Volume 28, Issue 6
Furthermore: a letter | Jennifer Bloomer
September 2022
Dear Hélène and Emma,
Thank you for inviting me to write a letter for your special issue of The Journal of Architecture.
That you and The Journal of Architecture would honour me by producing this issue, but also that so many former students and colleagues I have known and cherished over the years — as well as some young colleagues whom I have yet to have the pleasure of meeting — would put your thoughts and efforts into such a project, means more to me than I could ever adequately express. CONTINUE READING
Plan, Competition Entry, Six Milles Femmes, 1987–1989, by Jennifer Bloomer, Robert Segrest, and Durham Crout, courtesy of Jennifer Bloomer
Karen Burns
Histology I (still photograph) and still image from Petal Powers (2019). Video 1. Petal Powers (5’36”), 2019, videography by Madeleine Trigg, post-production by the author
Julieanna Preston
Installation view, Tabbles of Bower, 1991, by Jennifer Bloomer, in her ‘Abodes of Theory and Flesh: Tabbles of Bower’, Assemblage, 17 (April 1992), 6–29, courtesy of Jennifer Bloomer
Hélène Frichot
Women at work at the STC factory, New Southgate, London, 1937, courtesy of Institution of Engineering and Technology Archives
Katie Lloyd Thomas
To Mother, 2022, panel and text by Katarina Bonnevier, amulets by the collective of ‘Tabbles of Bower’ (Jennifer Bloomer, Nina Hofer, Wendy Landry, Julio LaRosa, Judy Birdsong, Dave Karpook, and Liza Karpook), 1989–1991, and Bonnevier (MYCKET), ‘Troll perceptions in the Heartlands’, 2021–2024
Katarina Bonnevier
Spaces for (un)learning, a feminist day and whole school event, University of Sheffield, 2002, photographed by the author
Doina Petrescu
Road Surveying Interrupted in Singapore, by Heinrich Leutemann, 1865, wood engraving on paper, courtesy of National Museum of Singapore, National Heritage Board
Lilian Chee
If forever was now, 2021, self-published in ‘OUT FROM: Self Portraits 2020/21’, by Mitchell Squire, 2021
Emma Cheatle & Hélène Frichot
Tilly - He travels after the winter sun - Initial letters designed and illuminated by Lucia Joyce, in James Joyce, Pomes Penyeach (Paris and London: Obelisk Press and Desmond Harmsworth, 1932), reproduction of Joyce’s original manuscript with printed text, no. 25 of an edition of twenty-five copies, oblong folio, British Library Board C.107.h.35, courtesy of the British Library
Jane Rendell
