Affordable Art Fair – Women in art

WOMEN IN ART MAGA ZINE

TEXT

WIA 1

WO M E N I N A R T

Over the past few years, we’ve been hearing a lot about ‘Women in Art’.

Be they CEOs, curators or collectors, all female collectives or female-only professional networks, women are being noticed and celebrated across the arts like never before. So, to mark International Women’s Day and Women’s History Month, we’re delighted to celebrate just a few of their insights and stories.

The last few years have witnessed plenty of high profile female artists take center stage in their own exhibitions or installations (Yayoi Kusama’s Infinity Rooms at Victoria Miro, Wangechi Mutu in the Metropolitan Museum and the V&A’s blockbuster Frida Kahlo show, to name a few) and likewise, 2020 sees galleries continue their female-focused streak. From April, 16th-century Italian artist Artemisia Gentileschi finally is the subject of a much anticipated retrospective at the National Gallery. Come summer, Alice Neel has a one woman show at the Pompidou Centre in Paris, and this Autumn, Marina Abramović enjoys a solo show at the Royal Academy. The RA is focusing on women across their Spring programming too; from the 29 February, they’ll be holding a week-long programme – International Women’s Day 2020: women with influence, including patrons, artists and historians that salutes ‘the influential women working to support art and artists’. Looking ahead, it’s just been announced that Sonya Boyce will become the first black woman to represent Great Britain at the prestigious Venice Biennale in 2021.

2

So, why now? Social media has definitely played its part in the expanding appreciation of female creativity, with Katy Hessel’s ‘The Great Women Artists’ podcast shining a light on unknown or forgotten women artists. Likewise, fresh publications, such as Phaidon’s Great Women Artists, exemplify this commitment to sharing women’s stories. And it’s not all about the artists – recent research in the states from UBS has focused on the rise of the female collector, with 51% of women spending over $1m in the last two years on large art purchases, in contrast to 15% of men. With US women’s collections also proving substantially larger than men and collecting more women artists, it seems clear that the future is more female than ever.

To mark this International Women’s Day and with March being International Women’s History Month, we’ve been speaking to women artists, gallerists, collectors, advisors and the Affordable Art Fair team to shine a light and celebrate all women in art, past, present, and we can’t wait to see what’s next.

OUR CONTRIBUTORS

GET STARTED Browse our category pages to explore interviews, articles, videos and more.

ARTISTS

PERSPECTIVES

GALLERISTS

COMMUNIT Y

Click on an icon to visit our category pages.

3

I am conscious of the fact that in the society of the arts there are still a lot of brakes and differences… as far as diversity and representation go. That is part of my story to explore my research at my fullest and keep doing my best to support women in the arts.

ARTISTS

L AUR A BENE T TON, ARTIST

A D AY MARCE

One of our best Art Fair online m talks through a England studio.

READ NOW

WAI KIT L AM SHARES HER THOUGHTS ON IDENTITY Hong Kong artist, Wai Kit Lam, works in a plethora of media to explore themes of identity, human vulnerability, intimacy and the relationship between individuals. Hear her thoughts on identity in the video above.

VIEW MORE

WAI KIT L AM ART WORK PICK This work is not about the stereotypical notion of women: charm, grace and beauty of the goddesses ‘Three Graces’. Instead, this work reveals such a powerful expression of reality.

A M A N DA P O PH A M , A LOT TO B E FRIGHT E N E D O F, 2019, C E R A M I C , £895, M A RIN E HO U S E AT B E E R

VIEW HERE

I like to see a pearl, the perfection of seeing. I not being c transience. and folds. T work as a g

NICOLE T TE

IN THE LIFE OF ELINA AMELIA

t-selling artists on the Affordable marketplace, Marcelina Amelia day in her life, from her South .

e the woman’s body as e fragile beauty. A life of and imperfection. It’s a way It’s about omitting things, complete and the power of . So soft, the shine, the curves There is always a pearl in my goldsmith and in my art.

E BERNARD, ARTIST

MEET ARTIST MÓNICA HERNÁNDEZ US artist, Mónica Hernández, explores the female figure, the power of the female gaze and how women represent themselves. We sat down with Monica to find out more...

READ NOW

THE NEXT FEMINIST WAV E B Y C AT H E L I J N E BLOK Are we there yet?

Join Cathelijne as she explores the landscape of women in art today.

READ NOW

L AUR A BENE T TON ART WORK PICK Gina Parr’s artwork is full of movement and energy and I feel that in her research there is a real strong connection with the natural world.

GIN A PA RR , O’ RE ILLE Y, CU BA , 2016, A RCHI VA L PRIN T, £895, DAV ID LO LLY GA LLE RY

VIEW HERE

M E E T T H E C O L L E C TO R SAMANTHA WONG

PERSPECTIVES

Previously believing art was for investment only, collector Samantha talks about the decorative and emotional benefits of having art in her home, see more in the video below.

FORGO ART HI WOME AND ‘M

BY ANNA J

What does the ‘madness’ look Anna Jamieso

READ NOW

In the US, women typically have larger art collections than men with collections averaging 88 artworks compared to men’s collections which average 27 artworks.

88

vs.

U B S I N V E S TO R WATC H P U L S E A R T C O L L E C T I N G E D I T I O N , Q 4 2 019

27

My female collectors are always thrilled when they love a piece and its by a very talented female artist.

L AURIE CARROLL A R T C O N S U LTA N T

OT T E N I S TO R Y : N , A R T, MADNESS’

THE ART OF COLLEC TING ART L A U R I E C A R R O L L , A R T C O N S U LTA N T Building on her career in the arts as a gallery director, owner, and curator; Laurie founded Procurio, a NYC based art consultancy. She revealed her top art collecting tips in a recent interview...

