PROBLEM

Currently, women are not represented equally in exhibitions, promotions, workshops, or historical documentation, and they do not receive equal pay (Gardner; Nochlin). The question asked by Linda Nochlin and the Guerilla Girls became the guide for this researcher to seek out answers to the problem, “Why aren’t more Texas female artists considered great?” The National Museum for Women in the Arts began a campaign that brings awareness to this statement and the Five Women Artists Campaign guides the general public in their knowledge of women artists.

This question has been asked during March, Women’s History Month, since 2016, by the National Museum of Women in the Arts (NMWA) on social media with the hashtag #5WomenArtists. The campaign calls attention to the fact women have not been treated equally in the art world and remain dramatically underrepresented and undervalued in museums, galleries, and auction houses. From 2016–2019, more than 1,500 cultural institutions from 54 countries have participated (“#5WOMENARTISTS). This research will seek out past and present Texas female artists whom have impacted the current art culture. The design-centric solutions presented will explore ways to promote female artists, get Texas female artists into publications, and provide a presence for female artists in the art history of Texas.

Women throughout history have been serving as their voice for change (“Family”; Williams). Before the 1900s, women marched the streets in an attempt to have the right to vote. Women still make signs and march today to benefit themselves and future women. Following the history of past women’s movements in America, a possible design solution would be a poster series campaign. This product would begin to visually communicate the gender art gap in the state of Texas. The data inside of books, articles, and websites exhibit a “female-shaped” gap, while the world has developed around a “one-size-fits-men approach,” (Perez XI, 157). This campaign will also examine how the poster series could be used in ads and social media to broaden its impact. “The gender data gap” presents opportunities to address problems and provide design-centric solutions for the recognition of past, present, and future female artists (Perez XI).

The majority of women in art history have only been allowed to practice specific areas of the arts because of established gender roles. Judy Chicago stated, “There are so few women artists because the personality structure of a woman as dictated by the society in which we live is inconsistent with the personality structure that is necessary to make art” (Chosa). Acceptable tasks for women are crafts, and highly regarded art is considered to be outside of the realm of craft. In the Bauhaus movement, females were not allowed to take all of the classes offered to men, such as sculpture. Women were limited to craft-based tasks such as weaving. The accepted view is to limit women’s activities in the arts. This belief is accepted rather than challenged. In 2017, only one female artist had a top headlining exhibition in the United States, Yayoi Kusama (“Get”). This problem is reflecting the prevalence of the belief in today’s art culture.

In 2014, the Dallas Museum of Art (DMA) lists ten exhibitions. Six of the ten exhibitions were solo shows exclusively displaying only men’s artwork. Female artists displayed only two artworks total that year. The DMA website states that a female artist exhibition did not occur that year (“Exhibition”). The Modern Art Museum of Fort Worth lists 17 solo shows promoted throughout some part of 2018-2020. Out of those exhibitions, ten were created by male artists and seven by female artists (“Current and Upcoming Exhibitions.”). During the summer of 2019, The Menil Collection had 27 artworks on display in their Contemporary Galleries, with only 4 of those having artworks created by female artists. All of the exhibits discussed here highlight only a handful of the visible gender gap inadequacies found within the Texas art galleries.

The research began by focusing on the possibility of an online female artist database, promotional materials, data graphics, a traveling exhibition the development of a Texas female artist book, regional workshops, and a centralized Texas Art Expo event dedicated entirely to the promotion and representation of Texas female artists. This research will now attempt to present design-centric solutions through a website.

PURPOSE OF THE STUDY

The purpose of this study is to survey data and publications about female artists in Texas and apply insights gained to develop design-centric solutions to assist female artists in their artistic endeavors, representation, promotion, and efforts for better compensation. These design solutions will begin to provide avenues for exposure, brand, documentation, and resources for the success of Texas female artists. These resources will explore the option of providing personalized templates, files, and promotional media tools to prepare female artists in their future.