Advocating for All Women Artists: Change in Discourse, Truth Over Ignorance, and a More Equitable (Art)World
Advocating for All Women Artists: Change in Discourse, Truth Over Ignorance, and a More Equitable (Art)World
Dr Joshua Y’Barbo, Artist-in-Residence for TEAM LEWIS Foundation
Introduction
With today's political and economic climate, we must turn to the transformative power of contemporary art to create social impact by challenging oppressive narratives and advocating for equal and equitable representation, including the rights of marginalised genders and sexual orientations. These issues collide in the current political theatre over women’s fundamental rights in the US and across the world, illustrated by the recent UK Supreme Court gender ruling regarding biological sex in the name of equality. Now is the time to utilise contemporary artists’ social platforms to amplify their influence for climate, racial, and social change both locally and globally. As attacks on freedom of expression increase, social inequities persist, and contemporary art can be a vital tool for advocacy and inclusivity. We must support artists and initiatives that amplify female voices and drive the movement toward a more equitable society, one that fosters intersectionality for all.
In 2010, Griselda Pollock edited a volume of n.paradoxa that focused on feminist pedagogies, emphasising the overlooked contributions of women in art history and the devaluation of women artists' roles in education. To address this neglect, Pollock references early feminist initiatives, such as women-only classes, seminars, and workshops promoting women's voices in art. Her work emphasises the importance of networking, professional development, and social awareness inside and outside the classroom. Pollock advocates revisiting historical moments when feminist teaching merged with collective action, consciousness-raising, and critical questioning of the power structures that influence knowledge and education. Additionally, she highlights the need to document marginalised groups, such as migrant women workers, to recognise their vital contributions to art history.
Efforts to counter the male-dominated canon of great artists present challenges regarding inclusivity, especially for the women-only approach often seen in early feminism. Tension arises between women-only spaces and inclusive discussions that involve all genders, particularly when addressing issues that intersect with gender. Pollock emphasises the difficulty of defining feminism through separate seminars or an integrated mainstream curriculum, highlighting women in global and political contexts and influencing inclusivity in education.
Pollock found that feminism took refuge within academia, and history has certainly seen this expand in the fifteen years since. However, feminism has not achieved the same influence in broader public education outside of the university sanctuary, indicating that we need to do more work to expand its impact on challenging misconceptions about gender equality, identity, freedom of expression, and representation in art and culture. Additionally, these initiatives aim to educate people on the disadvantages that women, people of colour, and other marginalised groups face, which contribute to an unfair society where those privileged receive higher-quality education and resources, leading to perceptions that they are "deemed the fittest for the job." This situation perpetuates the anti-woke and EDI (Equity, Diversity, and Inclusion) arguments that are currently popular.
As global politics introduce new challenges for gender equality and feminist lecturers begin to retire (and Justices pass on), future educators must find a balance between upholding feminist values and practices and addressing the inclusivity challenges that feminism presents across different genders.
Change in Discourse
Since 2010, an intersectional exploration of feminism, art, and social issues, including Black and queer arts, has been featured in art through notable exhibitions and in education, as intersectional ideas of gender are incorporated into the art education curriculum. For example, according to Charlotte Morris (2021) in the Journal of Gender Studies, ‘[…] with urgent challenges inherent in gender equity and social justice education in the contemporary socio-political context, we contend that addressing such barriers and moving the gender mainstreaming agenda forwards is crucial.’ This shift, increasingly focused on how race, class, sexuality and disability interact, offers an opportunity to advocate for mainstreaming feminism into art history and curriculum. It allows various groups to find common ground when addressing shared problems and promoting allyship for all women and marginalised communities (Willis et al., 2024).
