“At the beginning of 1975 a group of women all over the Midlands and South of England gradually started sending each other small art-works through the Post […] ‘We are trying, I think, to unite apparently disparate aspects— the private, domestic and personal with political and social understanding. We have few physical resources which is reflected in the art-works; many of them use old packaging, clothing; we recycle lots of things.’”
Phil Goodall, Spare Rib, issue 49, 1976, p. 37 North West Arts Gallery, Manchester; Birmingham Arts Lab; Central Library, Birmingham; The Academy Gallery, Liverpool; Kunstlerrinnen International, Schloss Charlottenberg, Berlin, 1977; Women’s Postal Art Event – Feministo: Portrait of the Artist as a Housewife, ICA, London, 1977
On Feministo
TATE PAPERS, 2016. I Show You Mine If You Show Me Yours.
KOKOLI, A.M., 2004. Undoing `homeliness' in feminist art: Feministo: Portrait of the Artist as a Housewife (1975-7). n.paradoxa, (13), pp. 75-83.
KOSZEREK, P., 2001. The independent art school conference. Journal of Visual Art Practice (U.K.), 1(2), pp. 111-115.
LUM, J., 1983. FEMINISTO FOLLOW-UP. WOMEN ARTISTS NEWS (U.S.A.), 8(2), pp. 17-19.
RECKITT, H., 2006. Unusual suspects: 'Global Feminisms' and 'WACK! Art and the Feminist Revolution'. n.paradoxa, (18), pp. 34-42.
WALKER, K., 1980. FEMINISTO: A PORTRAIT OF THE ARTIST AS A YOUNG HOUSEWIFE. HERESIES (U.S.A.), 4(1), pp. 34.
On the 1977 ICA show ‘Portrait as Housewife’ and Kate Walker
HUNTER, A., 1980. FEMINIST PERCEPTIONS. ARTSCRIBE (U.K.), (25), pp. 25-29.
AURICCHIO, L., 2001. Work in translation: Ghada Amer's hybrid pleasures. Art Journal (U.S.A.), 60(4), pp. 26-37.
(EDITED BY) ELINOR, G., RICHARDSON, S., SCOTT, S., THOMAS, A. and WALKER, K., 1987. Women and craft. Virago.
On the 1973 exhibition: Women’s Place
PARKER, R., 1974. HOUSEWORK. SPARE RIB (U.K.), (26), pp. 38.