Women in Art

Speaker 1
I
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looked at paintings in a big time slot in the 19 nineties compared to a big slot in the last five, ten years. And we didn't know this until i'd actually carried out the statistic analysis. And to my horror, i found out that when men sign a work of art, it actually goes up in value compared to a painting that isn't signed. But when a woman signs a work of art, it actually goes down in value. Absolutely mind blowi so
Speaker 1
if an art work has the hint of a woman, it's deemed to be worth less. How on earth have we got here? I
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think women have fared very poorly because there's been an unconscious collusion between the market place, art history and the institutions. Francis
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morris, director of tate moden.
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Everybody lacks confidence. Everybody's looking for confirmation. So that there's almost been a sort of confirmatory history, which you could call the canon. So that er, for example, tate, when tate set outo in the early twentieth century, by international art for the first time, who did it look to for guidance? It looked to institutions in other parts of the world. It looked to a collecting public, it was looking to roll models who would offer guidance. And those roll models, of course, were roll models built according to convention and history. And of course, convention and history was framed by patriarchy, so that the dice were loaded against artists who, for all sorts of reasons, sat outside those conventions. So there were artists who worked in other media, uno caurse, the great medium of painting and sculpture. There were artists who chose to make work in fabric, for example, or chose to explore the camera, or chose to work in performance, and they weren't valued those medium because they weren't mediam that could be sold in the market place. Then there were artists who chose to address different subject matter. And then there were artists who were women. Couldn't
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go to art school. And helen
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and newman, again, i suppose, because of the physical nature of sculpture or painting and the costs involved and the space involved, and that that need also to show your work ar there have been definitely major barriers to career progression, which eventually filter through into the market. Once
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you begin to understand the mechanics and the structors that underpens people's careers, you begin to understand how women have progressively beena denied access to the top table. And
Speaker 1
this history of lack of opportunities for female artists and the de valuing of media such as seramics, textiles and photography continues to shape how young students to day learn about art and the value of women.

Recalculating Art

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