READ NOW

JAMIESON

e relationship between art and k like if we add women into the mix? on explores the one-sided history.

W

ANNA JAMIESON ART WORK PICK I’m a big fan of the subtle yet quietly powerful work of Fiona Smith, a reminder that even softer still lives can have a strength all of their own.

F IO N A S MITH , O FF E RIN G BOW L 1 , 2018 , ACRY LI C , £6 0 0, W YCH WO O D A RT

VIEW HERE

GA L L E R I S T S

What’s really fantastic, is to see how the art world is increasingly championing female artists, particularly over the last few years, which is so important. Historically, women artists were very much in the background, supporting men, but now it’s often the other way around!

R ACHAEL NOON-POWELL NOON-POWELL GALLERY

MEET RADE OF RADE

With twenty Pien Radem making a di male domin

READ NO

As a female gallery owner who founded my gallery over 10 years ago, I have experienced a significant and positive change over the past decade in terms of the amount of women in positions like mine. This has created a fantastic network of women in the field who support, inspire and encourage one another, and now more than ever I feel the strength and recognise the importance of that support.

ANNA SMITHSON SMITHSON GALLERY

PIEN MAKERS MAKERS GALLERY

five years in the art market, makers is passionate about ifference in the historically nated sector.

OW

Nordic Art Agency represents

80% female artists

The ebb and flow of life as a creator, mother and businesswoman is the most unexpected and exhilarating journey to be on. When I meet female artists who strive, struggle and attempt to balance all the elements it impacts not only their artwork but also my role as their advocate. There is an unspoken, unified understanding which is very powerful.

JULIET REES -NILSSON NORDIC ART AGENCY

My artists work in harmony with nature and work with a lot of awareness of these associations. This results in soft sensitive unique works, which I adore.

PIEN RADEMAKERS R AD EMAKERS GALLERY

CO M M U N I T Y

The art industry has been truly inspiring to me throughout my career; professionally, intellectually and emotionally; and I am grateful for every opportunity that has come my way.

MEET HONG

JENNIFER CONNER O U R R E G I O N A L M A N A G I N G D I R E C TO R , U K

READ NOW

It’s fair to sa as passionat

SPREADING ARTS ACCESS IN THE N YC C O M M U N I T Y With a mission to “empower underserved youth through art and mentoring programs” we spoke to the founder of Free Arts NYC, Liz Hopfan.

READ NOW

I always loved creative and I l it gave me the provokes our e me to embrace reminded me t anything else! Y order to enjoy Y E O N G YA O P H OTO G R A P MARKETING Y E O N G YAO T I N G W I N T E R ’ S S O L AC E

THE G KONG T E AM

ay that this all-woman team are te about art as you can get!

W

the arts, aesthetics and anything loved being a woman in the arts, as freedom to express my creativity. Art emotions, and working in arts allowed e that completely. It has also always that I chose passion and purpose over You have to be driven by passion in what you’re doing!

TING HER AND OUR E XECUTIVE, SINGAPORE

THE AFFORDABLE ART FAIR TE AM IS

84% FEMALE!

Art has always given me butterflies. That feeling, when you are looking at a piece of artwork and it shocks you at the core, is exhilarating to me!

I always knew I wanted art to be a part of my life, but I never thought I would be able to make a career out of it. Over the past decade and a half, I have been able to share my love art with so many people through the Affordable Art Fairs.

Now, I love bringing my son to the fairs and seeing all the art through his eyes.

CRISTINA SALMASTRELLI OUR REGIONAL MANAGING D I R E C TO R , U S A

JENNIFER CONNER ART WORK PICK In the Night (Dream Circle) is

by Kate Trafeli, whose dreamlike compositions and colours elicit wordless feelings of joy, wonder, and happiness. I love this work’s circular shape and deep blue colour.

K AT E TR A F E LI, IN TH E NIGHT (D RE A M CIRCLE ) , 2019, ACRY LI C , £1,20 0, A F T E R N Y N E CO N T E M P O R A RY

VIEW HERE

WO M E N I N A R T

T H E N E X T F E M I N I S T WAV E 12

C AT H E L I J N E B LO K F O R T I T T Y M AG, H O S T I N G A PA N E L D I S C U S S I O N AT A F F O R DA B L E A R T FA I R A M S T E R DA M 2 019

C AT H E L I J N E B LO K is the Founder and Editor in Chief of TittyMag, a feminist art collective which offers a space for discussion on art, young creative talent and inclusive feminism through their website, social channels, podcast and inspirational talks.

She has a Master’s in Film, Video and Photographic Arts from Leiden University.

“ W H Y H AV E T H E R E B E E N N O G R E AT WOM E N ARTI STS?”

A

question asked by Linda Nochlin in a 1973 edition of ARTnews magazine. “If, as John Stuart Mill so rightly suggested, we tend to accept whatever is as ‘natural,’ this is just as true in the realm of academic investigation as it is in our social arrangements: the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, is proving to be inadequate.”

These days museums are creating exhibitions and solo shows of emerging female artists. In the artworld, collectors and buyers are paying closer attention to and creating awareness on equality, and last year at the 2019 edition of The Venice Biennale, gender parity was finally achieved, with 53% women artists.

It all finally seems to add up to greater recognition for women in art. Of course you can question whether an artist wants to be viewed through the lens of gender, and likewise, if creating an all-women’s group show is the best way to highlight inequality. But important initiatives like these can help shine a spotlight on previously overlooked artists whose work had been boxed out by dominant man.

