"Not Unique, Powerful, Competitive": Advocacy and Obstacles in Feminist Arts Administration

Circa 2007/08, "feminism" re-emerged as a hot topic among art institutions. It was likewise propelled in popular culture through discussions in then-burgeoning social media networks, and the founding of several popular women-focused websites. This renewal of interest has not only garnered more attention of feminist artists and projects, but it has also both expanded and rebuted the definitions of this movement. Feminist artists and art organizations have existed throughout the 20th century, beginning even before the 1970s second-wave feminist art movement. With the existence of many different types of feminisms and art entities, old and new, the landscape and advocacy of this movement can seem arduous and incoherent to some. The title of this thesis takes its name from an unused proposed mission statement for A.I.R. Gallery, a long acknowledged feminist art stakeholder. While A.I.R. may want to be powerful or competitive, their feminist advocacy would be a success if they were not unique. As feminism enjoys a revived appeal in the arts, A.I.R.'s feminist advocacy is less unique. Does this render them unneeded? Today, how do artists and arts administrators advocate for feminism, while grappling with its constant changes, discrepancies, and fluctuations in appeal? Two prominent interests surrounding feminist advocacy in the arts, funding systems and inclusion, will provide the themes of exploring several case studies in this thesis. This thesis will explore the obstacles and challenges these case study organizations face, while acknowledging that such issues are always changing, never simple to answer, and speak to a unique moment in time. Or rather, a not unique moment?