The Walker Gallery in Liverpool in its latest exhibition entitled “Conversations”, is presenting the works of 40 black UK women artists who each utilise a range of media in their output: painting, photography, sound and video. The gallery says this is the first time that this type of presentation of the works of only black women has been done, not just in the UK, but worldwide. What is their intention of doing this? They say to highlight the talents of women artists of all races, but do they succeed in this ambition?
The exhibits in Conversations show familiar scenes of everyday life, such as portraits and photos of families and take on a more avante-gard approach by exploring the themes of sound and computer games, all of which relate to identity and belonging. The works of art are displayed as if in conversation with one another, hence the title.
This latest exhibition is in response to the ongoing marginalization of not only women artists in museums, collections and exhibitions today, but more specifically, in this case, black women artists. Public collections and exhibitions are noted for disproportionately focusing on the work of white male artists. Is this a conscious decision of those in charge of exhibiting, or more subtle? Is this some form of unconscious bias? Misogyny is prevalent the world over, and perhaps nonetheless so, than in the world of art.
Whatever your view, it is supremely ironic that The Walker Gallery was established on the wealth derived from past African colonization and the Atlantic slave trade. It is perhaps also surprising to know that before 2018 there were only two works produced by black women on display in this museum, out of the approximate11,000 pieces of art available for display. Following this exhibition the gallery is committed to correcting this situation and to comprehensively review its portfolio of works of art on display and to include more women.
There have been a number of art exhibitions in the UK in the last year focusing only on works produced by women, as reported in this magazine previously (see the article ‘Women can paint’). How do we change our collections and displays to represent all artists equally, of all races and genders? Who holds power in the art world and how can women artists reclaim it? There seem to be more questions than answers. It is well recognised that public art bodies have a majority of men overseeing collections and exhibitions (see Helen Gorrill’s book ‘Women can’t paint’) and Gorrill concludes men predominantly hold the keys to the gateways of power in the arts.
Can it be the case that if there were a greater number of women on the boards of art galleries, museums and other public and private bodies there would be an improved number of displays by women artists? If the culture secretaries responsible for the arts in governments were to encourage all public institutions to review their policies on women in the arts, would that improve matters? Such steps are being taken, however meagre.
For instance, last September Tasmania’s Museum of Old and New Art won an appeal in the state’s supreme court in is efforts to bar men from entering an installation known as the ‘Ladies Lounge’. The court concluded that the ‘Ladies Lounge’ qualified for an exemption from the state’s anti-discrimination law under a section which allows discrimination if the intention is to promote equal opportunity for a group of people who are disadvantaged or who have a special need.
While in that same month, Rachel Reeves, the new UK female Chancellor, announced plans to replace every painting in the state room at 11 Downing Street with artworks of or by women, including the installation of a statue of the women’s suffrage campaigner, Millicent Fawcett.
Surely these actions, and others like it, will help to some extent redress the balance. Let us all have a conversation about how women can be better represented in the world of art.
‘Conversations’ is on at The Walker Gallery, Liverpool until the 9th of March next.
Comentarios