The online exhibition Women in Revolt, Continued, presents a selection of works by gallery artists Helen CHADWICK (1953-1996), Rose ENGLISH (B. 1950), Alexis HUNTER (1948-2018) and Su RICHARDSON (B. 1947) alongisde works by Margaret HARRISON (B. 1940) on occasion of their participation in Tate Britain's new exhibition Women in Revolt!: Art and Activism in the UK 1970-1990 opening November 8th.

A major retrospective of feminist art in the UK between 1970 and 1990, Women in Revolt! celebrates a wide range of radical ideas and movements brought forward in British culture thanks to the work of women artists. Women in Revolt, Continued reflects on Richard Saltoun Gallery's long standing relationship with pioneers of British contemporary art, who have broken conventions and taboos exploring female subjectivity and celebrating female sexuality.

Rose ENGLISH (B. 1950) is best known for her contributions to the development of performance art in Britain. Emerging from the conceptual art, dance and feminist scenes of the 1970s, English has developed an extensive interdisciplinary practice over the past 40 years, honing a unique artistic vocabulary that has consistently analysed and commentated on aesthetics, politics and philosophy, including aspects of British pop culture, from show girls and show horses to magic acts and pantomime. 

In 2024 she will have a major retrospective at the Museum der Moderne Salzburg, marking her first comprehensive exhibition in the German speaking countries.

British conceptual artist Helen CHADWICK (1953-1996) embraced the sensuous aspects of the natural world, breaking taboos of the 'normal' and 'traditional' in art historical pedagogy.

In the Kitchen is one of Chadwick’s most provocative works and is now considered seminal in the history of feminist art. Originally conceived as a performance, it was first staged in 1977 at London’s Chelsea College of Art, where Chadwick studied for her MA. For this work the artist and three other female performers dressed in costumes that Chadwick had made by covering metal frameworks in PVC. The costumes represent gendered kitchen appliances, such as an oven in which the cooking rings resemble a breastplate. This series of 12 posthumous prints depict the artist dressed in the four costumes, performing each electrical appliance (Washing Machine, Oven, Fridge and Sink), confronting and satirising the stereotype of women as domestic goddesses or housewives.