Wednesday, 26 October 2011

Protest: the coalition has cost Bristol's women nearly £45 million

Bristol Fawcett offer a stark warning as coalition cuts cost Bristol’s women nearly £45 million -double the cost to the city’s men.  A report compiled by the local gender equality activist group Bristol Fawcett has found that the coalition spending cuts are costing the city’s women nearly £45 million – twice as much as the cost to men. The group fear that the impact of the spending cuts on women will entrench and increase gender inequality in the city.

Bristol Fawcett and their supporters will be gathering on College Green between 12.30 – 1.30pm on 3rd November to protest the impact of the cuts on women, ahead of the council’s budget announcement.

But where is this huge cost coming from? The report explains how the cuts are impacting on Bristol’s women. Key findings include:
  • The changes to the benefits and tax system will cost Bristol’s women a shocking £44,825,450 .
  • This includes cuts to tax credits, benefits to pregnant women, family and care benefits and unemployment benefits.
  • Cuts to housing benefit leave Bristol women up to £15 a week worse off.
  • The cuts to the EMA will leave around 3,000 Bristol students without the support they need to continue their education.
  • The council are cutting the health and social care budget by £7.3 million and the PCT by £19 million. The number of women needing these services outnumber men by several thousand.
  • Women make up 63% of council workers in Bristol. The council are planning 240 job cuts in 2011/12 alone.
Bristol Fawcett believe that “these cuts are unfair and unnecessary. The impact on women’s lives will further entrench economic and social inequalities between men and women living in Bristol.”  The report was produced with the aim of illustrating just how dramatic the impact of the cuts has been, and continues to be, on Bristol’s women. The results are clear – women are bearing the brunt of the Government’s deficit reduction plan, and it’s costing them dear.

The National Fawcett Society, an organisation dedicated to fighting gender inequality, has praised the report and the reasons for writing it:
“ Drastic reductions in public spending have left women facing a triple jeopardy of cuts to jobs, benefits and services that have over recent years helped to narrow the gap between women and men. This report spells out the real impact of cuts on the ground in Bristol, and shows clearly how many will have a disproportionate impact on women. It’s reports like this that help us make sense of what’s actually happening to people around the country.”
Anna Bird, Acting Chief Exec, Fawcett Society
Bristol Fawcett have worked closely with a number of local organisations to collect their data and develop the report, including Shelter, Child Poverty Action Group, Unison, Bristol Citizens Advice Bureau, Voscur (a voluntary services organisation), Bristol Violence and Abuse against Women and Girls Strategic Group,  Bristol Partnership Equalities Action Group, Bristol Rape Crisis. NextLink (support housing for domestic violence survivors and victims) and Platform51 (formerly the YWCA).

In response to the report, Bristol City Council have told Bristol Fawcett:
“We are consciously thinking about the three aims of the Equality Duty as part of the process of our own decision-making on our Medium Term Financial Plan. The Equality Duty will be one of a number of factors that we need to consider. We will therefore be looking closely at this report which will assist us in making our recommendations.”
Barbara Janke, Leader of Bristol City Council
Bristol Fawcett hope that their report will be a wake-up call to decision-makers, and bring an end to budget policies that deepen gender inequality in the city.  There are fears for the city’s most vulnerable, as domestic violence charities lose funding  A local domestic violence support service, Wish for a Better Future, lost all its local council funding as a result of cuts to local government spending. One independent domestic violence advisor told Bristol Fawcett, “the funding cuts mean we will have lost our core work of supporting victims and survivors.”

Women are facing a choice of pay-cuts, redundancy and reduced pensions in the public sector. Said one worker,

"I'm a local government employee and over the last eighteen months there have been reductions in staff numbers through the ending of temporary contracts. This has meant huge gaps have appeared in the work of the organisation with either no one to do them at all, staff covering for absent posts and areas of important work simply not being done. We are constantly being presented with schemes to "encourage" us to leave with varying incentives like voluntary redundancy, part-time working and early retirement, yet no forward planning to direct who is eligible to leave nor information about who will cover the work if people do leave. All colleagues are concerned about their jobs and futures and management just don't seem to understand the level of fear and worry people have. Now we are told the government are introducing a pension tax on public sector workers to help pay off the debt. I'm in line to lose an extra £1000 per year along with having my pay frozen for the last three years, inflation and the VAT rise, I'm experiencing about a 20% pay cut in real terms and now they want to punish us even more for something that was nothing to do with us. The public sector has been successfully demonised by the government but we are the people providing services for those most in need - you can't privatise everything. This country is going back 30 years and no one seems to be standing up to try to stop it."
Event details:

