Lily Evans-Hill

PhD Researcher; Associate Lecturer

Feminist group-work: The emergence of the Women Artists Slide Library, 1972-1982

Supervised by Dr Catherine Grant and Dr Althea Greenan (Goldsmiths)

Funded by CHASE/AHRC

My project uses looks at the mobilisation of collectives, co-operatives and collaboration in art informed by the Women’s Liberation Movement in the UK. It explores the various iterations of group work and organising methods used in the Movement and how they manifested in art practices informed by feminism throughout the seventies and eighties, and in particular, as the Women Artist’s Slide Library (now the Women’s Art Library at Goldsmiths). The slide registry, as a resource for artists, curators and history work, envelops key concerns of the feminist art project by raising consciousness about women’s art, facilitating writing women’s art history and creating networks of contemporary practicing artists-all through a collaborative, crowd-sourced process. To frame the desire for a feminist slide registry, the thesis looks towards groups, periodicals, exhibitions, centres, registries and education programs to consider the landscape of collective work informed by feminism in the UK and US.

A large component of my research is considering the ways in which these organising structures, learnt from the Women’s Liberation Movement, shaped the ways in which women artists worked. There are many examples of art co-operatives, collective run gallery and exhibition spaces and collaborative art works and exhibitions that evidence this. What I am interested in here are the deviations from the traditional modes of feminist organising to account for new activities that were important to artists. Study groups, which included slide shows, conversations about women artists in history, discussing each others work, as well as action groups to organise exhibitions, publications and lobby art institutions, were loose ways to organise the intense activities of the feminist art movement. These are a type of organising that facilitated an intense period of cultural production that was public facing, culturally significant, and one that was conscious of producing a history. The slide library is an example of both the study and action group—a place to gather knowledge and produce a history of women’s creative practice in the UK, and to provide a resource on which future histories and practices could be built.

Research Interests

  • Feminism
  • Modern and contemporary art
  • Collaboration 
  • Moving Image 
  • Expanded sculptural practice


BA Critical Studies, Goldsmiths, University of London (2019-2020)

BA Foundations, Courtauld Institute of Art (2022-2023)

Conference Papers

‘Slides, money, tell them what we’re doing’: The Beginnings of the Women Artist’s Slide Library, Grassroots: Artmaking and Political Struggle University of Cambridge and University of St Andrews (13 May 2021)

‘Negotiating the Feminist Group: Lizzie Borden’s Regrouping (1976)’ Laura Mulvey and Peter Wollen symposium (May 2019)


On Ana’s Archive, Another Gaze Issue 03 (2019)

Negotiating the Feminist Group, Lizzie Borden’s Regrouping 1976, MIRAJ (Forthcoming)


MA History of Art, University College London (2017)

BA History of Art, Courtauld Institute of Art (2016)