New York art fair, I sat down with the ingenious gallerist to reflect on the evolution of feminist art, and the movement itself as an abstract mothership and muse within conceptual art.
Mr. Saltoun, what inspired your gallery’s singular interest in reintroducing conceptual and feminist works of the past, as opposed to contemporary compositions within this sector of art production?
While a student at the Courtauld I developed a strong interest in conceptual, feminist and performance art from the 70s and 80s. My personal interests have certainly influenced the gallery’s programme, I believe that a revaluation of these overlooked artistic practices will encourage contemporary generations of artists to engage with similar aesthetics and politics.
Has the feminist art movement reached its zenith, as far as novelty and inventiveness of subject matter and material choices? Do you believe that this generation of artists produce with the same level of inventiveness, and emotional resourcefulness that artists from 1960’s and 70’s did?
Yes, the engagement of yesterday is as strong today. Art with a feminist content is even more prominent today because of a stronger emphasis on feminist art history and feminist theories in academia, as well as more distribution channels available to emerging artists. The ability to access and view historical works by feminist artists in books, museums, and through the internet has definitely inspired younger generations.
What do you find to be most intriguing about the contemporary audience’s engagement with 1970’s feminist art?
It is very intriguing how contemporary audiences are able to relate historical works to their present circumstances. It is fascinating how many contemporary artists re-appropriate and re-enact performances or artworks from previous generations, as the project re.act.feminism (2011-2013) did, featuring among others, works by Helen Chadwick, Helena Almeida, Françoise Janicot and Renate Bertlmann.
This interview appears in full in Issue 10 of After Nyne magazine, for the full story, please buy the issue here. Contemporaneous with the release of Issue 10, Richard Saltoun Gallery is exhibiting the works of conceptual artist and lecturer, Marie Yates. Yates gained prominence in the 1960’s for her painting and sculptural works and over time, the range of her repertoire has extended to include projection and installation projects that explore concerns of representation, signification and sex difference.
Some Dimensions of My Lunch runs until July 22nd, RIchard Saltoun Gallery 111 Great Titchfield StreetLondonW1W 6RY