  • Location: College Green
  • 3rd November
  • 12.30 – 1.30pm (press call for photos at 1pm)
  • Who’ll be there? Bristol Fawcett, the report authors, supporters and the women affected by the cuts
  • Press contact:  Anna Mapson at annamapson@hotmail.com
Notes:

  • Bristol Fawcett is a local branch of the National Fawcett Society. They campaign and lobby to improve policy and services for women and girls and bring an informed gender equality perspective to local decision making bodies.
  • Last year, the National Fawcett Society challenged the coalition government’s emergency budget. They believed that the budget would disproportionately have a negative impact on women, and estimated that 70% of the cuts would hit women’s purses directly. A judicial review of the budget was called, and the Government admitted they had not conducted a gender equality impact when creating the budget. In response to this, Coventry produced a report on the impact of the budget cuts on women which motivated Bristol Fawcett to create their own report.




(c) Bristol Fawcett

No Women No Peace

Ten years on from the invasion, Bristol feminists stand in solidarity with Afghan women. Their demands are simple. Include Afghan women in peace negotiations.

In 2001, the protection of women’s rights from the Taliban was used as a justification to invade Afghanistan.
10 years on, women’s rights are being compromised, as women’s demands are ignored and their presence is excluded from peace negotiations. The very negotiations that aim to decide their futures.

On Monday 31st October, women and men across the country will gather to hold vigils as they stand in solidarity with the women’s rights activists of Afghanistan. They ask the Foreign Secretary to remember and consider that without women involved, there will be no peace.

Why the 31st October? The 31st October is the anniversary of UN Resolution 1325 that:
  • Affirms the importance of women in peace making initiatives
  • Urges member states to keep women fully involved in conflict resolutions and the peace making process
What is the Bristol Feminist Network asking?

"Later this year, William Hague will attend an international conference that will decide what happens next for peace in Afghanistan. We ask him to respect the UN Resolution. We ask him to urge his colleagues to proactively ensure that Afghan women are involved and have a voice in the negotiations that will decide the future of their country. The 31st October will see women and men gathering across the country to tell William Hague: DON’T TRADE AWAY WOMEN’S RIGHTS IN AFGHANISTAN."

 Event details:

text (c) Bristol Feminist Network press release

Sunday, 23 October 2011

Lucky Bunny by Jill Dawson

Jill Dawson excels in literary ventriloquism, getting under the skin of a character and telling us their story, seemingly in their own words. Like all people who love to talk about themselves, her protagonists reveal much more than they realise. So it is with Queenie Dove, the narrator of this fast and wily adventure set in London's East End in the 1940s and beyond. The novel seems, at first, like the triumphant and enjoyable self-aggrandising of a fast woman, a talented thief on the make, laughing in the face of machismo and misfortune. It becomes, in the end, a moving and sobering account of survival, sharply told and brilliantly researched.

The self-christened Queenie is determined not to have her listeners feel sorry for her, but the circumstances of her life speak for themselves. She is a child of the slums, born to an alcoholic and irresponsible but charismatic father and a high-spirited but disadvantaged mother. Both parents, as well as Queenie and her younger brother Bobby, are in and out of jails, nuthouses, borstals, cells and halfway houses, existing in a shady world of criminal gangs, shoplifters, vice, clubs, black-marketeers and scammers. It is a seedily glamorous existence where the thrills are cheap, the decor is tacky, the perfume's gone off and sex and violence are close (and closely linked) just beneath the surface.

The events of the novel are related by Queenie with the brassy belligerence of a practiced confidence trickster. The period details are big, brash and bold: the Italian cafes, police raids on private clubs, new fashions, popular songs and criminal revelations seem glossed from newspaper reports and scandalised headlines. The era, like its characters, is revealed with broad brushstrokes that evoke the on-the-make excitement of Lucky Bunny's scrappy, big-talking personalities. Similarly, the action is fast and dramatic. There are heists and periods in the slammer, raids and thefts, screaming fights and rigged races.... but it is a testament to Dawson's skill that beneath the excitement there is always the ghost of the girl Queenie used to be, anxious, unloved, frightened, tough and determined to keep on going. Queenie sees herself as a success, but she is not. She sees herself as a liberated woman, but she is not. She sees herself as a main character, but she is not. She is a gangster's moll, a bit part player, a woman with resilience but little power. She is heartbreakingly proud of her skills as a thief; but she is not so skilled that she doesn't get caught. She is not an agent or a heroine, a leader or a mastermind.