In UK and European universities, gender studies have become more integrated into university-wide principles that align with environmental, racial, and social justice for all. This integration is reflected in the curriculum, which now addresses masculinity, femininity, and non-binarity, making the challenges within the field relevant to all students (University of the Arts London, n.d.; University of London, 2020-2021). Since the pandemic, digital platforms have proliferated and expanded significantly (Ganichev & Koshovets, 2021). These platforms have transformed interconnected classrooms and learning environments, broadening access to a range of resources, including feminist literature. They have also highlighted the role of online communities and social media in activism and education (Ali Murat & Ahmet, 2021).
Since 2020, global perspectives on feminist pedagogies have been recognised more widely. This has led to more comprehensive approaches that include all genders in discussions and to greater support from educational initiatives for feminist projects. However, challenges persist, particularly due to the significant impact of "Newspeak" in U.S. higher education institutions, which often omits any terms related to equity, diversity, and inclusion (EDI), including the word "women" (Fotaki & Pullen, 2023).
In 2025, the political climate under the Trump administration poses challenges for U.S. educational institutions, characterised by divisive rhetoric and stringent policies that undermine efforts to promote diversity, equality, and inclusivity. These actions compromise academic standards by eliminating essential vocabulary and reducing government funding for education and research (Kim, 2025). In contrast, France and Belgium refuse to comply with the U.S. State Department's requests to adopt anti-DEI policies in their universities and companies (Leali, de Villepin, Stanley-Smith, 2025). With fears of this ‘masculine energy’ migrating to the UK, many higher education institutions and private corporations have doubled down on their EDI commitments. As a result, European and UK policies continue to promote inclusivity and gender equality by fostering an educational environment that values diversity and critical thinking.
Thus, as feminist pedagogy gains or regains mainstream recognition and becomes more intersectional, the discourse evolves, reopening discussions around the various perspectives confronting challenges, institutional obstacles, and barriers through art and education.
Truth over Ignorance
As we revisit conversations about intersectionality and feminism in contemporary art and art education, it is crucial to uphold gender equality as a fundamental right for all individuals, regardless of their gender identity, not just for those identified as ‘biological women.’ This principle represents the freedom of individual expression for everyone, and it is a cause we must collectively champion. According to the Journal of Applied Research in Higher Education, education plays a vital role in fostering awareness and appreciation for the contributions of all genders, challenging misconceptions, and advocating for truth over ignorance (Alam et al., 2023). Promoting solidarity at the intersections of gender, race, class, and sexuality should provide a platform for free expression and act as a catalyst for change, particularly in raising awareness of the diverse spectrum of gender identities.
Art education serves as a participatory model for solidarity by fostering free expression and dialogue among diverse individuals. Through collaborative projects and community engagement, art and art education can raise awareness of intersecting identities and drive collective change. Rethinking gender in art education can foster a more equitable art world that values perspectives from all gender groups, especially in artistic labour.
The undervaluation of artistic labor is not an isolated issue; it stems from the intersecting patriarchal and capitalist systems that have shaped the art world for centuries. Feminist art theory provides a critical framework for understanding these dynamics, emphasizing how gender hierarchies and economic exploitation have marginalized the contributions of women and other excluded groups.
Shotwell (2024)
The underrepresentation of diverse genders in art history necessitates a proactive reevaluation of narratives to promote inclusivity and equality. We must strive for increased visibility of all artists, regardless of gender identity, and adopt an intersectional approach in contemporary art that acknowledges the complexities of human experiences.
So, embracing inclusive feminism and intersectionality in art means recognising and addressing systemic inequities shaped by patriarchal and capitalist structures. It involves supporting artists from underrepresented backgrounds and amplifying their voices. By promoting diverse contributions, we challenge traditional hierarchies and create a more equitable art world where all artists can thrive and be recognised for their work.
Navigating Inclusivity: Fragmentation in Feminist Pedagogies and Intersectionality in Art
While emphasising feminist pedagogies and intersectionality in art and gender studies aims to foster inclusivity and representation, some critics argue that this approach can inadvertently create divisions rather than unite diverse voices (Salskov, 2020; Willis, Shin and Richards, 2024). Although efforts to prioritise marginalised groups are part of a broader educational initiative to bring equality and equity into our institutions, they may also create an exclusionary environment for those who do not fit neatly within a specific identity category.