13

T H E N E X T F E M I N I S T WAV E

Here we are, years later, in the next feminist wave, and it seems that gender equity in the art world is on the horizon. Focused efforts are being made to collect or exhibit work by women artists. But are we really there yet? It’s a question I ask myself frequently while walking in museums, art fairs or looking at artists Instagram accounts. It’s even the reason I started calling myself a feminist in the first place.

Feminism can be adapted and diluted to mean different things to different people, but for me it’s all about equality. Six years ago I didn’t call myself a feminist, because I thought it wasn’t necessary.

This changed when I started researching female photographers. After looking at their work, I questioned myself. How did these female artists see themselves, and the women they portrayed?

Was their answer any different because of their gender and cultural background? Their creative work was the beginning of an interesting dialogue with my inner self. Would I be able to separate my own womanhood and privilege from my thinking and the way I act in society? Is it even possible to separate those words; female and artist? It’s one of the reasons I founded a feminist art platform, The TittyMag, to start a dialogue on inclusive feminism.

TO D R I V E C H A N G E , W E N E E D TO I N C L U D E E V E R YO N E AT A N E A R LY A G E , S H O W I N G T H E M T H AT T H E Y C A N T R U LY B E C O M E A N D D O W H AT E V E R T H E Y WA N T, R E G A R D L E S S O F T H E I R G E N D E R O R C U LT U R A L B A C KG R O U N D. During a panel discussion, hosted by The TittyMag at Affordable Art Fair Amsterdam last November, one of our speakers pointed out that it all starts with education.

To drive change, we need to include everyone at an early age, showing them that they can truly become and do whatever they want, regardless of their gender or cultural background. But when I recall the first art history books I read, they didn’t include everyone at all!

I mainly saw West European and North American male artists, with a tiny chapter at the end on ‘feminist art’.

Almost all the art history ‘must reads’ were written from the subjective and dominant male western perspective, which majorly influences our perspective on (art) history.

For example only 27 women out of around 318 artists are represented in the 9th edition of H.W. Janson’s survey, Basic History of Western Art – up from zero in the 1980s. That’s quite strange.

WO M E N I N A R T

L E F T: L E S D E M O I S E L L E S D ’AV I G N O N

BY PA B LO P I C A S S O – M U S E U M O F M O D E R N A R T, N E W YO R K , P D - U S R I G H T: A V I S I TO R LO O K S AT A PA I N T I N G BY FA I T H R I N G G O L D NAMED DIE: AMERICAN PEOPLE SERIES #2 0 D U R I N G C O N T E M P O R A RY A R T FA I R ‘ P O S T - P I C A S S O, C O N T E M P O R A RY R E AC T I O N S ’ I N B A R C E LO N A O N M A R C H 7, 2 014 . P O S T - P I C A S S O FA I R O P E N E D TO T H E P U B L I C F RO M M A R C H 6 TO J U N E 2 9, 2 014 I N P I C A S S O M U S E U M O F B A R C E LO N A C I T Y

14

But how can female artists from all backgrounds simply be ‘reinserted’? For example, one of the world’s most important museums, New York’s MoMA, made a huge step towards a more inclusive representation when they recently boosted their collection of works by women and artists of colour. The non-chronological pairing of Faith Ringgold’s American People Series #20: Die (1967) and Picasso’s Les Demoiselles d’Avignon (1907) in MoMA’s cubism room became hotly debated, with art historian Jack McGrath stating, “Who, in 2019, when faced with such a powerful depiction of a racialized mass shooting, could possibly care about the finer points of spatial illusionism?”

T H E T U R N E R P R I Z E AWA R D W I N N E R S 29% WOMEN

71 % MEN

Only 29% of the winners of the famous art award, the Turner Prize, have been women. The 2017 winner, Lubaina Himid stated, “Being the first black woman was a bit bittersweet, because there are many black women that have been up for it in the recent history of the prize… I was happy to win it, but it was bittersweet.

What people have said to me is that it gave people hope that things were changing.”

If we take a closer look at the industry itself, women make up a majority of professional art museum staff but despite recent gains, they remain underrepresented in important leadership positions. The top three most influential museums in the world; the Louvre, the British Museum and The Metropolitan Museum of Art have still never had female directors.

There isn’t a simple answer to how we can really represent all women in the arts. Striving for an equal split of male and female artists or directors isn’t enough, but it’s a start. For me, the next step is to bring more voices into the artworld. We must work towards greater representation and diversity, on every level of the art industry, from artists and gallerists, to collectors and curators. We live in times where we need to support one another by raising our voices and not just accept what is ‘natural’. And, we now have the opportunity to create both online and offline movements, using social media as a powerful tool for a more inclusive perspective.

TA L K I N G O N C O R N E R S S P E A K I N G I N TO N G U E S A N E X H I B I T I O N O F W O R K BY T H E P O L I T I C A L PA I N T E R F RO M Z A N Z I B A R , LU B A I N A H I M I D, A B E RY S T W Y T H A R T S C E N T R E

T H E N E X T F E M I N I S T WAV E

The online space gives us a broader, critical and more inclusive perspective on art. Most importantly female artists finally have a platform where they are in control.

By actively taking part in this dialogue we can help increase awareness and initiate interesting dialogue, helping us to see our own world through the eyes of others. It can lead to the important change we’ve all been waiting for, for a very long time.

15

16

MEET ARTIST MÓNICA HERNÁNDEZ

WO M E N I N A R T

L E F T: M Ó N I C A H E R N Á N D E Z , I WA N T A H O U S E , 2 018 , O I L O N C A N VA S , 4 8 X 72 I N R I G H T: M Ó N I C A H E R N Á N D E Z , M O O N L I G H T 4 , 2 019, O I L O N C A N VA S , 8 X 10 I N , $12 0 0

A

lways looking to challenge how women represent themselves, Hernández is certainly one to watch as a breakout emerging artist, with 103K followers on Instagram and recently named as one of the 30 under 35 in CULTURED for 2019.

