Open Library: Archiving women’s artistic practices with Althea Greenan

At Middlesbrough Institute of Modern Art, Middlesbrough

2 – 4pm, 26 November 2021

The Women’s Art Library (WAL) began as the Women Artists Slide Library, an artists’ initiative that developed into an arts organisation publishing catalogues and books as well as a magazine from early 1983 to 2002. Today the WAL is housed in Goldsmith’s Special Collections and continues to collect documentation such as slides, artist statements, exhibition ephemera, catalogues, and press material in addition to audio and videotapes, photographs and digital media.

Come learn about the Women’s Art Library collection and how curator Althea Greenan approaches sharing the work of women artists through collecting documentation and publications.

Althea Greenan with Barbican Young Curators group at WAL (2018), Image courtesy of Catarina Rodrigues

Dr Althea Greenan is Curator of Special Collections and Archives at Goldsmiths University of London working extensively with the Women’s Art Library (WAL) collection. She facilitates new projects and original research with artists, students and academics exploring the WAL and positioning the collection in contemporary practices. Greenan has written on the work of women artists since the 1980s and her doctoral research on the WAL’s collection of 35mm slides features in the anthology Of Other Spaces (edited by Sophia Hao, Sternberg Press 2019), in a special issue of the journal Women: a cultural review (edited by Dr Victoria Horne, Taylor and Francis 2019) and in the exhibition Dark Energy: feminist organizing, working collectively (xhibit, Academy of Fine Arts Vienna March 2019). She has written on the Women’s Art Library for Feminism and Museums, volume 1 (edited by Dr Jenna C Ashton, MuseumsETC 2017) and elsewhere including the magazine Orlando 02 (edited by Philomena Epps 2017). She has recently contributed to Salon For A Speculative Future (edited by Monika Oechsler, with Sharon Kivland 2019) and Anonymous Was A Woman (edited by Jenna C. Ashton 2020). Her article looking at the politics of experimental photo-chemical filmwork “The Trajectory of Miriam Sampaio” appeared in The Moving Image Review and Art Journal (MIRAJ) Volume 9, Number 1, 1 April 2020, pp. 64-74(11) and her reflections on the archive work of Rita Keegan will appear in Mirror Reflecting Darkly: The Rita Keegan Archive (Goldsmiths Press/MIT Press edited by Rita Keegan, Matthew Harle, and Ego Ahaiwe Sowinski 2021).