Latitude. 22 B-C Leathermarket SE1 3HP
£5.00 on the door. £3.50  concessions
This is our new multipurpose venue located between London Bridge and Bermondsey
Tea and coffee will be provided
BONUS - YOU WILL STILL BE ABLE TO HEAR DR ALISON GREEN TALK ON 28 Feb at 7.30pm at the Richard Saltoun Gallery
111 Great Titchfield Street W1W 6RY
020 7637 1225
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Carolee Schneemann, multidisciplinary artist. Transformed the definition of art, especially discourse on the body, sexuality, and gender. The history of her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body.


Painting, photography, performance art and installation works shown at Los Angeles Museum of Contemporary Art; Whitney Museum of American Art; Museum of Modern Art, NYC; Centre Georges Pompidou, Paris; and most recently in a retrospective at the New Museum of Contemporary Art in New York entitled “Up To And Including Her Limits”. Film and video retrospectives Centre Georges Pompidou, Paris; Museum of Modern Art, NY; National Film Theatre, London; Whitney Museum, NY; San Francisco Cinematheque; Anthology Film Archives, NYC.


She has taught at many institutions including New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; Pollock-Krasner Foundation Grant (1997, 1998); 1993 Guggenheim Fellowship; Gottlieb Foundation Grant; National Endowment for the Arts Fellowship. Honorary Doctor of Fine Arts, Maine College of Art, Portland, ME. Lifetime Achievement Award, College Art Association, 2000.


Schneemann has published widely; books include Cezanne, She Was A Great Painter (1976), Early and Recent Work (1983); More Than Meat Joy: Performance Works and Selected Writings (1979, 1997). Forthcoming publications include Imaging Her Erotics, from MIT Press. A selection of her letters edited by Kristine Stiles is also forthcoming.




Alison Green holds a PhD from Oxford Brookes and an MA from the University of Texas at Austin, and is Senior Lecturer on the BA (Hons) Criticism, Communication and Curation at Central St Martins. She is an art historian, critic and curator with twin interests in contemporary art and the legacies of Modernism. Lecturer at Central St Martins. Her research interests are in critical theory, modernism, theories of history, practices of curating and criticism. 


Recent Publications

2011: Texts contributed to exhibition catalogue, The Indiscipline of Painting, Tate St Ives and the Mead Gallery (forthcoming).

2011: ‘Citizen Artists’, Afterall 26 (Spring).

2010: ‘Believing in the Devil: Caitlin Duennebier’, Source 64 (Autumn).

2008: ‘Utopias & Universals’, Chapter in book (ISBN - 9780854881628), Utopias, Whitechapel Gallery & MIT Press.

2008: ‘What Remains’, Chapter in book (ISBN - 9781861543066), Trevor Appleson, Los Loss, Booth Clibborn Editions.

2008: ‘Four Wall Drawings’, Chapter in exhibition catalogue, Frank Gerritz: Further Down the Line, Weserburg Museum für moderne Kunst & Verlag Walther König.

2006: Texts contributed on Erica Baum, Idris Khan, Gareth McConnell and Trish Morrissey’, Chapter in book (ISBN - 071484562), Vitamin Ph: New Perspectives in Photography, Phaidon Press.

2004: ‘'When Attitudes Become Form and the Contest over Conceptual Art's History’, Chapter in book (ISBN - 0521530873), Conceptual Art: Theory, Myth and Practice, Cambridge University Press.

2001: ‘A Short Chronology of Curatorial Incidents’, Chapter in book (ISBN - 0946652570), Curating in the 21st Century, The New Art Gallery Walsall and University of Wolverhampton.


Selected Conferences/Presentations/Exhibitions

2010: Close to Home, Exhibition curator, Spaceman Presents, London.

2009: ‘Women to Watch’, Panellist, Christie’s and the London Friends of the National Museum of Women in the Arts, Washington, DC.

2009: ‘Talking Art: Lorna Simpson interviewed by Alison Green’, Tate Modern, London.

2009: ‘Contemporary Painting and History’, Panel chair, Tate Britain, London.

2008: ‘Futuricity in Four Scenes’, Conference contribution, What is British Art? Tate Britain, London.

2007: ‘Paul Dickerson: As Art’, Exhibition, Betty Rymer Gallery, School of the Art Institute of Chicago.

2006: ‘Pre-History of the 'Greater Sixties': American Art c. 1960-63’, Conference organiser, Courtauld Institute of Art, London.

2004: ‘When Attitudes Become Form: Subjectivity and Self-Criticism in Late 60s Art Practice’, Conference contribution, Courtauld Institute of Art, London.


Current research students:

Louise Garrett 'On Hesitation, delay and detour'.


Leonie Cronin's performance


Poetrythree sheets to the wind 6 web

SLWA members Joan Byrne and Pia Randall-Goddard together with poet Helen Adie are Three Sheets In The Wind, and on Sunday, 6 May they read their poetry at Bankside in celebration of SNAP!

Their poems touched on the ordinary and embraced the sublime. Where familiar themes occurred, they were given a new twist. The audience enjoyed Joan’s pragmatic, yet humorous, take on the every-day exigencies of life. Pia’s poems abounded with memories of her real family and her ‘family’ on the street where she lives. Their poems were juxtaposed with Helen’s elegant reflections on the female form and the making of art.