We sat down with Mónica to chat about her inspiration, heritage and why her work is not necessarily autobiographical.

You were born in the Dominican Republic and moved to New York with your family when you were six years old. How does your heritage inform your art?

Monica Hernandez Being a Dominican immigrant living in NYC has affected me greatly, and it informs my work in ways I didn’t realize at first. I didn’t even fully process what emotional effects coming here at a young age had on me until recently. My parents have worked extremely hard their entire lives and have sacrificed a lot for me and my two siblings. So, coming from the five of us staying with six other family members in a two bedroom apartment for the first couple months we were in America, to now, my parents owning a home is something that inspires me deeply.

Your paintings most often depict women who are comfortable in their skin, in their homes and often, the woman represented is you. Frequently women, and men alike, struggle to find that level comfort with their own bodies, which is what draws many people to your work. What keeps bringing you back to this motif? What does it mean to highlight yourself in a work versus someone else?

MH Interestingly, I don’t seek to directly render myself.

I don’t see my work as autobiographical necessarily, I just always end up making work that in many ways can be that, but that tends to be a product of just drawing from what I know. When starting a new painting, specifically for my larger works, throughout most of that process I am focused on composition, my goal is to make an image that communicates certain things but the only way I can successfully do that is by having a solid visual foundation to build on. After that I start making connections, or narratives, I start to see myself or things that have affected me pop up. I find that when I start with a definitive idea of a concept or a story, then try and tailor all the imagery around that, the painting isn’t successful, feels too rigid or contrived.

The work tends to be very direct and literal at times with its themes but my headspace going into it is often more open, I think my influences are stronger than I’ve yet to unpack, so they find their ways into the work.

The more work I make though, the older I get, the more I talk about it, the more I am able to express myself in my work. But for the last few years it has been a strange sort of stumbling across these themes. The motifs I use are a part of my language, of my life.

TO RE AD THE FULL INTERVIE W CLICK HERE

17

M E E T A RT I S T M Ó N I C A H E R N Á N D E Z

Making the works I have been making now for some years, the first trace of my heritage I channeled unknowingly was the warm palette. My mom has always decorated our home with Dominican landscapes and fruit still-life’s, and my dad always painted the walls in warm yellows and browns, all that found its way into my work while I was still fleshing out my visual language.

My family has also always been very artistic, from music to the visual arts. My aunt Rosa Tavarez is a famous Dominican painter and even without having direct contact with her while I’ve been painting, the way she paints the body and her color choices, I find many connections with my own work. Also outside of color,

just the immigrant experience – the strange feeling of displacement and never belonging, and the pressures of a Dominican culture that is on one hand beautiful and rich and on the other complex and backwards in its relation to sex, sexuality, religion, and blackness – has affected my personal life and the relationship I have to myself. All this finds its way into my paintings in ways that I am constantly exploring.

A DAY I N T H E L I F E O F

MARCELINA AM ELIA

M WO M E N I N A R T

arcelina Amelia’s artworks have captured our hearts. A truth underlined by being one of the bestselling artists on the Affordable Art Fair online marketplace. Succinctly representing her thoughts in her signature whimsical, stylish, and insta-worthy works, she talked us through her creative process…

R I G H T: M A R C E L I N A A M E L I A , M A N I F E S T I N G A L L O F M Y D R E A M S , 2 019, £ 3 , 5 0 0 , AC RY L I C , L I B E R T Y GA L L E RY

18

VIEW HERE

Can you tell us a bit about your practice and what inspires you as an artist?

Marcelina Amelia I’m a contemporary female artist working with mixed media approaches to print, painting and drawing. I often draw inspirations from my Polish heritage, looking to religious iconography and folk tales, as well as childhood memories, the power of dreams, spirituality, sexuality, and the human condition. I like to call my work ‘smoothies of reality’.

R E C E N T LY M O S T O F M Y W O R K S H AV E S TA R T E D W I T H WORDS, SOMETIMES IT IS A C O N V E R S AT I O N I H A D W I T H A FRIEND OR MY MOM.

Feelings is without a doubt my greatest inspiration as an artist! Those unspoken abstract, invisible things that we often try to squash and hide. The complexity of the human condition, the power of the mind, the experience of being human and (most frequently occurring in my work) a female human in the 21st Century.

How would you describe a typical day in the Marcelina Amelia studio?

MA It starts with coffee and a little tidy. I think tidying the studio is like tidying your mind, in my opinion the space you work in is very important, I like to prepare my painting corner, layout my paints, clean up my brushes.

Sometimes I have admin duties which can take the whole day, but I do cherish a painting day. It’s a special day when I try to stay away from my inbox and aim to reach the state of flow, which is rare but when I do it feels amazing.

It was a hard choice as I love all of the Bonnie and Clyde pieces, they are all filled with this amazing calming, positive energy. Looking at them always fills me with this great vibration and remind me to be mindful. I especially love The Soundscape as it reminds me of my own LA trip and those long happy summer days.

B O N N I E A N D C LY D E, T H E S O U N D S C A P E , 2018 , 73 X 73 C M , £ 575, M I X E D - M E D I A LI M I T E D E D I T I O N , LI B E RT Y GA LL E RY

VIEW HERE A DAY I N T H E LI F E O F M A RC E LI N A A M E LI A

I would say that 70% of my ‘production’ time goes into thinking / writing / experiencing / researching / mood-boarding / visualising. I think sometimes viewers misjudge my work classifying it as portraiture, when actually the people in my paintings are mostly vessels, they are my vocabulary, I use them to convey complex feelings and stories. Recently most of my works have started with words, sometimes it is a conversation I had with a friend or my Mom, other times they are bits of words that I have found or overheard. Then I pick my colour palette, which can be a long process as I’m very careful about my choices and try to keep my palette limited and consistent. I try to invent a scenery, character and whole mood that would hopefully in some way reflect the feeling I was trying to express.