Despite its surface thrills and spills and Krays era glamour, Lucky Bunny is a novel of great concern, human sympathy and seriousness. It is a novel of ideas and society, disguised as a romp. It never forgets the person behind the lipsticked and audacious self-creation that is 'Queenie Dove', whose real name we never learn. It deals with the consequences of poverty, the effects of violence, the attraction and risk of criminality and the forging of character through necessity and deprivation. The novel ends with a stunningly depicted night time train robbery ...whose end result I won't reveal... but for all its grand scale and luridly attractive action, the reader comes away with a far subtler appreciation. In the end I understood and admired Queenie Dove - and admired Jill Dawson, too, for creating something so fine from such brutish elements.

Monday, 10 October 2011

Beauty in Truth: a film about Alice Walker

The interview below, by Marian Evans, is cross-posted from Gender Across Borders and celebrates the work of two remarkable women: the writer and human rights activist Alice Walker and film-maker Pratibha Parmar, whose documentary about Walker, Beauty in Truth, is launching next year. 2012 is the 30th anniversary of Walker's great work, The Color Purple. As you can read below, Parmar has much to say about women in film-making, the broader arts culture and beyond.  

Alice Walker
Alice Walker’s life and work have inspired me, shown me that it’s possible to be a writer and a global citizen with love, spirit, courage and laughter. There’s The Color Purple and Steven Spielberg’s film adaptation, as well as the Broadway musical. And there’s so much more: poems, essays, short stories, novels like Possessing the Secret of Joy—about female genital mutilation—and her latest book, The Chicken Chronicles. So when I heard that Pratibha Parmar of Kali Films was making a documentary about Alice Walker, called Beauty in Truth, I was very excited.

Pratibha Parmar is a multi-award-winning filmmaker with a family heritage of protest. She has lived and worked on four continents: Asia, Africa, Europe, America, and has created many “filmic spaces where women of color can reach each other across the various diasporas”. These spaces include her very first video Emergence (where Palestinian, South Asian, African-American, and Chinese women speak about their art), A Place of Rage (about June Jordan and Angela Davis within the American Civil Rights movement, shortly to be re-released on DVD), an earlier film collaboration and accompanying book with Alice Walker, Warrior Marks, also about female genital mutilation, and a feature, Nina’s Heavenly Delights, “a surprising love story where Scottish humor meets Bollywood spectacle”.

Director Pratibha Parmar

Pratibha kindly answered some questions while she completed preparations for Beauty in Truth’s Indiegogo campaign, to raise money to complete post-production.

How did you decide to make Beauty in Truth?

The idea was conceived over a Christmas break four years ago when Shaheen (my partner and co-producer) and I were watching a stack of DVD’s in a cosy hideout in Northern California. These DVD’s were all biographies of ‘iconic’ men, such as Frank Gehry, Andy Warhol and Bob Dylan.

Immediately we wondered out loud about the absence of cinematic visions of ‘iconic’ women. Where were the STACKS of films on women who have challenged, changed and shaped history and impacted on contemporary culture? I came to filmmaking from a passionate desire to see stories about women, particularly women of color who are rarely seen on mainstream television or cinema screens in all our/their complexity and nuance. So it isn’t a surprise that my default position is to always ask questions.

Where are the in-depth explorations of women as thinkers and public intellectuals, women as history makers and shapers, women who are inspirational leaders and role models for upcoming generations? Where indeed was a film on Alice Walker who is rightly considered one of 20th Century’s most significant writers? And so started the journey of this film.

I am focusing on completing Beauty in Truth before the end of 2011 and want to launch the film in 2012, the 30th Anniversary of The Color Purple.

We have had many funding challenges in the last few years yet we are proud to say we have completed 85% of our filming with just a few small grants as well as major extensions on credit limits on our personal credit cards. More recently support from ITVS who have been fantastic has boosted us. We have interviewed some amazing people including Danny Glover, Steven Spielberg, Gloria Steinem and of course Alice Walker herself.