For example, Pollock (2010) discussed the emphasis on women-only spaces in educational settings, which may unintentionally exclude men and non-binary individuals from critical discussions about gender dynamics in art. This exclusion could limit the potential for collaborative understanding and shared learning experiences. Critics might point to programmes or initiatives that, while well-intentioned, have led to backlash from individuals who feel sidelined or disqualified from participating in dialogues about gender and inclusion.
Moreover, some argue that an emphasis on identity politics risks overshadowing the universality of artistic expression. For example, artists such as Lubaina Himid and Kara Walker address broader societal issues by transcending traditional feminist and racial boundaries in black art, while engaging their audiences in complex discussions. Critics may contend that an over-reliance on intersectionality can potentially reduce an artwork's message to mere identity representation, thereby detracting from the powerful, universal themes that art can convey.
In addition, the growing concentration on identity-based critiques in art can lead to a form of discrimination, where individuals from historically dominant groups may feel their own experiences and contributions are undervalued or dismissed. For example, Gary Garrels, former Chief Curator of painting and sculpture at SFMoMA, stated in a staff meeting that, ‘he said that to avoid collecting the art of white men would be “reverse discrimination”’ (Cheng, 2020). Carrel’s statement raised racist accusations, which led to his resignation. This reaction illustrates how criticisms of intersectionality in art can create a polarised environment where dialogue is stifled and mutual understanding is sacrificed for the sake of activism, rather than addressing unchecked privilege and biases in art institutions.
While feminist movements and intersectionality undoubtedly push for necessary changes in representation, these counterpoints highlight the complexities in striving for inclusivity. Finding a balance that acknowledges and celebrates diversity without risking fragmentation of the discourse surrounding art and identity is essential. This can be achieved through collaborative dialogues that incorporate diverse perspectives, fostering a more robust and comprehensive understanding of the multifaceted human experience within the art world.
A More Equitable (Art)World
However, while fragmentation in feminism and intersectionality may be an unavoidable reality, fostering inclusivity and representation can enhance dialogue and collaboration among diverse voices, ultimately enriching the artistic discourse rather than dividing it. According to an article in the European Journal of Cultural Studies, exploring gender equality in the arts, media, and cultural industries reveals complex narratives and urgent calls for change (Edmond, 2023). To gain insight into the contributions of marginalised artists and the need to reframe art history and art education, we must continue to reexamine issues related to visibility, representation, and intersectionality as the conditions of art and society rapidly change and respond to one another. These themes highlight the vital role that art plays not only in reflecting societal struggles but also in advocating for social justice and transformative change. The Cuban artist Tania Bruguera comes to mind, among many others.
Visibility and Representation
A 2019 report by the National Museum of Women in the Arts revealed that only 11% of artworks in major U.S. museums are created by women, with the Metropolitan Museum of Art attributing less than 5% to female artists. This highlights the systemic biases that have marginalised women in the art world, as many catalogues and exhibitions focus primarily on male artists, diminishing the visibility of women's contributions.
In art and design education in the UK, 73% of postgraduate students were women in the 2019–20 academic year. However, in 2020, only 54% of solo exhibitions in London were by women artists. In major galleries, representation declined, with Sotheby’s showing a 2% drop in the number of women artists and Christie’s at just 11%. The Tate acquired only 39% of the work done by women (McMillan, 2020). Historically, women artists have often been overshadowed by their male counterparts. Movements like the Feminist Art Movement aimed to highlight overlooked contributions of female artists, and exhibitions such as Lubaina Himid: Reclaiming the Past (Lesso, 2019) advocated for the intersectionality between gender equality and racial equity as a combined struggle. However, according to the Art Basel & UBS Art Market Report 2025 by Arts Economics (p.87), Female artists represented 41% of galleries in 2024, with sales accounting for 42% in primary markets. The increasing representation of women-identifying artists contributes to a more equitable art world by challenging historical biases, providing inspiration and validation, enriching cultural dialogue, impacting market dynamics, and addressing intersectional issues. This progress fosters a more equitable environment for artists and enriches the broader cultural landscape.