MARCELINA AMELIA ART WORK PICK

TO RE AD THE FULL INTERVIE W CLICK HERE

19

WO M E N I N A R T

OPHELIA, JOHN EVERET T MILL AIS / P U B L I C D O M A I N C O U R T E S Y O F TAT E B R I TA I N

20

F O R G OT T E N A R T H I S TO RY:

WOM EN, ART AND ‘M A D N E S S ’ V

incent Van Gogh, Edvard Munch, Richard Dadd. Three famous artists who share two things in common. One, their art is renowned for telling a story of their declining mental illnesses. And two, they’re all men.

So, what does the relationship between art and ‘madness’ look like if we add women into the mix?

Traditionally, the story of mental illness and women has been told by men, corresponding with the role of women within the history of art more broadly. Women did not have the same artistic training as men in their journey to become professional painters or sculptors, meaning that female artists were undoubtedly less visible than their male counterparts. As a result, women have historically been the subjects, rather than the creators, of art, without a level playing field or creative platform to express themselves.

21

F O RG OT T E N A RT H I S TO RY: WO M E N , A R T A N D ‘ M A D N E S S ’

Today, the relationship between the arts and mental health is much discussed. Expressing the inner workings of our minds through creativity and using art therapy to work through mental health issues are now seen as crucial, tried and tested ways to engage with past traumas or nourish our mental wellbeing. But when reflecting on the ways well known artists have dealt with their own mental health through their practice, it is striking how often female artists are omitted from these conversations.

T O P : C R A Z Y K AT E , T H O M A S B A R K E R / P U B L I C D O M A I N C O U R T E S Y O F YO R K A R T GA L L E RY B O T T O M : U N E L E ÇO N C L I N I Q U E À L A S A L P Ê T R I È R E , A N D R É B RO U I L L E T / P U B L I C D O M A I N C O U R T E S Y O F PA R I S D E S C A R T E S U N I V E R S I T Y R I G H T PAG E : L’A R B R E D E V I E , S É R A P H I N E D E S E N L I S / P U B L I C D O M A I N C O U R T E S Y O F M U S É E D ’A R T E T D ’A R C H É O LO G I E D E S E N L I S

This bias means that artistic representations of ‘mad’ men and women have typically been created by male painters. Whilst men were often portrayed as thoughtful melancholics, their illnesses making them more appealing, introspective and linking them to an inner world of genius, women have in contrast been shown as hysterical, nervous or hypochondriacal. In fact, the late eighteenth century saw the hysterical or melancholic woman become the emblem of mental illness – a cultural phenomenon that is often discussed as the ‘feminisation of madness’.

The leading painters of the era depicted mentally ill women as either sad and sobbing, or hysterical, angry and sexualised.

WO M E N I N A R T

Whilst the term ‘art therapy’ was officially coined in the 1940s, occupational therapy – including performing in plays, playing sport, going on day trips or creating artwork – had been part of institutional life for much longer. Asylums in the late eighteenth and early nineteenth century encouraged these types of activities; yet significantly, many asylums focused on this sort of therapy for men only. In contrast, women’s occupational therapy consisted of cooking, washing or cleaning. Whilst male painters, such as Richard Dadd, who murdered his father and was sent to Bethlem in the mid-nineteenth century, were encouraged to explore their illnesses through painting, women who expressed their minds through their art were seen as dangerous or degenerate, unhinged or amusing.

22

ANNA JAMIESON is a PhD researcher based at Birkbeck College, University of London. Her research focuses on the historical relationship between women, art and spectacle in England. Based in London, she is also a freelance writer and university tutor.

JUST LIKE THEIR MALE C O U N T E R PA R T S , F E M A L E ARTISTS TEASED OUT THESE EXPERIENCES WITHIN THEIR ART WORK – YET THEIR S TO R I E S H AV E O F T E N B E E N OMIT TED FROM THE ART H I S TO R I C A L C A N O N .

Women, of course, are far more than just mere archetypal emblems of mental illness. Just like men, they suffered and dealt with a myriad of disorders, emotions and experiences. And just like their male counterparts, female artists teased out these experiences within their artwork – yet their stories have often been omitted from the art historical canon, not being told or acknowledged in the same way.

Many of these women died in obscurity, and it is only now that their stories are being told. Learning about these artists, their artworks and experiences complicates our understanding of the way an artist with mental health issues, be they male or female, interpreted the world around them. With conversations about women and ‘madness’ taking place across popular culture, adding the stories of female artists within the historical context undoubtedly can only strengthen and broaden these narratives, helping us to understand past experiences and alleviate current stigmas and stereotypes surrounding women and health.

23

F O RG OT T E N A RT H I S TO RY: WO M E N , A R T A N D ‘ M A D N E S S ’

There are a few exceptions to this rule. One is the Minimalist American artist Agnes Martin (1912 – 2004), the subject of a retrospective at the Tate Modern back in 2015. Martin had schizophrenia, and her pulsing, subtle and muted compositions have often been interpreted as a mode of therapy for her disorder.

Another is renowned Japanese artist Yayoi Kusama, who is known for her larger than life, all-encompassing canvases, through which she evokes the hallucinations and obsessive-compulsive behaviour that she has suffered from since childhood.