For me the most frustrating thing about the whole process has been how it’s had to stop and start as we apply for funding, wait for news on our application, pick ourselves up again when the answer is not we hoped for, find another grant to apply to and so and so on. This has meant that for the first time ever in my filmmaking life, I have had to work with different DPs (Directors of Photography) and not the same one throughout. My work as you know is very visually led and so for me the crucial relationship is with my DP.

But this time around, I have had to find DP’s locally in the different cities we were filming in and some times it didn’t work out the way I would have liked. That’s been damn frustrating.

One particular highlight was interviewing Yoko Ono in Iceland when she was giving the LennonOno Peace Award to Alice Walker for her humanitarian work. It was on Lennon’s 70th birthday so the whole event was ultra special. After I finished the interview, one of the people in Yoko’s circle who had been with her for a long time said to me that it was the best interview she had given in a really long time. So of course I was thrilled. Not only did she talk about Alice (they both went to the same college, Sarah Lawrence, but at different times) but she also shared anecdotes about her own work and her and John Lennon. It was such a privilege to talk to her.

You’ve already undertaken a very challenging project with Alice Walker, the Warrior Marks film and book. How do you stand alongside Alice as you make Beauty in Truth?

I think every time we make a film we are laying ourselves wide open because most times we come from a place of passion for our work–a passion that helps us to fly over the iron fences in our way. And when you make work that comes from that deep place within your bones, it’s inevitable that you feel exposed and vulnerable. When we made Warrior Marks, it was a challenging and difficult journey primarily because of its subject matter, female genital mutilation. Out of such shared experienced grew a mutual trust and respect. Recently when we finished shooting an interview, Alice said, ‘You know Pratibha we wouldn’t be having these conversations if we weren’t friends’. So I know that the content of our conversations for the film is precious and I feel honored that she has trusted me with her story.

What can you do in a documentary that you could not do in a book about Alice Walker, or she could not do herself, in a book?

There is in fact an excellent biography by Evelyn C White on Alice Walker called A Life: Alice Walker. I highly recommend it. Visual storytelling particularly with a biography is an exciting challenge and with Alice’s story there is of course the gift of her evocative poetry and fiction. So there is an opportunity here to weave some of this writing embedded into visual montages throughout the film, writing that often reflects key moments in her eventful life. It’s a beautiful way to anchor some of these turning points. I am excited to work with animation, graphics and moving images to create these visual vignettes that hopefully do justice to Alice’s writing.

Has funding been problematic for this project because of women’s lack of access to capital in general? Or to our collective reluctance to support women filmmakers, even though we want more women-centred stories?

Okay let’s start with some startling statistics, which give an idea of what women filmmakers are up against—only 7% of directors, 13% of writers, and 20% of producers are female. Given such a dearth of female representation in front of and behind the camera, is it any wonder that we continue to have a struggle to get funding for female stories and voices.

And within this context many of us especially those of us who are declared feminists are experiencing acute funding challenges. It’s hard especially when you make films that don’t fit into the dominant white, male paradigms at the best of times but right now its pretty dire.

But still, I have to admit that I didn’t think it would be as difficult as it has been to find funding support for a film on one of the most compelling, history making, writers of the 20th century. And I am not exactly a beginner director either. Just this week I read that US T.V. networks hire hardly any women directors and in a situation where women were/are already a minority, our continual disappearance both in front of and behind the screen is worrying.

Women are usually the first hit in any economic crisis as we are witnessing all around us right now with the current crisis and when it comes to our voices in the media the situation just gets worse. There has been an overall shift in recent years towards strident conservative, right wing thinking, which adds to the struggle to get funding for films that don’t fit into their retrogressive lens. Alice Walker’s outspokenness on issues such female genital mutilation, as well as the Palestinian people’s struggle, makes some funders nervous about supporting the film. I know this to be the case from some of the comments we have received.

And it’s not just the right wing. Recently there was an article in the New York Times about the documentaries screening at the Toronto Film Festival and there was not one mention of a film by a woman. Documentary is a genre in which women have always been very prominent. But suddenly when the genre becomes ‘sexy’ and more publically profiled because ‘named’ male directors are turning to the genre, it’s only the male filmmakers who get name checked. Melissa Silverstein who writes the Women In Hollywood blog did a great piece on this.

In the Warrior Marks book, you wrote that the “controlling, curbing, and problematizing of women’s sexuality have always been cross-cultural”, and sexuality is a theme in your work. To sustain your cross-cultural work, and the anger that accompanies it, you must need vast resources of love and courage. Has some of this come from your very long domestic and creative partnership with Shaheen Haq? Has your own sexuality influenced your work? And if so, how? And what are your views on LGBTQ representation in South Asian media?

