Courage Calls to Courage Everywhere

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From the #MeToo movement she makes what seems like an odd swerve into discussing AI because computer science/Silicon Valley is very male-dominated and she wants to be sure women have a respected role in the future. My reaction to this was the same as to Beard’s book and Chimamanda Ngozi Adichie’s We Should All Be Feminists: you can’t (and I don’t) dispute what the author has to say; for the most part the points are compelling and well made. Yet I don’t necessarily feel that I learned anything, or saw something familiar in a new way. The other thing that bothers me about Winterson’s stance is her technophilia. While she does ask whether AI could be the worst thing that has happened to women ever, and mentions the sexbot issue (though not nearly critically enough), she clearly sees technological advancement as inevitable and desirable (it’s not and it isn’t).

Some have expressed surprise that it is Fawcett, a law-abiding suffragist, who is being honoured instead of one of her better known fellow campaigners. But Millicent Fawcett was indeed a leader of the movement and dedicated 62 years of her life to campaigning for the vote for women. The judge added: “It is remarkable that with one woman being driven to report an allegation against you, despite your position and power, others felt able to act. Even today, courage calls to courage everywhere and its voice cannot be denied.”

Walking on the grass

Terras and Crawford have brought together a powerful and accessible collection of contributions from Millicent Garrett Fawcett, whose speeches and writings gave a political voice to the women of her generation. This book allows us to follow the footsteps of a momentous - albeit often overlooked - suffragist, who blazed the trail we now walk'

Denial, anger, hatred, betrayal, shame, self-blame and fear of being labelled a victim, are common emotions. You have shaped their lives, deprived them of the ability to trust men and form relationships. Some have damaged mental health and suffer loneliness. They continue to question their own judgment. They don’t trust the police.” One of the most original voices in British fiction to emerge during the 1980s, Winterson was named as one of the 20 "Best of Young British Writers" in a promotion run jointly between the literary magazine Granta and the Book Marketing Council.In her conception of the Fawcett statue, Wearing drew on her previous body of work, Signs that Say What You Want Them To Say and Not Signs that Say What Someone Else Wants You To Say (1992-3). Arguably some of her most iconic images, Wearing approached strangers on the street and asked them to write down an inner thought on a large piece of white card. Those who agreed were then photographed by Wearing holding up their personal statement, making their private feelings into a public work of art. The most famous, included here, depicts a clean-cut man in a suit holding a card with the words “I’m desperate”. Saul, Heather (24 April 2018). "Millicent Fawcett statue unveiling: the women and men whose names will be on the plinth". i . Retrieved 26 April 2018.

a b c Wheeler, Brian (18 January 2018). "Margaret Thatcher set to lose out in Parliament Square statue battle". BBC News . Retrieved 26 April 2018. Courage is not a synonym of fearless! One needs to put courage to work in the direction of admitting and overcoming fear. Many people have argued that they found this work too simplistic, but for me, someone who often initially has trouble navigating a more complex and sophisticated dialect, I appreciated how this was written at a level that most people would find easier to relate to. Often, issues such as feminism are seen as intellectual and scholarly, but that simply isn't, and shouldn't be, the case. Anyone, and everyone, can be a feminist, so why should people be excluded from the conversation in fear of looking 'dumb'? Wearing won the Turner Prize in 1997 and was awarded an OBE in 2011. She is represented by Maureen Paley, London, Tanya Bonakdar, New York and Regen Projects, Los Angeles.

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Millicent Fawcett is one of the pivotal voices in UK political history. Her work paved the way for every woman who has ever taken her place in a parliament anywhere on these islands. When any of us talk about standing on the shoulders of giants, Millicent Fawcett was that giant of female empowerment.' essential reading for anyone interested in the history of the British women’s suffrage movement and Millicent Garrett Fawcett’s enduring legacy.' Gillian Wearing (b. 1963, Birmingham) currently lives and works in London. Solo exhibitions include: Life, Cincinnati Art Museum, Cincinnati (2018); Family Stories, The National Gallery of Denmark, Copenhagen, (2017); Behind the mask, another mask: Gillian Wearing and Claude Cahun, National Portrait Gallery, London (2017); Sandra and Gerald Fineberg Art Wall, ICA Boston (2016); Instituto Valenciano de Arte Moderno, IVAM, Valencia (2015); A Real Birmingham Family, Centenary Square, Library of Birmingham. Birmingham (2014); We Are Here, The New Art Gallery Walsall, (2013); Gillian Wearing, Whitechapel Gallery and Ridinghouse, London and touring to K20, Kunstsammlung Nordrhein-Westfalen, Dusseldorf and Pinakothek der Moderne, Museum Brandhorst, Munich (2012); A Real Birmingham Family, Ikon Gallery, Birmingham (2011); Confessions: Portraits, vidéos, Musée Rodin, Paris (2009); Living Proof, ACCA, Australian Centre for Contemporary Art, Melbourne (2006); Mass Observation, Merrell, London / New York and Museum Of Contemporary Art Chicago, Chicago (2002); A Trilogy, Vancouver Art Gallery, Vancouver (2002); Broad Street, Gillian Wearing, Museu do Chiado, Lisbon (2001); Gillian Wearing – Sous in uence, Musée d’Art Moderne de la Ville de Paris, Paris (2001); Gillian Wearing, Centro Galego de Arte Contemporánea (CGAC) and Fundación la Caixa, Barcelona and Santiago de Compostela (2001); Unspoken, Kunstverein München, Munich (2001); and Gillian Wearing, Serpentine Gallery, London (2000).