Kusama and Martin are just two prominent examples of many women who described their mental health issues through their art. To name a few others; Séraphine Louis (1864 – 1942), the French painter who spent time within mental asylums and whose work is often interpreted as a reflection of her own troubled psyche (artwork above); French sculptor Camille Claudel (1864 – 1943) mentee of the famous sculptor Rodin who spent 30 years in Montfavet’s asylum, France; and Mary Barnes (1923 – 2001), the English painter who suffered from schizophrenia.

THE ART OF CO L L E C T I N G A R T L A U R I E C A R R O L L , A R T C O N S U LTA N T

A

rt Consultant, Laurie Carroll, is the founder of NYC-based, Procurio, and has a wealth of experience under her belt. Starting her career in the arts as a gallerist on London's King's Road, then moving through the roles of gallery director, owner, curator, plus of course being a passionate art buyer herself.

Within Procurio's vision to make the art world more accessible for collectors, buyers, sellers and artists alike – Laurie has worked with hundreds of artists, ranging from recent graduates to fully established, helping many of them take the next steps in their careers.

We caught up with Laurie to learn more about her purchasing tips, and the collectors that she works with.

WO M E N I N A R T

F E M A L E A R T I S T S H AV E H I S TO R I C A L LY B E E N H U G E LY UNDER- REPRESENTED IN THE ART WORLD WITH A FEW OBVIOUS E XCEP TIONS, BUT I F E E L T H AT I S E V E N I N G O U T W I T H C O N T E M P O R A R Y A R T I S T S . 24

Buying art has truly become an art in itself!

Can you give us your top 3 suggestions when purchasing a work?

Laurie Carroll 1. Go with your gut. Your first reaction to seeing a piece is likely to stick with you, and you’ll appreciate it even more as you learn about the artist, the concept and the process.

2. Don’t be afraid to engage with gallerists and ask questions. They have personally invested in the artist’s career and really do care about – and believe in – the art they are selling.

3. Don’t settle for artwork you don’t feel strongly about.

Art is more than simply a wall filler, and if you invest in pieces you love they may become family heirlooms. That might mean spending more than you want to, but as I like to say – only cry once.

Do you work with collectors who are interested in specific types of art? For instance, works by female artists?

LC Mostly, I think they're like me in that, whatever work speaks to them, they buy. But I've certainly worked with collectors who wanted solely female artists. My female collectors are always thrilled when they love a piece and it’s by a very talented female artist. Women supporting each other whether it’s in the art world, or the world in general always feels great! Female artists have historically been hugely under-represented in the art world with a few obvious exceptions, but I feel that is evening out with contemporary artists.

Recent UBS research shows that more female collectors in the USA have spent US$1m in the past 2 years – 51% compared to 15% of men.

Why do you think women are leading the charge with big-ticket purchases?

I also noticed that my female clients want art on their blank walls quickly, and they're great at discovering new artists, especially on online shops and social media. Many of my male clients don't seem to do an independent search, they rely more on me to show them work and then they'll research the artists I've showed them. That's what I'm hired to do of course, but I love seeing the enthusiasm of some of my female clients who have gone down a research rabbit hole and shown me the types of artworks that excite them!

TO RE AD THE FULL INTERVIE W CLICK HERE

25

T H E A R T O F CO LL E C T I N G A R T L AU RI E C A RRO LL , A RT CO N S U LTA N T

LC Even though we're still having to deal with the ridiculous issue of equal pay, I think more women are able to become successful in recent years and have more disposable income as a result.

MEET PIEN RADEMAKERS WO M E N I N A R T

O F R A D E M A K E R S G A L L E RY

26

TRUST IS THE BASIS ON WHICH I RUN THE BUSINESS, IT CONNEC TS E VERY THING I DO A N D L E A D S TO A W E L L R U N G A L L E R Y.

P

You’ve been running a successful gallery for many years, overcoming and keeping pace with the many changes in the arts and art market. Can you tell us what your secret formula is?

Pien Rademakers Since I started working in the art business, my aim was to never compromise. Every artist that I represent, I stand behind completely and love what they create. Of course, I have to react to the art market and what clients prefer, but I always try to find a way to show the best of my artists programme within this. Having a balance of emerging artists and established names has helped me to react to the art market as well. When you run a contemporary art gallery, your clients are different in every city and at every fair, so I have to react to that to be successful.

Trust is the basis on which I run the business, it connects everything I do and leads to a well run gallery.

27

M E E T P I E N R A D E M A K E R S O F R A D E M A K E RS GA LL E RY

ien Rademakers has been working in the art market for 25 years, representing a carefully selected collection of international and local artists through her gallery, Rademakers Gallery. Pien is definitely one of the most passionate gallery owners we have ever met, and it was a delight to talk with her about her artists program, which is increasingly female dominated, and about her passion to make a difference in the male dominated art market.

You brought only female artists to the 2019 Affordable Art Fair Hamburg, can you tell us more about this and about the artists?

WO M E N I N A R T

PR Recently, my passion and focus has been on bringing more attention to female artists. Rough handcrafted materials, like ceramics, are much in demand at the moment, because they are made of natural materials. Certain materials are given certain meanings and ceramic works for example, have long been associated with something very elementally feminine. My artists work in harmony with nature and work with a lot of awareness of these associations. This results in soft sensitive unique works, which I adore. Florentijn de Boer, for example, only works with eco-friendly materials and paints only with her hands, whose fingerprints you can spot in her huge paintings. It gives these artworks kind of a sensitive and unique personal touch. Collete Vermeulen specialises in collages. The series I will be bringing to the fair are inspired by a stay in the Arizona desert at an artist residency at the Frank Lloyd Wright school of Architecture. Colette was struck by the wide landscape, never ending horizon and the intense sunsets and moonrises that happen simultaneously.

