FEMINISM AND REPRESENTATION
This essay was written as a personal response to the research undertaken for the Middle Ground exhibition, curated by Erin Mathews at Gippsland Art Gallery.
In a world where artists would like to be recognised for their work and not their gender, it is still important to champion female artists and their involvement in an industry that has historically overlooked them. Middle Ground is an opportunity for me to focus on a snapshot of seven significant artists from the Gippsland Art Gallery Collection - Polixeni Papapetrou, Angela Lynkushka, Siri Hayes, Tanya Dyhin, Jo Scicluna, Lydia Wegner and Izabela Pluta.
For centuries it was almost impossible for a women to achieve success and recognition as an artist. (1) Opportunities were limited as women had no political agency, no ability to vote, no access to art academies or apprenticeships. (2) Women artists have struggled to attain formal recognition for their work. Patriarchal, social, cultural and economic structures have all played a part in minimising the contribution of these artists. (3)
The desire to represent and celebrate women is tied to the history of feminism. This movement has changed and transformed over time, cultures and contexts. Jacqueline Millner outlines how these feminisms are connected:
“What they share is a gendered analysis of power and a commitment to transform social and cultural values, and upend existing hierarchies towards more inclusive, diverse and fair societies. Visual culture and art have played a vital role in advancing feminist visions and causes: from what is considered the feminist ‘first wave’, the fight for suffrage, through to ‘second wave’ struggles for equal rights and liberation in the 1960s and 70s, to the present day marked by intersectional concerns with other types of oppression, including First Nations’ campaigns for truth and voice and LGBTIQ+ and trans rights.” (4)
Throughout these movements artists played vital roles in disseminating messages and ideas. (5) This is highlighted in the Women’s Suffrage Movement, where visual images defined the crusade and “suffrage designers created the first modern ‘branded’ political campaign of the visual age.” (6)
Early attempts to rectify these gaps focused on the “hidden from history” approach – that is, ‘rediscovering’ the names and works of women artists. (7) This was valuable in finding new information about individual creators, but only focused on a small number of women. This method “did little to challenge the underlying principles, narratives and gendered assumptions that created a male-focused art historical canon in the first place." (8) In the 1990s and 2000s, a shift was made towards recognising diversity in women’s experiences, including the various cultural and social elements that impact upon artist’s careers. (9) This research approach was influenced by third-wave feminism and the focus on intersectionality. (10) Understanding a new art history story and cannon was the drive in this period.
While great strides have been taken, the inequality women face still persists today in the art world. We are at a point where women “in the West at least, have more power and equality than ever before. However, despite great leaps forward, the art world is still far from equal.” (11) Female artists are “less likely to receive solo exhibitions at major institutions and make up a smaller percentage of artists represented by major art dealers”. (12) I believe we have a responsibility as galleries and museums to equalise the historical inequities; to remove gender biases and discrimination; and work to celebrate, highlight, and research artists from traditionally under-represented groups. (13)
When working on this show I grappled with the idea of doing a ‘women artists’ exhibition. I did not want to group these seven artists together and risk them being seen solely as marginalised ‘women artists’. However I agree with Maria Quirk who stated:
"The reason why it remains useful to compare and contrast the work and experiences of women artists is because, despite the efforts and agitation of many, women artists are still considerably under-represented in popular culture, in exhibitions and are under-valued by the art market. The value of art is subjective, and for centuries the criteria that determine value have been set by male gatekeepers and tastemakers, who have been responsible for building museum collections, chairing selection committees, editing and writing art criticism and more. Work by women typically makes up a small percentage of the permanent collections of museums and galleries around the world." (14)
There is an obvious link between power and visibility here, specifically “whether, and how, those who identify as women are seen or portrayed in culture”. (15) Art can be used to tell stories – about ourselves, our cultures and our societies – and it is vital to include women artists in these narratives, both as subjects and as creators. This exhibition aims to celebrate women artists, not as a single group that is defined by their gender but as diverse individuals.
1 Higgie, Jennifer, “Work in Progress: Gender Parity in Art History – and Now”, Women in Art & Design, National Gallery of Victoria, Online Course. Accessed 2021.
2 Ibid.
3 Quirk, Maria, “Introduction”, Women in Art & Design, National Gallery of Victoria, Online Course. Accessed 2021.
4 Millner, Jacqueline, “Introduction”, Women in Art & Design, National Gallery of Victoria, Online Course. Accessed 2021.
5 Ibid.
6 Ibid.
7 Quirk, Maria, “Introduction”, Women in Art & Design, National Gallery of Victoria, Online Course. Accessed 2021.
8 Ibid.
9 Ibid.
10 Ibid.
11 Higgie, Jennifer, “Work in Progress: Gender Parity in Art History – and Now”, Women in Art & Design, National Gallery of Victoria, Online Course. Accessed 2021.
12 Quirk, Maria, “Introduction”, Women in Art & Design, National Gallery of Victoria, Online Course. Accessed 2021.
13 Ibid.
14 Ibid.
15 Millner, Jacqueline, “Introduction”, Women in Art & Design, National Gallery of Victoria, Online Course. Accessed 2021.
