Do women want more, and/or better quality exhibitions?
Do women want fame?Do women want wealth?
Aren't women artists already achieving these goals? If so, what's still missing for women artists that suggests this conversation holds merit? Why are some women still complaining that the art world is not fair to us?
After all, Faith Ringgold, Judy Chicago, Camille Billops, Louise Nevelson and a slew of other women paved the way and fought these same battles ALREADY back in the 1960's and 1970's. What should we have in 2010 that we don't have yet and why does the fighting continue?
Hey, maybe we just don't deserve more attention.
Is our work good enough?
Do we work hard enough?
Maybe we work hard enough on our art, but not hard enough on networking and schmoozing people who can help us! Maybe we just don't have the right connections!
Maybe we don't help each other when we get those connections!I Often I hear that African American artists segregate ourselves, not going to the "right" discussions, panels, and openings. Not sure this is true, but if so, do women do the same thing?
Sometimes I am told that African American artists are behind the trends; we are mostly working in traditional, figurative styles from the past, and are not contemporary, so our work is not as challenging.
I think this is crap and a lame excuse for excluding segments of artists from a sometimes, lucrative but highly competitive endeavor, especially when I see artists doing figurative work who are not considered not contemporary.
Is this what's holding back women artists? Is the work cliched and traditional?
I don't think so!
The top women artists don't get the money at auction or in gallery sales male artists get, not to mention the fame!
More and more women's traditional arts are in play on the contemporary scene, from crocheting to quilting to collage and other forms of handmade items that women historically have made...so, it should follow that women would be in the forefront of recognition around this trend.
Let's look at another possibility. It's NOT the work but the opportunities to exhibit that work that keeps women artists on the back of the bus.
Should we cast our eyes towards being in charge of the mainstream venues, instead of women only venues and bringing in women artists?
here are some top international museums. How many women run them? National Museums Directors (Smithsonian, etc.), Guggenheim Foundation and Museums director, Tate Modern director, Vicente Todoldi judged this 2009 competition.The Museum of Contemporary Art (MOCA) in L.A recently chose a new director for their facility. The Art Institute of Chicago's director is male.
So should the women who run museums and galleries be approached with this concern about leveling the playing field for women artists?
The women-only institutions have been around for 40 or 50 years, already. When will this job be done?
Here is panel member for the CAA conversation on women artists.
Beate Minkovski is co-founder and Executive Director of Woman Made Gallery.
From 1992 through 2010 WMG has organized 163 group shows, 104
invitational/solo shows, 36 Artisan Gallery exhibitions, and eight off-site
shows. More than 6500 have exhibited their work since WMG was
established. Active with neighboring arts organizations, Intuit and ARC
Minkovski has served on the Community Arts Assistance Program (CAAP) Panel
for the from 2005 to 2008. She is part of the
Special Service Area (SSA) #29 Commission jury panel for public art in
Chicago's Westtown, and has curated exhibitions for various arts
organizations including the CWCA, The Women's Art Registry of Minnesota,
Women's Work in Woodstock, Illinois, and The Art Center in Highland Park,
Illinois. She is the 2006 CWCA award recipient for achievements in the arts.
Amy Galpin is Project Curator for American Art at the San Diego Museum of Art. She worked with Woman Made Gallery for three years as Gallery Coordinator and served as the Illinois Regional Coordinator for the Feminist Art Project. She received her B.A. from Texas Christian University and a M.A. in Latin American Studies from San Diego State University. She is currently finishing her Ph.D. at the University of Illinois-Chicago. Her recent and upcoming exhibitions include: Translating Revolution: U.S. Artists Interpret Mexican Muralism (at the National Museum of Mexican Art), Women Imaging Women: A Study of Female Portraiture (at Robert Morris University), and Brutal Beauty: Drawings by Hugo Crosthwaite (at the San Diego Museum of Art).
Investigating the Need for Women's Art Galleries, Exhibitions, and Organizations: From Our Center