Sophie Steengracht captures the beauty of sea in her underwater works, the ecology of which has been damaged due to extreme misuse by humans.

28

I F I N D I H AV E TO S TAY PA S S I O N AT E B U T I A L S O H AV E TO S TAY S T R O N G TO S U R V I V E .

O F C O U R S E , I ’ V E A L S O H A D TO W O R K T W I C E A S H A R D B E C A U S E I H AV E R A I S E D T W O C H I L D R E N A LO N E A S W E L L .

Why do you think men have received more recognition and / or success in the arts?

PR In my opinion it has something to do with selfconfidence. Male artists may have been more secure, therefore they have more trust in their own work and are not afraid of taking risks. This confidence in themselves and their art, helps them to endure difficult times.

What intangible qualities do you think women bring to the arts scene that make it even more exciting?

PR The female artists take an even more personal approach to their artworks. As a result, the artworks have more expressiveness for me as a gallery owner.

PR In the current art market, working with museum decision makers, you have to do business with a lot of men. Being a gallery owner is like being an entrepreneur. I have to take lots of risks and work physically, so it’s an intense work life balance and certainly not a luxury lifestyle, as it sometimes must look like from the outside. Installing exhibitions but also fairs, is a physical job and I’ve always installed big artworks on my own. I always try to go the extra

‘Women in the Arts’ is a hot topic at the moment, why is it so important to talk about it?

PR The art market is male dominated with nearly 90% of successful artists being men! Thirty years ago when I was studying art history, I only learned about male artists.

That’s frustrating and I want to make a difference. It’s sad to hear that 80% of female art students will never be as successful as their male counterparts. I think we’re on the right track but I don’t want it to stop. I keep working at it because I believe in it, and I hope one day there will be more equality. Quality is what counts, not gender.

One positive thing I can tell you is that 65% of my art buyers are women, who want to invest in art. This makes me optimistic and reassured that I’m on the right track.

What is your advice for the (female) artists out there?

PR Be different from the others. Don’t just do what the rest are doing. Reach out for new things, take risks. Don’t be afraid, continue, don’t do concessions.

I started this business 25 years ago just for the love of the arts. Besides learning the financial part of running a business, I’ve never lost that passion for creativity, which I know is the most important.

29

M E E T P I E N R A D E M A K E R S O F R A D E M A K E RS GA LL E RY

As a female gallery owner, what has been your experience of the art market? Do you find you have to particularly assert yourself?

mile and stay calm and collected in order to achieve incredible things. I want to empower other female gallery owners to achieve the same, and make them think, “If she can do it, I can do it!”

SPREADING A R T S ACC E S S I N T H E N YC CO M M U N I T Y F

ree Arts NYC is a long-term partner of Affordable Art Fair NYC Fall, working together to promote their arts and mentoring programmes at the fairs, plus providing some fantastic interactive creative activities to bring their work to life! Their mission is to “empower underserved youth through art and mentoring programs to develop their creativity, confidence, and skills to succeed” and we’re 100% on-board!

WO M E N I N A R T

We spoke to Liz Hopfan, Founder and Executive Director of Free Arts NYC to find out more about their work and its contribution towards the creative youth of tomorrow.

30

What is your background and how did it lead you to create Free Arts NYC? Liz Hopfan After college, I spent time traveling and ultimately landed in California as an elementary school teacher in south central LA. It was there that I started volunteering with Free Arts. Seeing the lack of resources in my classroom and the impact that my time as a volunteer had on the kids I worked with made me decide to move back east and with a very lucky, six-degrees-of-separation-story, I was introduced to a philanthropic family who provided me with the seed money to start Free Arts NYC. That was over twenty years ago. Today, Free Arts has fourteen operating staff, a budget of 2.4 million dollars and each year works with over 3,000 young people between the ages of 6 – 18. We help countless kids find their voice through art and get the attention they need from their mentors.

+140%

LEADERSHIP POSITIONS

Children are 140% more likely to hold leadership positions in careers when they have a mentor

Why do you think arts mentoring is so important?

LH We strive to level the playing field by providing high-quality arts and mentorship programs to youth who do not have access to them. It is one of the only youth organizations in NYC that combines 1:1 mentoring and intensive art programming.

TO RE AD THE FULL INTERVIE W CLICK HERE

F R E E A R T S N YC partners with public schools, community centers, and homeless shelters throughout the city. Their goal is to empower youth and build their self-esteem, confidence, communication, and problem-solving skills through art and mentoring programs. Through employee engagement events and intensive mentorship programs, their youth learn the skills necessary to succeed in academic, professional, and daily-life situations.

31

S P R E A D I N G A R T S ACC E S S I N T H E N YC CO M M U N I T Y

Mentoring creates positive impact in the lives of young people. Those with mentors have higher rates of high school graduation and are less likely to drop out of school – 55% are more likely to enrol in college. They develop more self-confidence, self-esteem, and are able to create big goals for themselves, in fact they are 140% more likely to hold leadership positions in their careers. Additionally, studies show that their behaviour, attitudes, and relationships improve. Ultimately, our mentors help children grow and close the social and economic opportunity gaps that exist today.

MEET THE H O N G KO N G TEAM

T

he exceptional team behind the Affordable Art Fair Hong Kong not only works year-round to bring you a jam-packed fair, filled with art and creative activities attracting 25,000 visitors, but also curates an online marketplace filled with 1,000s of works ready to purchase 24/7. It’s fair to say that they are as passionate about art as you can get!

WO M E N I N A R T

To introduce the team behind all this art, we sat down with Regina, May, Amy, Cleo and Vivian to talk about everything from the Hong Kong art scene, to wellbeing and tips for first time art buyers.

