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| Women's Art project logo - Reworking of Ana Mendieta's work |
1. The Women’s Art project works as an
online gallery that aims to combat the Western, androcentric elitism in art
History. How did you first come to the realization that it was a necessity to
create such an art project, and how has the public reacted to Women’s Art
online platform? What’ve you learnt through the years of uploading the Women’s
Art project social media, regarding both art History and the contemporary art
scene?
In
my academic life I discovered very early on that the art history I was being
educated on was being defined as Western, white and male. Despite attempts to
look at aspects of this bias, art by anyone else, including half the global
population - women, was being treated as a minority subject. In my own time I
began researching the subject. The idea to share it via social media seemed
like a way to create a framework and resource for the research and to share it.
I soon found that there was an audience who were interested, perhaps involving
many who weren’t necessarily into tradition galleries, but just curious-which
is great. What I’ve learnt is that people seem very ready for some fresh
perspectives and also that women’s creative talents are boundless, innovative
and often courageous.
2. When it comes to women artists,
being women is not always the only source of invisibility and silencing.
Multiply marginalized women artists are often used to seeing their rage and
general emotionality met with an invalidating mix of misogyny and racism,
ableism or transphobia. How do you think projects such as Women’s Art can help
uplift the voices and artistic creations of those who can even feel alienated
from mainstream feminism and the feminist art scene? Which are the specific
issues multiply marginalized women artists might be facing regarding their
artistic creation and subjectivities?
I
start from the premise that all women are marginalised because of the fact of
being women, and all have an equally valid story regarding their art and their
womanhood. Within that, of course multi-layered marginalisation exists. The
idea has been to represent a broad spectrum of art and ideas which in turn may
indicate cultural or historic or personal meaning on the artist’s own terms.
But interestingly, this has also uncovered many threads that bind women together,
whether experientially or biologically, in globally shared themes and subject
matter. I think social media can act as an amazingly accessible platform for
many people who feel alienated from all areas of mainstream culture - if used
positively. Being given space to have a voice is one of the main issues all
marginalised people face.
3. You come
from a background of ‘Do It Yourself’ ethics and activism. How do you think
person-to-person actions and political organization in small, marginalized
communities that are often portrayed as powerless or uneducated by mainstream
media can fight systemic violence such as the patriarchy or white supremacy?
How does this kind of political organization relate to the art scene, to you?
I
think small scale activism is extremely important, so much comes out of humble
beginnings. I don’t think you can change the world over night, but you can
improve your own little bit of it. In terms of art it can translate into a
million actions and ideas. I’ve personally been involved in creating arts
events highlighting women’s art and music, multicultural arts groups, zines,
banner making, refugees’ groups, girl’s music workshops, skill sharing etc…the
possibilities are endless. The point is to do something if you can, rather than
not. When we look at US feminist and African American artists from the 1970’s
for example, people who were excluded from mainstream arts scene created their
own studios, exhibitions and publicity. Well-known artists such as Faith
Ringgold, Judy Chicago and Louise Bourgeois all came from that background.
4. In the
last few years, we have witnessed the highlighting of past women artists such
as Frida Kahlo both by feminist movements and the women’s art scene and even by
mainstream media (i.e. companies, worldwide fashion brands, etc). I hesitate to
call this “empowering” in the sense that there is often an alienation of the
public regarding the polarized portrayals of such women artists, whose
political ideas and artistic journey are to me even emptied of their deep
contradictions and radicalness. How do you feel towards such a growing trend of
uplifting History’s overlooked women artists, and do you think there is a way
for feminists today to pay respect to their more honest memory meanwhile
spreading knowledge about their artwork?
I
see the capitalist fetishization of certain women artists certainly, like Frida
Kahlo. There’s also a contemporary trend towards revisionism, to mould
historical figures dishonestly to suit modern ideas and ideologies. Both are
robbing people of their true legacy. While it is extremely important to
highlight those who have had their histories supressed, I think we have to act
with great respect to the known facts and context.
5. When it
comes to the contemporary women art scene, in which ways do you think the art
world and business have gotten better for us and in which ways does it still
have to radically improve and evolve?
Capitalism
can commodify anything and ‘women artists’ as a fashionable product is no
different. I would like to say that all is fine for women now, but many of the
specific oppressive conditions women have faced in the artworld and beyond,
still exist. I do see attempts to
address certain issues such as gallery representation for example, but still so
far to go. I think things need to improve in the whole of society, as art isn’t
separate from the rest of culture, obviously. Women, however, are continuing to
create amazing artworks, never the less.
6. Do you
feel like there have been any major changes in what’s more often represented
and the ways in which it is represented when it comes to contemporary women’s
art in comparison to more traditional women’s artwork? Is there a kind of
trans-historical alliance linking such diverse artist through their different
backgrounds, cultural upbringings and time lapses?
Yes,
in Western terms, the scope of women’s artwork has widened as women’s roles
have evolved and expanded. There are still genres to which women are more or
less connected. There are still recurring themes relating to women’s lives, in
the private realm while the public realm still struggles to offer female
artistic recognition. As I said earlier, I do find definite links between the
work of women globally and historically which conveys a certain shared
experience unique to women.
7. Finally, I
would like to ask you about your personal favorites – who are the women artists
who have more profoundly shaped your approach to womanhood, feminist
resistance, art consumption and creation?
I’m
inspired by too many women to mention, not just the famous ones, but often
women who just want to be creative in whatever way they can and whatever way is
accessible to them. The resourceful ones, the fighters, those who don’t take no
for no answer…I have much respect for them all.
I hope that answers your questions.
