In recent years, much attention has been paid to the representation of women in the art world. Nevertheless, the focus has primarily been on young, up-and-coming female artists. What needs to be added to the conversation is an examination of why older women artists in their 60s and beyond often need more visibility and success.
One of the most significant barriers to success for older women artists is a need for industry-wide commitment to diversity, equity, and inclusion. Unfortunately, the bias favouring the young and emerging persists in the art world. This is evidenced not just by the ease with which their work is accepted and celebrated but also by how they are marketed and the pricing of their work. Meanwhile, older women artists fighting for a foothold in the industry often face ridicule and invisibility.
Women at this stage of their careers face additional challenges associated with ageism and sexism. Many struggle to be taken seriously as “serious” artists, despite their decades of experience. This can be exacerbated by the lack of age diversity in the art world, which can make it difficult for them to find or secure artist residencies and exhibition opportunities.
Our society, unfortunately, has a long, complex history of discrimination against all individuals purely on the basis of their age. From the low wages often paid to those over retirement age to the invisible treatment given to elderly folks in the workplace and beyond, ageism is a damaging phenomenon that has real-life implications for individuals of all ages.
When it comes to the art establishment, ageism is certainly no exception. Art is typically seen as a reflection of new ideals, which can lead to those over sixty being neglected and even excluded from the contemporary art world.
Many older women are also discounted for their choice of subject matter. Many assume women are drawn to domestic subjects, like portraits of their children or paintings of their neighbourhoods. This stereotype is from the traditionally male-dominated art establishment, where it is thought men produce “edgier” or more “innovative” works. This carries implications not just for women’s success but also for the broader narrative of art history; in essence, the narratives and ideas of many female artists go untold by privileging male-produced art forms.
Conclusion:
It can be difficult to break through the prejudices and expectations set by the traditional art establishment, but there are avenues of hope. The art world must recognise the work and contributions of older women artists, and this recognition should be reflected in exhibitions, art residencies, and artwork pricing. Only by creating a more equitable industry can its full potential be realised. Therefore, it is essential that we consider the plight of older women, who often face invisibility, disdain and discrimination in their pursuit of success in the art establishment.
Illustration by Golden Cosmos
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