I believe that everything you are and have been shapes your creativity. In my case my diasporic personal history is an intrinsic part of what has made me. I was born in Kenya, grew up in the UK and was brought up to think of India as my ancestral home. Currently I am making home in California. My status as a woman, a woman of color, an out lesbian and a feminist has challenged me in finding ways of negotiating a world that insists on making me into the ‘other’ but I also love that this outsider identity has given me an opportunity to revel in more imaginative ways of engaging with the world.

As for my relationship with Shaheen–yes indeed I would not be who I am today, doing all that I do without the love I have been blessed to experience with my partner Shaheen Haq. Her faith and abiding confidence in me during my many ‘dark nights’ over the years has pulled me through. Together we have broken many many taboos–for a start she comes from a Muslim background and I from a Hindu–both religions and communities historical ‘enemies’ since the partition of India. My parents fought against British rule in India but they also harboured a lot of anti-Muslim sentiment as a result of the bloody history of that partition. Ditto for her family. And then on top of that we have stepped completely outside the cultural norm and rejected a heteronormative expectation of us, all this has thrown us way off into the margins.

But I have always embraced the margins which is where some of the most exciting and innovative work comes from. I made Khush in 1991, the first South Asian lesbian and gay documentary. The film spanned India, UK and Canada. At the time I had no idea what the impact of this film would be but to this day I have folks who tell me that had it not been for that film, they might never have come out to themselves, or their families or friends. When I went to India in 1991 to film interviews, homosexuality was illegal and not many people were (understandably) willing to be on camera. I went back in 2008 when I was invited to screen my lesbian romantic curry romance, Nina’s Heavenly Delights. I met many many lesbians and gay men who were out and open about their sexuality. Things had changed absolutely and it was wonderful to see that. More recently homosexuality has been decriminalized in India and there are regular LGBT marches in places like Delhi, Bombay and Calcutta.

For me LGBT representations made by South Asian LGBT filmmakers like Sonali Gulati are far more exciting than any found in South Asian media. Bollywood films have started to include queer characters but they are so often full of stereotypes. Self representation is powerful which is one of the reasons I decided to become a filmmaker.

You have a teaser on the film’s site. Have you got any other images or footage to share?

We now have a longer trailer, which we hope people will view and share as much as they like. We also have quite a few production stills and some of these are on our website alongside my blog. I am about to venture into unknown territory and explore a whole new way of raising funding. Inspired by some amazing success stories, we have decided to take the plunge and start a crowd funding campaign for Beauty In Truth on Indiegogo. And as the IndieGoGo campaign gains momentum we plan to release a few choice video podcasts from the film.

What do you need? How can we help?

Crowd funding is an exciting way to raise money through grassroots outreach and potentially an excellent way to build community and audiences to have dialogue and discussions with. I truly believe that there is a diverse and widespread international community of people out there who want to see this film, especially women. Films like this do and can make a difference. But we need YOUR help. There is only two of us doing this with the help of a few well wishers. Please spread the word on the film. We are asking people to follow us on Twitter and Facebook, tweet/ email their friends, post to Facebook and help get us donations on our Indiegogo site. Become Beauty In Truth Ambassadors and hold parties in your home, community centres and gardens…anywhere really where there is beauty and light and good food.

We want to build an active and vibrant community around the film and if people tell us about their fund raising efforts via a short video or even a short blog or an email, we will post it to our Facebook page (Alice Walker Film) and on our website.

Alice Walker on her land.

Thursday, 6 October 2011

Thank you, Radio 1, for today's edition of 30 Seconds of Spontaneous Misogyny

In my column a few weeks ago I introduced a new game, 30 Seconds of Spontaneous Misogyny, prompted by - well - 33 years of life on this planet, and a conversation which happened in front of me in a lift at Broadcasting House. It's a good game because one is never short of participants, examples, tactics, intriguing new phrases or settings. You can play it any time, anywhere, and you don't even need to try. Some days a woman can claim a top trumps full house with multiple moments to relate to her friends. I thought I'd publicise the latest edition, which happened less than 25 minutes ago as I write.

