Alexis Hunter used photography in a distinctly powerful way, as a tool to take control of her own sexuality and buck the expected norms of society and gender stereotypes. Through the use of series and narrative sequences she exposes the tyranny of fashion (Burning Shoe, 1977), domestic violence (D_omestic Warfare_, 1975), and the exploitation of women (The Model's Revenge, 1974).Read More
Her inclusion in the seminal travelling group exhibitions WACK!, Art and The Feminist Revolution (2007) Angeles and WOMAN: Feminist Avant-Garde of the 1970s. Works from the SAMMLUNG VERBUNG collection (2014) cemented her reputation as a leading feminist artist.
Important solo exhibitions include Sexual Warfare, Goldsmiths Centre for Contemporary Art, London, UK (2018); Alexis Hunter/ Radical Feminism, Norwich Gallery, Norwich, UK (2006); Alexis Hunter / Fears/Dreams/Desires: A Survey Exhibition 1976-1988, Auckland City Art Gallery, New Zealand (1989) and Alexis Hunter / Feminist Perceptions, Institute of Contemporary Arts, London, UK (1978). Her work is in the collections of the Arts Council of Great Britain, Tate, Museum of New Zealand (Te'Papa), Scottish National Gallery of Modern Art, Verbund Collection Vienna, The Imperial War Museum amongst others.
Text courtesy Richard Saltoun Gallery.
Alexis Hunter was not only a photographer, but also a painter, especially in the last 10 years or so of her life.
If there's one image we need in this week of revelations about film producer Harvey Weinstein and his alleged long-running sexual harassment of Hollywood women it's this, The Model's Revenge by Alexis