While successful artists like Yayoi Kusama and Joan Mitchell lead in sales, many female artists still lack visibility and recognition. This highlights progress and underscores the need for ongoing efforts to promote equality in the arts. Thus, efforts are underway to reassess the traditional art canon to elevate female artists and their perspectives. However, this limited view of women artists overlooks the complexities of individuals’ identities and the ongoing challenges facing intersectionality among several smaller groups against a historical majority of binarism.
Intersectionality: Gender, Race, Class, and Sexual Orientation
Intersectionality in feminist art highlights that gender inequality interacts with other social identities such as race, class, ethnicity, and sexual orientation (UN Women, 2020). ‘We tend to talk about race inequality as separate from inequality based on gender, class, sexuality or immigrant status. What is often missing is how some people are subject to all these; the experience is not just the sum of its parts’ (UN Women, 2020). For instance, the Guerrilla Girls address gender disparity in art institutions. At the same time, Linda Nochlin's essay ‘Why Have There Been No Great Women Artists?’ critiques the exclusion of women from art history. This framework illustrates how women's diverse experiences are shaped by overlapping systems of oppression and privilege, facilitating a deeper exploration of identity and representation in the art world.
Globally, intersectionality is evident in various contexts. European exhibitions, such as "By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500–1800" (Cropper, 2022), showcase overlooked female achievements. Embracing intersectionality in this context means acknowledging how factors like class, race, and sexuality influence women’s experiences in the art world. By representing diverse voices, such exhibitions help challenge traditional narratives and promote a more inclusive understanding of art history, fostering greater equity in the arts.
African and Western feminisms share characteristics, but they also have distinct differences, as Minna Salami observes. She states that ‘[…] African feminism, like all feminisms, is about challenging male dominance, but that it also resists oppression based on ethnicity, class, tradition, globalisation and other specifics to Africa, and that it is difficult to define’ (Salami, 2017). Intersectionality in African feminism is significant, particularly where gender intersects with ethnicity, class, and African traditions, which is a topic that has been more recently discussed as part of broader efforts by higher education institutions to decolonise their curricula, at least in the UK and Europe.
Additionally, research conducted at the University of Cambridge by Ruoxi Liu (2024) provides insights into how female artists respond to gender marginalisation and explore alternative practices in Guangzhou, China. ‘Alternative art practices have not only diversified the expression and representation of female artists; they have also helped female and non-binary people connect to discuss gender-related issues and provide mutual support’ (Liu, 2024). Liu's analysis examines how evolving feminist practices, environments, and networks contribute to the development of strategies people use daily to challenge and resist prevailing patriarchal norms and unequal power dynamics. Additionally, Liu highlights the shifting gender politics within the independent art scene in Guangzhou. Acknowledging intersectionality is key to amplifying marginalised voices beyond the male/female representation.
We must recognise the diverse experiences that cultural contexts have on women’s lives, further calling for a more equitable society and fostering equality in the art world and beyond. To amplify the voices of marginalised individuals and challenge dominant narratives (post-colonial, post-capitalist, and others) that affect a wide range of people globally, we must adopt more inclusive approaches, leading to richer artistic expressions and a deeper understanding of, as well as a greater responsibility towards, social justice.