32

When did you discover your passion for art?

Amy Nebout, Head of Partnerships I’ve had a passion for art since my school days, I studied art all the way into my A-levels. When I began working with the Affordable Art Fair team in 2012, my passion for buying art and my art collecting journey began. I can’t wait to check out the galleries every year – both from a professional and personal point of view!

Cleo Tse, Marketing Manager I’ve appreciated aesthetics and beautiful design since studying art at secondary school. I was delighted when I realised there was so much going on at university to get involved with. Each time I experience art it’s like discovering an unknown treasure.

What makes you so close-knit as a team?

AN We’re an all-woman team which I find very inspiring to work with – we tend to be the ones that juggle the most and need to blend different areas of our lives together. Because of that, interesting ideas come from so many different sources of our lives, for example we have a few amazing mums in our team, which means we’re able to come up with truly interesting ideas and activities for all the family.

Regina Zhang, Fair Director The team excels in different areas, passion for the arts brings us together and makes us stronger as a team, we are all very focus driven – you’ll see the results at the fair!

What advice do you have for new collectors?

Vivian Chau, Fair Coordinator Don’t be afraid to talk to gallerists and even artists at the fair – they’re passionate about art and really friendly. They also have the best stories about the artworks and artists. One thing I’ve learnt from painful experience is, if you see something you like, don’t hesitate, as it might end up in someone else’s apartment instead!

What is your favourite memory / part of organising an Affordable Art Fair?

VC The smiles you see when visitors leave the fair with their new artworks; families having fun together at our workshops and gallerists from all over the world, getting together and hugging each other at the end of the fair.

TO RE AD THE FULL INTERVIE W CLICK HERE

33

M E E T T H E H O N G KO N G T E A M

RZ The best advice I have ever been given is to follow your heart. You’ll know when you’re standing in front of a piece of art that moves you, your heart will beat faster and you can’t help but lean in for a closer look. Always buy for love – there is an investment in that alone.

May Wong, Associate Fair Director A few practical tips are to set a budget and measure the space you’re looking to fill. Also, don’t forget to take a photo of the space with you to the fair – it’s really useful to have this to hand. In advance of every fair we create an e-catalogue. It’s not only exciting to look through, it’s also really important to look at the range of artworks on offer and see what catches your eye. Then shortlist your top picks come and experience them at the fair where you can find out more about them and build an emotional connection with each piece.

WOMEN IN ART C U R AT E D CO L L E C T I O N T

o celebrate International Women’s Day and Women’s History Month, we’ve selected works by talented female artists from around the world.

VIEW THE FULL COLLEC TION HERE

2 1

3

WO M E N I N A R T

ARTISTS 1. J U N E L AW R E N C E , T R AV E L LU S T , 2 017, £ 3 3 0 , P H OTO P O LY M E R P R I N T, S O C I A L M E D I A A R T GA L L E RY 2 . U R S U L A K E L L E T T, V I S CO S I T I E S 4 , 2 018 , £ 5 5 0 , M I X E D - M E D I A , M I N T GA L L E RY 3 . T A N I A B O B B , L A DY G O D I VA 2 , 2 018 , £ 22 0 , C E R A M I C , M O N K E Y A P P L E GA L L E RY 4 . V A N E S S A W O N G, E N T I T Y 0 01 , 2 012, £ 970 , H Z GA L L E RY 5 . J E S S Q U I N N , W E M A D E O U R H O M E I N T H E D E S E R T I , 2 018 , £4 5 0 , G O UAC H E , K I T TO E C O N T E M P O R A RY L I M I T E D 6 . M AG DA L E N A M O R E Y, D I S TA N T H O R I ZO N 2 , 2 017, £ 5 4 5 , M I X E D - M E D I A , W YC H W O O D A R T S 7. E DY TA G R Z Y B , B RO K E N D R E A M S , 2 015 , £ 3 , 8 0 0 , AC RY L I C , A L L YO U C A N A R T

34

6 5

7 Y E O N G YA O T I N G OUR MARKETING E XECUTIVE, SINGAPORE ART WORK PICK

4

Eakin’s work captivates me as it gives off a dreamy feeling and one of freedom. It also brings you into a controlled state with the control of her strokes and the way the colours mesh and mix together. Her expressive blue and pink hue tones used, work perfectly together giving off a light-hearted and pleasant feeling.

A L A N N A E A K I N , S T R A N G E RS E M B R AC E , 2019, AC RY LI C , £1,20 0 , A RT F U LLY S O RT E D

VIEW HERE

WO M E N I N A R T C U R AT E D CO LL E C T I O N

35

WO M E N I N A R T

JOIN US AROUND THE WORLD 36

SPRING 2020 LO N D O N , B AT T E R S E A BRUSSELS N E W YO R K LO N D O N , H A M P S T E A D

12 – 15 20 – 22 26 – 2 9 30 APR – 3

MAR MAR MAR M AY

AUTUMN 2020 H O N G KO N G MELBOURNE N E W YO R K S TO C K H O L M LO N D O N , B AT T E R S E A AM STERDAM HAMBURG SINGAPORE

21 – 2 3 A U G 04 – 06 SEP 24 – 27 S E P 0 8 – 11 O C T 22 – 25 OC T 2 9 O C T – 01 N O V 12 – 15 N O V 20 – 22 NOV

S P R I N G 2 0 21 MILAN

TO B E A N N O U N C E D BUY TICKETS HERE

CONTINUE DISCOV ERING ART

See more at affordableartfair.com TEXT

37

T H A N K YO U F O R R E A D I N G V I S I T U S O N L I N E AT A F F O R DA B L E A R T FA I R .C O M