‘A Source of Real Pride:’ All-Women Teams in the Australian Art Industry
Tags: Women, Art, Society, Culture, Australia

‘A Source of Real Pride:’ All-Women Teams in the Australian Art Industry

From art centers and magazines, to galleries and auction houses, women take decisive roles in key positions in the arts Down Under, but some bias might still prevail.

Kym Elphinstone — Articulate, Carriageworks. Credit: Daniel Boud

In May 2019, the National Gallery of Australia declared a campaign to raise awareness of women artists in Australia. The Know My Name campaign lit up billboards across the country, and the gallery dedicated an ongoing commitment to more women exhibitions and adding women-identifying artists to their collection. But, I wondered, how far does this stem? Artists are visible in the art industry, but where are the women behind exhibitions, galleries, and publishing? I decided to look at the teams of major galleries, publications, art centers, auction houses, and leading PR companies, who have all-women teams and what this means in their industries.

The first interview I did took place outside of Australia’s major cities, instead, in Maningrida, a town in North West Arnhem Land — home to the Bábbarra Women’s Centre. This center began in 1983 as a women’s refuge and over the years has transformed into an art center that prints the popular Bábbarra Designs. Owned by Bawinanga Aboriginal Corporation, the center is run by women for women and brings together over eight different language groups who earn an income through their artworks.

Genevieve Smith and Raylene Bonson printing Lucy Yarawanga’s design. Bábbarra Designs (Arts & Culture- BAC)

Manager Ingrid Johanson shared that the center is a special place because, as it’s just for women, there is a deep sense of power and strength, while the exhibitions become a way for them to share their stories. In the greater community, the artists are seen as role models who can earn an income for their families and communities. “It’s very empowering,” Johanson said, “it’s a source of real pride that it’s a women-run enterprise.”

Last year, Johanson travelled to Paris with assistant manager Jessica Phillips and five of the center’s artists, Janet Marawarr, Elizabeth Kala Kala, sisters Deborah and Jennifer Wurrkidj and Jacinta Lamilami to open the exhibition, Jarracharra: dry season wind. This undertaking revealed the red tape that indigenous people in Australia face, the first being obtaining passports as many have never had forms of ID, nor are there street names in Maningrida to register an address.

Bábbarra women with Australian Ambassador to France. Photo Babbarra Womens Centre

But getting the women to Paris was rewarding for the women, and now the exhibition is travelling to the European Parliament in Brussels (something Johanson noted has happened before showing at Australia’s government house). “It showed there was a lot of appreciation in Paris for the ladies work,” Johanson maintained. “The response to indigenous art, the women’s stories and the rich and important elements of culture were deeply embraced in Europe… It does feel that Australia has some way to go in that area.”

Johanson feels privileged to work with the women in such a culturally rich space, continuously learning and being taught by the women around her; and in turn, helping impart her skills in the community. “I feel like there’s an obligation for me as a non-indigenous person to learn as much as I can, to try to have an understanding of people’s histories, their challenges and perspectives, and also their contemporary lived lives and knowledge. It’s a privilege for me to live in Maningrida, on Kunibidji country.”

Marita Wilton- in lino print outfit Photo: Ingrid Johanson-Babbarra Womens Centre

Something I repeatedly heard from the women I interviewed was that compassion in the workforce allows for greater equality. Interestingly, (and by accident), these interviews all took place during the beginning of the COVID-19 lockdown in Australia, proving flexible hours and working from home is possible.

Bonhams Australia is one company that understands the need to have flexible working hours and locations, as the team is often travelling between the Sydney office and Asia. I spoke to the director of the all-women team in Sydney, Merryn Schriever, who moved into the role seven years ago. She shared that having compassion and applying a caregiving element are especially crucial in times like these, but, in turn, allow women to reach top tiers of management.

Bonhams have made it part of their business plan to hire more women and give more opportunities, such as for Schriever, who wanted to get onto the auction rostrum. Statically, the numbers were stacked against her. Only 11% of auctioneers are women, and only 5% host the premium evening sales — and that’s only been so in the last 10 years.

