Installation, 2024


Revolt, as Julia Kristeva (2003) defines it, refers to: ‘a permanent state of questioning, of transformations, an endless probing of appearances.’ It is not a unified position but a sharing of common variation and keeping this differential process in motion. To revolt might then trigger the impulse to redo, and redoing can be to remake or to do differently in ways that include homages, translations and critiques without needing to fix their categorisation. Subjectivity & Feminisms’ Undoing, Redoing, Revolting… poses questions, enacts transformations and probes appearances in relation to art &: desire, domesticity, citation, power and the porous boundaries between the inside and the outside of Special Collections...Humour is a key to feminist revolt. Fran Cottell repurposes Edward Rusha’s Business card (1972), which read: ‘EDWARD RUSCHA (ED-WERD REW-SHAY) YOUNG ARTIST’, an intervention to correct the mispronunciation of his name. This contrasted with Cottell’s experience and lack of intervention. Always: 'Cottle'; once memorably billed as: 'Frank Hotel'; recently remedied: FR-ANNE COT-TEL ARTIST, a minor spatial adjustment. (from the press release).

Produced For

Subjectivity & Feminisms' exhibition: Undoing, Redoing, Revolting: A Feminist Response to the Special Collections at Chelsea College of Art.


Chelsea College Library, UAL, London


Business cards


Facilitators: Rosemary Cronin and Siobhan Britton. Press Release: Maria Walsh and the Subjectivity and Feminism Group.

Related Artworks

Heroic Status / Biography, 2018

Fran Fran