I'll set the scene. I am in my study and Radio 1 is on. It's 2.30pm, immediately after the news broadcast. DJ Greg James and news reporter Chris Smith are having a pleasant conversation. Greg's talking about the idea, prompted by the death of Apple's Steve Jobs, that one must seize the day and do all the things you secretly wanted to, for life is short. I like this idea and am thinking about the one thing I'd most want to do, and most fear to do, which is write a historical, mythic fantasy adventure series with a brilliant heroine, following her life from her teens into adulthood. Greg says he's had a text from a guy called Omar, whose act of Seizing the Day was to ask out the girl he'd always liked. Omar says that he and the girl are now engaged.

Chris Smith: What - all in one day?
Greg James: No...I don't think so.
Chris Smith: He's a fast worker!
Greg James: She's easy.
Chris Smith: Well - clearly.

Sunday, 2 October 2011

!Women Art Revolution: a brilliant and salutary film by Lynn Hershman Leeson





I am writing to celebrate the film Women Art Revolution, poster image above, which is being showcased by one of my favourite London galleries, the Whitechapel. For over forty years, Director Lynn Hershman Leeson has collected hundreds of hours of interviews with visionary artists, historians, curators and critics who shaped the beliefs and values of the Feminist Art Movement and reveal previously undocumented strategies used to politicize female artists and integrate women into art structures.

!Women Art Revolution elaborates the relationship of the Feminist Art Movement to the 1960s anti-war and civil rights movements and explains how historical events, such as the all-male protest exhibition against the invasion of Cambodia, sparked the first of many feminist actions against major cultural institutions. The film details major developments in women’s art of the 1970s, including the first feminist art education programs, political organizations and protests, alternative art spaces such as the A.I.R. Gallery and Franklin Furnace in New York and the Los Angeles Women’s Building, publications such as Chrysalis and Heresies, and landmark exhibitions, performances, and installations of public art that changed the entire direction of art. New ways of thinking about the complexities of gender, race, class, and sexuality evolved. The Guerrilla Girls emerged as the conscience of the art world and held academic institutions, galleries, and museums accountable for discrimination practices.

Over time, the tenacity and courage of these pioneering women artists resulted in what many historians now feel is the most significant art movement of the late 20th century. Carrie Brownstein composed an original score to accompany the film. Laurie Anderson, Janis Joplin, Sleater-Kinney, The Gossip, Erase Errata and Tribe 8 are some of the gifted musicians who contributed to our soundtrack.

About Lynn Hershman Leeson:
Writer / Director / Producer / Editor Lynn Hershman Leeson pioneered site specific, performance and interactive media. Most recently, she was honored by the Digital Art Museum in Berlin with the d.velop digital art award (d.daa), the most distinguished honor for lifetime achievement in the field of new media. Her other honors include the prestigious Golden Nica Prix Ars Electronica, the ZKM/Seimens Media Arts Award and, as a Sundance Screenwriter Fellow, she was honored with the Flintridge Foundation Award for Lifetime Achievement in the Visual Arts. She has also received The Alfred P. Sloan Film Prize for writing and directing Teknolust, and in 2006, the International Association of Digital Arts award for “innovative storytelling,” Zero One Prize for “Media that Matters” and a Creative Capital Grant for her documentary, !Women Art Revolution. In 2009, she became a Guggenheim Foundation Fellow and received a Lifetime Achievement Award from Siggraph. Hershman Leeson wrote, directed and produced the feature films Teknolust, Conceiving Ada and Strange Culture, in addition to 14 other films and shorts. The films starred Tilda Swinton, were shown at the Sundance Film Festival, Toronto International Film Festival and Berlin International Film Festival, and were all internationally distributed. Her artwork is held in numerous collections, including at the Museum of Modern Art (New York), The National Gallery of Canada, DG Bank (Frankfurt) and The Walker Art Center (Minneapolis). She has published extensively, is the Chair of the Film Department at the San Francisco Art Institute and Emeritus Professor at the University of California.

Screening dates for !Women Art Revolution: 
  • The official UK Première, Launch and In Conversation between Lynn Hershman Leeson & Achim Borchardt-Hume, Whitechapel Gallery's Chief Curator, is on Saturday 15 October at 3pm. The price is £6/ £4 concessions.
  • Free screenings are on Sunday 30 October at 3pm, Sunday 13 November at 3pm and Sunday 27 November at 3pm
  • There will be a screening and In Conversation between Griselda Pollock and Lynn Hershman Leeson on Sunday 11 December at 3pm, price £6






text (c) Whitechapel Gallery press