Fiona Frith, Bonhams Australia Specialist Fine Jewellery and Merryn Schriever, Director Bonhams. Photo credit: Simon Lekias

However, things are changing in the industry, and Bonhams was proud to reveal 50/50 women and men sales after the Hobbs collection sold in 2018. “We are also seeing a huge shift in our jewelry markets, which used to be wholesale markets,” Schriever added. “Now we’re selling to collectors directly — and I really enjoy taking our jewelry auctions because it’s an 80% female environment.”

The director of the Museum of Contemporary Art in Sydney, Liz Ann MacGregor, can’t quite believe they ended up with an all-women team, especially after arriving in Australia twenty years ago from the UK. Today, she pointed out, “we have fostered a culture that encourages people really to work together and not compete.”

Elizabeth Ann Macgregor, MCA Director, 2011

MacGregor shared the results of a study on unconscious bias undertaken by the University of Technology, Sydney; it found that if you show people the same picture and you’re asked to give a value to it, putting a male name on it, compared to when you put a female name on it, people always give a man a higher value. “This idea about unconscious bias is still very prevalent,” MacGregor said. “It has to go right to the top; there needs to be equality on the boards of galleries.”

MacGregor has experienced this firsthand throughout her career, first when the gallery originally had an all-male board, but also in her role on the board of national galleries in Australia — this is the first time in 20 years that there have been more than two women directors. “There is a different feel about that room now,” she added.

All-women team, Museum of Contemporary Art in Sydney

Kym Elphinstone, the Founder and Director of Articulate — a leading global arts PR company — had her first art job under MacGregor managing the PR of the Museum of Contemporary Art. “She was inspiring to work with because she’s fearless and passionate” Elphinstone shared. “And a true advocate for the arts and artists.”

Elphinstone was originally a lawyer and found the change to the arts to be welcoming and supportive. “Reflecting on my time working in the legal sector, which is often a predominantly male field, then moving into the arts, the difference in the culture and the community network was enormous,” Elphinstone said. “I immediately felt at home in the cultural space and believed in my contribution.”

Kym Elphinstone — Articulate, Carriageworks. Credit: Daniel Boud

After starting Articulate from her living room floor in 2009, Elphinstone has endeavored to embrace every corner of the sector; from working with emerging artists and local galleries to national museums and festivals. And she’s been lucky enough to work with some of the most inspiring women in the industry. “In my experience, and through the clients we deal with, we see some exemplary female leaders in the arts. I’m proud to work alongside inspirational female leaders on a day-to-day basis such as Lisa Havilah at the Powerhouse Museum; Barbara Moore at the Biennale of Sydney; Kerri Glasscock at Sydney Fringe; Anna Schwartz at Anna Schwartz Gallery; Lesley Harding at Heide Museum, Deborah Ely at Bundanon Trust,” she maintained. “Strong leadership at the top really impacts as it trickles down the organization.”

Thinking consciously about gender representation in the arts is the key to equality. The editor-in-chief of Vault, Alison Kubler, has made a commitment to showing and commissioning equal women and men artist and writers. “I think where we are different, as a private magazine, we can afford to cast our net a bit wider to look internationally,” she claimed. “Thinking about bigger ideas allows us to be a bit more generous in our scope.”

Alison Kubler, Editor-in-Chief of Vault Magazine

But the limitations facing women artist mean the scope has to be widened. “I think it’s terribly hard to be a visual artist and to be a mother,” Kubler said. “I look at my friends who are artists and mothers, and it’s incredibly hard — I don’t see those things changing anytime soon. There’s definitely a disparity between how much women artists get paid over how much male artists get paid.”

The Australian art world is full of impressive women, almost so, that thinking about gender equality may seem redundant. As MacGregor shared, unconscious bias means that, without even realizing it, men still dominate the blockbuster exhibitions at the public galleries, and they still dominate the sales at art auction houses. The times are changing, and Australia has seen a conscious shift and effort to pose greater equality, but it needs to continue to ensure equal pay and more women in management and board positions. However, as Elphinstone added: “I think it’s important to celebrate the female angle; there are a number of amazing leaders in the field who are female. There’s no reason why we shouldn’t be proud and talk about that.”