Joan Byrne, writer and photographer, kicked off the poetry with ‘Puff Daddy and the Peckham Pigeon’ – a story of love between two pigeons surviving the hazards posed by the streets of Peckham:

 ‘… she's not that vain
too busy dodging traffic
on one good leg
the other's lame ...’


three sheets to the wind 3 webMultidisciplinary artist Pia Randall Goddard read from her reflective poem ‘Upland Road’, set in the hazy heat of Midsummer’s Eve. The ‘silver’ men of the street, she said, know:

‘all the children’s names
and hold the ropes for skipping games
(and) meet, with puff and beer.’

This poem is homage to the husbands, fathers and grandfathers who put the world to rights:

‘These silvers of the street,
these gatherers of our daily lives
in silvered paper, stone, story and song,
they fix it all as they walk …’
What is most striking about these poems is their playfulness, their tone of voice and variety. Here’s Joan’s poem, ‘tickle’:
'you can tickle my ivories
any old time
dance your digits
over my domain
tease a tune and
pluck my banjo
but don’t give me weak
tea in the morning'



Founding member Leonie Cronin’s path has led her from painting to performance art – using her body as a vehicle to represent differing female genres and personalities. Always concerned with the female ideal (or icon) her Bankside performance was born out of the stories of the ‘Winchester Geese’, the prostitutes who were licensed by the Bishop of Winchester in the Sixteenth century and who roamed the streets of Clink Street and Redcross Way along Bankside and were buried in unmarked graves within the area, generally of early death to debauchery and disease.

2bankside performance leonie 4 web

The clinking sound of vessels entwined to ethereal long plaid hair of differing colours, seemingly representing more than one woman gave a haunting like ghost appearance that swept into Bankside Gallery – dressed in ephemeral and virginal white, this ghostly figure graced the gallery with her watchful gaze on all who were present. Red flowers entwined her hair, red lips, nails and toes hint at some ‘spent past’. As an offering, each vessel was torn free from her hair and given to various participants to hold. The participants holding the vessels were asked to throw them into the gallery space – like a release of the chains that had been held in her incarceration, free at last from her past.



1bankside leonie2 1

The next female incarnation to enter the space after more poetry recitals, came a pensive, pagan looking women, dressed in black, hair tied in a white scarf, bloodied hands and holding an open box of earth. Each vessel found on the gallery floor was picked up and placed in the box, ever watchful to all who was looking. The box was placed down full of vessels tentatively on the floor, like a gathering up of all the history of each vessel may hold from the past and the contents of which were to be covered, buried and forgotten. This was a woman who wanted to forget and bury the history of the past of her sisters.

The three poets, Pia, Joan and Helen, attentively ended the performance by laying flowers on the grave of all the forgotten women buried beneath the earth.


Edited by Liz Nicholson

Liz was an editor in book publishing for ten years before her two sons were born, prior to reading English at Cambridge. Since then she has done a variety of part-time and free-lance work, such as helping with the re-launch of Dulwich Picture Gallery's In View magazine, and fund-raising for various charities - mostly arts-related, and including three years at the Mall Galleries.





The snap! PV was a fabulous success and the SLWA diary archiving the work is sensational! 10 pieces of work were sold on the night and the wine generously donated by Bacchanalia was delicious, huge thanks to all.

Thank you to our SLWA photographers Yoke Matze and Karin-Marie Wach who were taking snaps on the arrival day of the works, the curation/hanging of the exhibition and at the private view night. Copyright protection on all photographic works of the exhibition.

dpg snap image

snap!  South London Women Artists working together
2-7 May 2012
South London Women Artists’ are pleased to present their biennial exhibition cross-referencing contemporary female art with the history of feminism.   We will also be launching a new academic diary showcasing women artists at the private view on 2 May.  This will happen alongside a display of archived diaries from The Women’s Art Library at Goldsmiths University of London.  During the show there will be school workshops, gallery talks and a performative event.
Bankside Gallery, 48 Hopton Street, London SE1 9JH
Opening times
10am-6pm, admission free
Free events
Private view/Diary launch 2 May 6-9pm
Gallery talk 5 May 3pm
Performance 6 May 3pm



 snap version final front


snap version final back


5 weeks to go and the snap! South London Women Artists at Bankside flyer is ready. 


'We are continually working to position SLWA as a significant women artists' group and gain more visibility for our members. In planning Bankside, we all had an idea of what kind of show we wanted Bankside to be though we didn't have the name. We wanted a name with a strong identity that would provide a unifying theme for the show. Some of us had represented SLWA at WoW at The Royal Festival Hall last year (Women of the World Festival 2011) and were inspired by the event. We were also inspired by Dr Lara Perry's talk about recent international exhibitions devoted to art informed by feminism, including the 2007 feminist retrospective in Los Angeles called WACK!. The eureka moment came after Moira Jarvis and Leonie Cronin visited Althea Greenan, curator of The Women’s Art Library at Goldsmiths University of London to look at the Women Artist Diaries. WoW, WACK! snap! Verb and noun: a snapshot, to get snapped up, the same, a sharp sound that makes you take notice. We had the name, we now have the flyer. The flyer has a slightly retro feel that references the women artists' exhibitions of the seventies and eighties, and at the same time has a dynamic, contemporary appeal. It has a stylised, graphic quality with a strong use of black. The artist images were selected from those of our artists who have uploaded their profiles on our new website; chosen because they in some way reflect women's lives and experiences, or link with London and the River, and because they work well together. The images are set at an angle with some of the elements in the same place front and back  - snap! all on a background of red dots. And we all know what red dots mean - sales! The flyer was produced in advance of the selection day as we wanted it to be available for this year's WoW where it was received with genuine interest. We hope you like it.'

Laura Moreton-Griiffiths