Catherine Grant is a Reader at the Courtauld Institute of Art, London, and coeditor of Fandom as Methodology and Creative Writing and Art History.

"Grant’s evocative writing delineates the affective contours of collective art participation, and she vividly transports the reader with her on various expeditions – to an outdoor group performance in a wintry Trafalgar Square, to cacophonous choral readings of feminist texts or sitting alone on the last quiet days of a gallery exhibition. One of the true pleasures of the volume is its deep attentiveness to the textures, materials and experience of works of art, interwoven with the author’s compelling account of how cultural encounters strengthened her feminist consciousness."- Victoria Horne (Burlington Contemporary) "Grant’s writing opens avenues for imagining possible feminist pasts, presents, and futures." - Julia Alting (Trigger) “An original, associative and compelling account of archival fever and fandom in feminist practice … An exemplar for the ways we can, and should, learn together.”- Susannah Thompson (Art History) "The undoubted importance of Grant’s book lies in the flexibility and breadth of the new set of terms and conceptual frameworks she applies to contemporary feminist art history. . . . The author’s transparent subjectivity and embrace of complexity offer up an authentically feminist work of scholarship predicated on her expansion of a familiar precept on her expansion of a familiar precept: 'The personal is the artistic is the professional is the political' (54)." - Jennifer S. Griffiths (Woman's Art Journal)

• Acknowledgments  ixIntroduction. Anachronizing Feminism  11. Fans of Feminism  212. Killjoy’s Kastle in London  473. A Time of One’s Own  674. A Feminist Chorus  875. Conversations and Constellations  109Conclusion. Rooms of Our Own  133Notes  151Bibliography  179Index  205

Catherine Grant is a Reader at the Courtauld Institute of Art, London, and coeditor of Fandom as Methodology and Creative Writing and Art History.

"Grant’s evocative writing delineates the affective contours of collective art participation, and she vividly transports the reader with her on various expeditions – to an outdoor group performance in a wintry Trafalgar Square, to cacophonous choral readings of feminist texts or sitting alone on the last quiet days of a gallery exhibition. One of the true pleasures of the volume is its deep attentiveness to the textures, materials and experience of works of art, interwoven with the author’s compelling account of how cultural encounters strengthened her feminist consciousness."- Victoria Horne (Burlington Contemporary) "Grant’s writing opens avenues for imagining possible feminist pasts, presents, and futures." - Julia Alting (Trigger) “An original, associative and compelling account of archival fever and fandom in feminist practice … An exemplar for the ways we can, and should, learn together.”- Susannah Thompson (Art History) "The undoubted importance of Grant’s book lies in the flexibility and breadth of the new set of terms and conceptual frameworks she applies to contemporary feminist art history. . . . The author’s transparent subjectivity and embrace of complexity offer up an authentically feminist work of scholarship predicated on her expansion of a familiar precept on her expansion of a familiar precept: 'The personal is the artistic is the professional is the political' (54)." - Jennifer S. Griffiths (Woman's Art Journal)

• Acknowledgments  ixIntroduction. Anachronizing Feminism  11. Fans of Feminism  212. Killjoy’s Kastle in London  473. A Time of One’s Own  674. A Feminist Chorus  875. Conversations and Constellations  109Conclusion. Rooms of Our Own  133Notes  151Bibliography  179Index  205

Catherine Grant is a Reader at the Courtauld Institute of Art, London, and coeditor of Fandom as Methodology and Creative Writing and Art History.

"Grant’s evocative writing delineates the affective contours of collective art participation, and she vividly transports the reader with her on various expeditions – to an outdoor group performance in a wintry Trafalgar Square, to cacophonous choral readings of feminist texts or sitting alone on the last quiet days of a gallery exhibition. One of the true pleasures of the volume is its deep attentiveness to the textures, materials and experience of works of art, interwoven with the author’s compelling account of how cultural encounters strengthened her feminist consciousness."- Victoria Horne (Burlington Contemporary) "Grant’s writing opens avenues for imagining possible feminist pasts, presents, and futures." - Julia Alting (Trigger) “An original, associative and compelling account of archival fever and fandom in feminist practice … An exemplar for the ways we can, and should, learn together.”- Susannah Thompson (Art History) "The undoubted importance of Grant’s book lies in the flexibility and breadth of the new set of terms and conceptual frameworks she applies to contemporary feminist art history. . . . The author’s transparent subjectivity and embrace of complexity offer up an authentically feminist work of scholarship predicated on her expansion of a familiar precept on her expansion of a familiar precept: 'The personal is the artistic is the professional is the political' (54)." - Jennifer S. Griffiths (Woman's Art Journal)

• Acknowledgments  ixIntroduction. Anachronizing Feminism  11. Fans of Feminism  212. Killjoy’s Kastle in London  473. A Time of One’s Own  674. A Feminist Chorus  875. Conversations and Constellations  109Conclusion. Rooms of Our Own  133Notes  151Bibliography  179Index  205