Revising the Art Historical Canon
According to the Tate (nd), art historians, including Griselda Pollock and Rozsika Parker, have revised the art historical canon, creating a more equitable narrative that honours the contributions of all artists, not just traditionally celebrated male figures. Historically, the canon has favoured male artists, depicting men and women in drastically different ways, and often sidelining the significant works of women and non-binary artists. Movements like the Feminist Art Movement in the 1970s and 1980s, exemplified by Nochlin’s essay and Judy Chicago's The Dinner Party (1974-79), have challenged art by sharing feminine experiences and reevaluating the concept of femininity as an imposed set of societal expectations (Tate, n.d.). Published surveys by Yale University Press London, Women of Abstract Expressionism (2016), exhibitions in the UK like Gazelli Art House’s Montage (Lawson-Tancred, 2024), and Action, Gesture, Paint: Women Artists and Global Abstraction 1940-70 at the Whitechapel Gallery have highlighted the contributions of female artists like Lee Krasner, Helen Frankenthaler, Grace Hartigan, Betty Parsons, Perle Fine, Nancy Grossman, Sonja Sekula, Joan Mitchell, Sonia Delaunay, Bertina Lopes, Wook-kyung Choi, whose work has often been overlooked. Although statistically underrepresented, American and European women artists tend to have greater representation in the art world and history than those from Africa and Asia.
For example, the exhibition African Modernism in America, 1947-67, hosted at the Phillips Collection (2024) in Washington, D.C., features nine women: Miranda Burney-Nicol, Ndidi Dike, Afi Ekong, Manyolo Estella Betty, Ladi Kwali, Grace Salome Kwami, Suzanna Ogunjami, Etso Clara Ugbodaga-Ngu, and Viola Mariethia Wood (Phillips Collection, 2024). Arianna Adade (2024), Phillips Collection Fellow, commenting on the exhibition, stated, ‘With more representation of African women artists, they pushed past the matriarchal depictions of women to highlight the diverse contributions they hold in African societies and the messages they tell with it’. Additionally, several notable African female artists include Sokari Douglas Camp (Nigeria), Ghada Amer (Egypt), Betty Acquah (Ghana), Chaïbia Talal (Morocco), Maggie Laubser (1886–1973) (South Africa), Christiane Rwagatare (Rwanda), Coexʼae Qgam (1934–2008) (Botswana), Ginette Flore Daleu (Cameroon), and Valerie Oka (Ivory Coast) (Eneome, 2023). Including African women artists is essential for rethinking the representation of all women in art, challenging traditional matriarchal depictions, and highlighting the intersectional struggles of gender and race against Western aesthetics. This essential inclusion enhances our understanding of femininity, celebrates diverse experiences, and promotes a more inclusive appreciation of art. It addresses gender and racial biases, contributing to a more equitable art world and fostering a deeper understanding of diverse cultures and perspectives.
While in Asia, artists such as Xiang Jing (China), Chen Qiulin (China), Fang Lu (China), Gao Ling (China), Han Yajuan (China), He Chengyao (China), Pinaree Sanpitak (Thailand), Arahmaiani (Indonesia), Bharti Kher (India), and Anida Yoeu Ali (Cambodia) explore the complexities of gender and identity within their cultures, highlighting the diverse challenges faced by women in these regions (Tate, nd; Chua, 2023). Although recognised within contemporary art as significant, their works challenge traditional roles, such as male dominance and the dichotomy of Western versus non-Western aesthetics, which also offers an intersectional representation of non-white, female artists. These artists’ works offer diverse feminine experiences shaped by their unique cultures, histories, and politics, which transcend the siloed view of gender and identity as binary characteristics in art.
By advocating for diverse contributions, the art world can foster a richer understanding of artistic expression that reflects the complexity of human experiences across cultures, acknowledging that everyone (depending on your country’s theoretical and practical applications of such policies) is free to express themselves as they please regarding who they are in their body and how they think about that body and their relationship to it. Struggles over classifications create divisions instead of promoting connections and solidarity in our collective efforts as humans, regardless of whether you are born with a penis or vagina, or wish you were. It is hard work for us all, work that we are all doing alongside each other and can accomplish together when external, conjured divisions keep us from doing so. Because of the split binary perspective, many significant contributions have been overlooked or undervalued. By focusing on the feminine experience, be it biological or otherwise, and how society has shaped perceptions of femininity, scholars and art historians can reassess the achievements of women artists, recognise their impact, and provide a more inclusive narrative that reflects a broader spectrum of artistic expression. Ultimately, it calls for integrating these voices into the mainstream understanding of art history, inspiring us to strive for a more inclusive and diverse art world.
