Whilst curating an exhibition a few years ago, Sue Ecclestone was asked by one of the visitors why there were 'no women artists' exhibiting. Yet before Sue had the chance to provide an answer, another visitor had found one for her: 'well of course, there are just simply not that many women artists'.
'did people really believe that there were not many female artists?'
Such an assuredly put statement not only stunned Sue as being 'complete nonsense', but had her wondering if the visitors impression was a common one: 'did people really believe that there were not many women artists?' she thought.
Indeed, it is within this feature that the rhetoric of this edition switches entirely from 'Women in Art' as being the subjects of artistic depiction, to instead looking at the actual women 'in', though more often trapped 'outside of', art.
After this incident, Sue, who is also an art historian, began to reflect: 'I knew perfectly well the way that history had treated women artists, but what is perhaps more shocking is how the present treats women artists; statistically, they are less likely to be represented by commissions and art prizes, and their work sells for undervalued and under-represented in the art world and without support and positive championing this is unlikely to change. Because this problem exists, it has a habit of making some women feel that they are unable to compete with their male counterparts. In turn they under-value their own work and don't have the confidence to push themselves forward. . . Also, though not all, have more to contend when it comes to working, often having to manage their work alongside caring duties. Yet it is important to see art as a job like any other. Many women, for instance, sacrifice their career in order to have children and come back to it later - and artists are no different.'
So, wanting to make a difference, Sue, along with some of her colleagues and other female artists that she knew, decided to create an art prize and set up a day long workshop exclusively for female artists.
The day was an immediate success. Not only had they invigorated and boosted these women's morale through both the reward and bringing them together, but they had armed them with 'all the aspects of the business of being an artist'.
The event proved to be immensely empowering for all who attended and Sue was now determined to supercharge that power source.
And so Women in Art was born.
A non-for-profit organisation, Women in Art ultimately creates opportunities for women artists. Their main art prize The Holly Bush Emerging Woman Painter Prize , for instance, inspires women every year to get involved, not less daunted when it comes to competing for space in the art world. Women in Art also emphasises the importance of publicity too: The social media surrounding the prize is also very important, particularly as the public get to see the work of women artists they had never previously known, Sue highlights. 'On that note one story does stand out.'
Ruby & The Chair, by Julie Saddi. Winner of the Holly Bush Emerging Woman Painter Prize 2022.
The winner of the overseas prize of 2021 came from Peru and on the strength of the publicity and social media surrounding the prize she gained representation in a gallery in Ireland and another in Florida, USA. Nevertheless, the solution to gender inequality within the art world rests not only with the actions of organisations like Women in Art, but with men. As Sue states:
"Ultimately what we are trying to do at Women in Art CiC is to educate and support women artists. If we give women the tools they need to promote themselves and the confidence to believe in themselves, then they can compete with men. Though it would simply be better if they can exist equally alongside the men, so some of the educating needs to be directed at those who make the decisions!"
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