This paper considers the conversations had by the author and curators at National Gallery, London, since the rehang in 2022 to understand curatorial choices. Those conversations and onsite visits reveal how curatorial practices influence the visibility of women artists. Of the museum’s approximate 1,000 paintings on display, 14 of which are painted by women. Although the National Gallery is the focus of this paper, it facilitates wider conversations about equality in the arts. Predominantly, women in the arts have been systemically marginalised because of gender, class and other intersectional barriers. This positioning has made it challenging to access training, education, patronage, financial security and entry into the canon of art history. Conversely, the ‘old masters’’ privileges accorded them access into the established systems. Contemporary curatorial practices do reenforce prevailing hierarchies of gender inequities, which shapes the public’s understanding of what ‘great’ art is. However, through the mapping of curatorial conversations about choice and practices, this study discusses curatorial decisions made at the National Gallery, which are complex and nuanced, as display can operate as an institutional tool of inclusion or exclusion. The study proposes alternative curatorial practices, and periphery marketing and promotion strategies, and training and education for staff. These small changes in practices were suggested and discussed by the author in conversation with the curators to challenge the canon, develop the under-representation of women and foster a cultural citizenship for visitors and staff. These changes could transform how national collections represent artistic diversity, inclusive curatorial and pedagogic practices.

Authors:
Beverley Hayward, Sotheby's Institute of Art, United Kingdom

About the Presenter(s)
Dr Beverley Hayward is a University Associate Professor/Senior Lecturer at Birkbeck college University of London and UCA in United Kingdom

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