Feminism is often considered as having a definitive chronological and ideological timeline, structured in waves that have since broken and been reabsorbed. Appropriately, The F Word catalogue uses this model as its premise for an investigation of contemporary feminist art practices. The exhibition's title alludes cleverly to the current condition of feminism as an unspoken or "taboo" subject with which some women artists no longer want to be associated. As Karen Henry argues in her catalogue essay "The Trap of Feminism," following the second wave (which was criticized for its essentialist ideals) and the third wave (its highly academic and sex-/gender-inclusive successor), women artists can no longer agree about what it means to be labeled as a feminist. The catalogue also includes essays by Lisa Steele, Alissa Firth-England and Candice Hopkins that address how contemporary feminism incorporates elements of both first-wave and second-wave feminism while also diverging from them. The essayists note a shift in focus from gender-specific issues to a wider range of social issues that reflect the growing diversity of North American publics.
Texts by Alissa Firth-Eagland and Candice Hopkins, Karen Henry, Lisa Robertson and Kristina Lee Podesva
Artwork by Rebecca Belmore, Patty Chang, Allyson Clay with Lisa Robertson and Nathanael (Nathalie Stephens, Kate Craig and Margaret Dragu, Shawna Dempsey and Lorri Millan, Klara Kiden, Deirdre Logue, Jillian Mcdonald, Lisa Steele, Salla Tykka
Perfect bound, soft cover, text and images, colour and b/w