Conclusion
In the overall pursuit of revisiting feminist history with intersectionality in mind and reopening discussions about shared resistance to oppression in our society and institutions, we can combine our efforts not just for gender equality, in the most fluid of terms, but also align our shared struggles or offer allyship across various struggles. Griselda Pollock emphasised the importance of feminist pedagogies, including women-only classes, in addressing the undervaluation of women artists. She also recognised the needs of marginalised groups, such as women migrant workers. However, the focus on women-only spaces can sometimes hinder inclusive discussions that involve all genders, complicating the concept of intersectionality.
So, feminist studies and gender equality movements increasingly emphasise intersectionality, leading to a more inclusive approach in art history and gender studies. This approach considers factors such as race, class, sexuality, and disability. Gender studies are being incorporated into mainstream curricula, focusing on masculinity and non-binary identities. Digital platforms and increased institutional support have also improved access to feminist resources.
As we push through 2025, visibility and representation have become more urgent, especially in a political climate resistant to Equity, Diversity, and Inclusion (EDI) initiatives. Feminist artists and critics advocate for re-examining the art historical canon, highlighting the contributions of those who have often been overlooked or excluded. The intersectionality that informs this critique underscores the interconnectedness of identity issues, emphasising the need for collective addressing while acknowledging the complexities and potential exclusions inherent in translating theory into practice. This inclusive approach alters the narrative regarding who is celebrated in art and encourages broader societal dialogues that challenge outdated norms and demand accountability. By reframing the art world and advocating for diverse representation, feminist critique inspires action and fosters a more equitable cultural landscape. The ongoing battle for inclusivity in art catalyses change, aiming to create a future where all voices can be heard and appreciated. Through this lens of intersectionality, art can truly reflect the complexity of human experience and inspire a more just world.
Through our ongoing reflection and conversation, we become more open, tolerant, patient, and empathetic to our students’ and colleagues’ valuable cultural knowledge and identities. Having opportunities to reverse cultural roles and power dynamics is important for gaining respect and a deeper understanding not only of other cultures but also of our own vulnerabilities as cultural outsiders.
Samantha Goss and Li-Hsuan Hsu (p.151, 2024).
Contemporary art is crucial for raising awareness and advocating for environmental, racial, and social justice, gender equality, and the identification of multiple gender identities. The art world can inspire change and contribute to a more equitable future by fostering creative expression and dialogue. Collaborative efforts among artists, institutions, and audiences are essential to ensure that all voices, particularly those of women and marginalised communities, are heard and valued. Together, we can create a more inclusive future through creativity and action. Every voice matters in the realm of art.
In conclusion, my primary motivations for allyship and their impact on my personal and professional experiences are to set a good example for my daughter, demonstrating the importance of empathy, inclusion, and advocacy. As a middle-class, heterosexual white male, I recognise the privilege I hold and feel a profound responsibility to use it to uplift and amplify marginalised voices. Professionally, I am motivated to learn about human experiences beyond my own and to share this knowledge with others. By doing so, I aim to raise awareness and foster a culture of allyship that values every individual's unique story. My goal is for my daughter, my students, and my colleagues to see a world where contributions from all backgrounds are celebrated and respected. I believe in the importance of uplifting women artists and marginalised communities, showing that every voice matters. Through acts of kindness and support, we can nourish our communities and create meaningful change. I am passionate about cultivating a world where everyone's experiences and creativity are appreciated. With a commitment to inclusivity, I aim to reshape narratives and inspire others to join me in this effort. Together, we can build a future where empathy prevails and every voice is heard.
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Declaration:
I used Grammarly's Generative AI to assist me with this writing. I collected, organised, analysed, and interpreted the research material I included. I am also responsible for reviewing and editing all text and ensuring that references and resources are properly cited [accessed 22 May 2024].
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