“I don’t agree with all her views, but in the history of the craft, she is an important person,” said Sabina Magliocco, professor of anthropology and religion at the University of British Columbia. “When you look at all of the witchcraft as feminist resistance that flowered in the Trump era, none of that would have existed if it hadn’t been for what Z and others like her did in the 1970s.”
Here she speaks in Malcolm Brenner’s 1991 documentary Out of the Broom Closet, which was digitized and placed on YouTube by the New Age Movements, Occultism, and Spiritualism Research Library. Archives and Special Collections. Valdosta State University. Valdosta, Georgia.
This article considers feminist interpretations of the witch in contemporary art in relation to the witch craze: examples are by Georgia Horgan, Ann-Sofi Sidén, Mathilde ter Heijne, Monica Sjöö, Tania Antoshina, Helen Chadwick, Jesse Jones, and Carolee Schneemann. The argument explores the ways that the figure of the witch is analyzed in three different feminist critiques of patriarchy, and subsequently pursues how these ideas have been taken up in contemporary art by these women artists. The differences between three authors: Matilda Joslyn Gage (1893); Mary Daly (1984); and Silvia Federici (2004) are highlighted and contrasted to other historians’ analyses from the last thirty years of the fate of women accused as witches during the European Witch Hunt between the fifteenth to eighteenth centuries. This was a paper given at Misogyny: Witches and Wicked Bodies, Institute of Contemporary Arts, (ICA) London in March 2015.