ART from the edge
For all the women who keep speaking their truth,
even from the edge of the frame
Uncivilized
91cm x 46cm - oil paint, fabric and yarn on canvas - March 2022
March is recognized as women’s history month in many countries in the world. Although dedicated months are usually assigned to highlight minority populations, the gender gap reduces women to the same status.
In the art business, gender inequality is even more pronounced than in other industries.
In the first painting of the ART from the edge series, I bring attention to the marginalization of women in the art space- in this case pushed to the side of the canvas.
The title refers to a new low in representation that also happened this month, where people from the Middle East were indirectly referred to as “uncivilized” in one of the blatantly racist displays of white exceptionalism that spread across the Western media since the beginning of the war in Ukraine.
Marginalized
56cm x 76cm - Oil Paint, Fabric and Yarn- March 2022
I painted this on the occasion of Women’s Day 2022, as I am grateful for all the women who keep speaking their truth- even from the edge of the frame.
Sidelined
90cmx60cm- oil paint, fabric and yarn on canvas - March 2022
A 2019 study entitled « Diversity of artists in major U.S. museums » conducted by Williams College found that 85.4% of artwork in museum collections in the US features white artists, and 87.4% is made by men. Asian artists’ work accounts to 9%, Hispanic and Latino artists’ to 2.8%, and African American artists’ to 1.2%.
Of the meager 14.6% art by women in these collections, only 3.3% is work produced by black women artists. Instead, the presence of black women in Western art has been relegated to images of slaves, servants, or exotic novelties inside paintings that have normalized these roles in western visual culture for too many years.
The fact that minority artists were sidelined for years somehow still justifies calling their art «new», «exotic» or «primitive» and categorizing it within the context of the western canon. Until the art world truly accepts that art by minority artists is part of long histories of self identification through rich ethnic traditions that are completely independent from western art, these inclusions will remain fads devoid of any sincere aim to truly value them.
Immortal
90cmx60cm- oil paint, acrylic paint, fabric and yarn on canvas - April 2022
Out of all the “isms”, ageism definitely does not get enough attention. While it also works to discredit young people for being too inexperienced, too impulsive, too naive etc, ageism mostly renders the older population invisible. A 2019 study by the AARP showed that only 15% of images in the American media show people over 50. Additionally, there is an entire industry that functions on feeding the consumers’ belief that aging is something to avoid at all costs- further alienating and marginalizing the elderly. In a cancel culture world that is increasingly intolerant to offensive language and prejudiced practices, our youth obsessed societies seem oblivious to blatant ageism in everyday representations, language and normalized behaviors.
While women in art are already at a disadvantage with respect to visibility, older women artists have the extra marginalization factor that comes with their age. I chose in my fourth painting in the series “Art From The Edge” to portray an artist who unapologetically breaks this mold. Etel Adnan -Lebanese-born writer and artist that the art and literary world lost at age 96 last year - only got widespread recognition for her art at age 87. Her unassuming approach to life and art is marked by a philosophy that is at the same time light and profound. In her artwork, she pays tribute to earth and life with a joy that manifests itself in playful abstractions of color that celebrate nature.
The weaving and the background shapes are an homage to her beautiful work, as is the vibrant red square you can find in many of her pieces. 🟥