Abstract
The machine aesthetics of artist Edna Lumb (1931-1992) are unique in the male-dominated heavy industry of the mid-twentieth century. Hailing from Yorkshire and having studied at what was then Leeds School of Art (1948-53), Lumb became a pioneering painter of industrial landscapes with a keen skillset in linear perspective and site-based studies. Drawing on the curation of two feminist- revisionary projects: Edna Lumb: Industrious Pioneer (2016) and Aggregate: Fritha Jenkins and Edna Lumb (2018), the legacies of Lumb and her partner, science writer Angela Croome (1925-2016), are re-explored through the curatorial interventions of queer contemporary performance artist and sculptor, Fritha Jenkins. A correlation is drawn between the call for the preservation of industrial heritage and the rise of women’s liberation in the 1970s. This chapter is structured through three key industrial heritage sites: the sewer, the quarry, the storage unit, via three particular bodies of work by Lumb, articulated by Croome.
| Original language | English |
|---|---|
| Title of host publication | The Routledge Handbook of Heritage and Gender |
| Editors | Jenna C. Ashton |
| Place of Publication | New York |
| Publisher | Routledge |
| Chapter | 13 |
| Pages | 185-198 |
| Number of pages | 13 |
| ISBN (Electronic) | 9781003258193 |
| ISBN (Print) | 9781032192086 |
| Publication status | Published - 16 May 2025 |