Customise Consent Preferences

We use cookies to help you navigate efficiently and perform certain functions. You will find detailed information about all cookies under each consent category below.

The cookies that are categorised as "Necessary" are stored on your browser as they are essential for enabling the basic functionalities of the site. ... 

Always Active

Necessary cookies are required to enable the basic features of this site, such as providing secure log-in or adjusting your consent preferences. These cookies do not store any personally identifiable data.

No cookies to display.

Functional cookies help perform certain functionalities like sharing the content of the website on social media platforms, collecting feedback, and other third-party features.

No cookies to display.

Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics such as the number of visitors, bounce rate, traffic source, etc.

No cookies to display.

Performance cookies are used to understand and analyse the key performance indexes of the website which helps in delivering a better user experience for the visitors.

No cookies to display.

Advertisement cookies are used to provide visitors with customised advertisements based on the pages you visited previously and to analyse the effectiveness of the ad campaigns.

No cookies to display.

Skip to content

Shop

Kate Davis: Curtain I – VII

£12

Kate Davis Curtain I – VII

This product was selected to go in Drawing Room’s bookshop as part of the 2024 exhibition The Time of Our Lives – Drawing Room

Curtain I – VII [2011] is a series of seven prints referencing the militant suffragette Mary Raleigh Richardson’s attack on Velasquez’s painting, ‘The Toilet of Venus’ at the National Gallery, London in 1914, and the subsequent concealment of that act. Richardson’s incisions have been historicised as her protest against the re-arrest of suffragette Emmeline Pankhurst, yet the details and emphasis of each account vary greatly and her marks have been carefully repaired by conservators.

Repeatedly photocopying documentation of the effect Richardson wrought on the painting, Davis re-inscribed the reproduction of Richardson’s cuts in pencil, leaving Velasquez’s painted outline of Venus to deteriorate as it is repeatedly and mechanically copied. Curtain I – VII questions whether Richardson’s lacerations could be re-imagined as inscriptions or reparations, as additions rather than removals – or both.

7 digital pigment postcards

Dimensions: 6.4 x 8.4 cm

Basket1
Subtotal
£38
Total
£42
Continue shopping