Women's Art Movement: Difference between revisions

Content deleted Content added

Inline

Latest revision as of 20:35, 23 August 2023

The Women's Art Movement (WAM) was an Australian feminist art movement, founded in Sydney in 1974, Melbourne in 1974, and Adelaide in 1976 (as the Women's Art Group, or WAG).

Background

Such movements had already been created in other countries, in which women artists looked at their position as women in society and their position as artists through a feminist framework.^[1] The visit by US feminist art critic Lucy Lippard in 1975 provided the immediate impetus for the creation of the new movement in Australia. She spoke to women-only groups in Melbourne and Adelaide about the creation of archives of women artists' work on photographic slides, known as slide registers, by a network of American women artists who called themselves the West-East Bag (WEB); the idea was to counteract their lack of showing in art galleries.^[2]

Run as collectives, the groups facilitated consciousness-raising studio and exhibition workshops, aiming to analyse the political implications of personal experiences in visual art. Like their international counterparts, the groups used non-judgemental consciousness-raising (CR) methods which had grown from women's liberation movement. By the mid-1980s, the WAM was a highly respected art movement, both across Australia and worldwide.^[2]

Melbourne

The 1974 exhibition A Room of One’s Own: Three Women Artists, co-curated by Kiffy Rubbo, Lynne Cook and Janine Burke, helped initiate the Melbourne WAM. The following year, Rubbo commissioned Burke to curate the national touring exhibition Australian Women Artists 1840–1940.^[3]^[4] The gallery hosted international feminist art critic, Lucy Lippard, who delivered a talk to a women-only audience. Melbourne's Women's Art Forum and Women's Art Register were subsequently established in the gallery.^[5]^[6]^[7]

Sydney

Beginning with its first meeting in April 1974^[8] and inspired by Linda Nochlin’s essay "Why Have There Been No Great Women Artists?", the Sydney WAM, founded in 1975,^[2] aimed to address discrimination and sexism within the art world through various actions and exhibitions.^[9]

Marie McMahon was a founding member,^[2] Vivienne Binns, Barbara Hall, Frances Phoenix, Beverley Garlick, Jude Adams and Toni Robertson, were at the forefront of the development of The Women's Art Movement in Sydney.^[10]

Adelaide

In Adelaide, the Women's Art Group was established in 1976 or 1977 (initially in 1976 as the Women's Art Group or WAG, which aimed to set up a slide register as Melbourne WAM had done),^[2] co-founded by Ann Newmarch (who had also been a founding member of the Adelaide Progressive Art Movement in 1974),^[11] in order to support and promote women artists, and to work together to combat sexism in the arts and society. Fifty women of a wide range of ages attended the first meeting. For the whole month of August 1977, it hosted The Women's Show, which was a national event in both scope and participation. Hosted by the Experimental Art Foundation, it included theatre, music, film, photography, poetry and literature, media, a conference and a visual art exhibition,^[2] and included over 350 works,^[12] curated by Julie Ewington (as of 2021^[update] on the board of the 4A Centre for Contemporary Asian Art in Sydney^[13]), and Helen James.^[14] Participating artists included Stephanie Radok, Loene Furler, Bonita Ely, Jude Adams, Margaret Dodd, Frances Budden (later Phoenix), Marie McMahon, and many others.^[15]

WAM members included Anne Marsh, Frances Phoenix, Jenny Boult, Polly Siems, Jane Kew, Kate Millington, Phil McKillup,^[16] and Jacky Redgate was actively involved.^[17]

Some time after its establishment, the Adelaide group gained some funding from the South Australia Arts Grant Advisory Committee, the Community Arts Board, and the Visual Arts Board. This funding allowed for the publication of the book Women's Art Movement 1978-1979, Adelaide, South Australia, in 1980.^[1]^[18]

There was also a strong Aboriginal women's art component, and its constitution was altered to reflect this. Adelaide members exhibited their work in other states, and some went abroad:^[16] Jane Kent^[19] and Anne Marsh went to California in 1984 to look at performance art, publishing a book on their findings afterwards.^[20] The group was involved in a diverse range of activities including the Adelaide Festival of Arts and its Adelaide Writers' Week, and supported artists-in-residence such as Jill Orr and Bettye Saar.^[16]

The State Library of South Australia holds records pertaining to the Adelaide branch between 1974 and 1986 in its collection.^[16]

References

^ ^a ^b Secomb, Robin; Francis, Rosemary (1 May 2009). "Women's Art Movement". The Australian Women's Register. University of Melbourne. Retrieved 24 January 2022.
^ ^a ^b ^c ^d ^e ^f Moore, Catriona; Speck, Catherine (2019). "Chapter 5: How the personal became (and remains) political in the visual arts". In Arrow, Michelle; Woollacott, Angela (eds.). Everyday Revolutions: Remaking Gender, Sexuality and Culture in 1970s Australia. doi:10.22459/ER.2019. ISBN 9781760462970. S2CID 149614750. Retrieved 25 January 2022 – via ANU.
^ "Literary Awards".
^ "Kiffy Rubbo, National Portrait Gallery". Portrait.gov.au. 26 June 2017. Retrieved 25 August 2017.
^ "Meredith Rogers 1951-". National Portrait Gallery.
^ Vivian, Helen, ed. (2008). When You Think About Art: The Ewing and George Paton Galleries 1971–2008. Macmillan Art. ISBN 978-1921394027.
^ Anne Sanders, 'Visual Arts', The Encyclopaedia of Women & Leadership in Twentieth-Century Australia, Published by the Australian Women's Archives Project 2014, ISBN 978-0-7340-4873-8, http://www.womenaustralia.info/leaders/biogs/WLE0448b.htm, accessed 21 January 2018.
^ Adams, Jude (November 2013). "Looking from with/in: feminist art projects of the 70s". Outskirts. 29. [Website] Last updated: Tuesday, 9 November 2021 – via University of Western Australia.
^ Adams, Jude (1 November 2013). "Looking from with/in: feminist art projects of the 70s". Outskirts: feminisms along the edge. Retrieved 3 October 2019.
^ Kenyon, Therese. (1995). Under a hot tin roof: art, passion and politics at the Tin Sheds Art Workshop. Power Publications. ISBN 0730589331. OCLC 957035962.
^ "Ann Newmarch 200 years: Willy Willy". University of Canberra. 12 October 2020. Retrieved 25 January 2022.
^ Inglis, Alison; Lorenzo, Catherine De; Speck, Catherine; Mendelssohn, Joanna (11 September 2018). "How our art museums finally opened their eyes to Australian women artists". The Conversation. Retrieved 25 January 2022. ...an edited extract from the new book Australian Art Exhibitions: Opening Our Eyes published by Thames & Hudson. I
^ "Board". 4A Centre for Contemporary Asian Art. Retrieved 26 January 2022.
^ "The Women's Show". www.daao.org.au. Retrieved 23 June 2021.
^ Michelle Arrow; Angela Woollacott (2019). Everyday revolutions : remaking gender, sexuality and culture in 1970s Australia. Acton, A.C.T.: Australian National University Press. ISBN 978-1-76046-297-0. OCLC 1113935780.
^ ^a ^b ^c ^d Women's Art Movement: Summary record 1974-1986. 24 January 2017. Retrieved 26 January 2022. {{cite book}}: |website= ignored (help)
^ "Jacky Redgate Artist Profile". ARC ONE Gallery. Retrieved 27 January 2022.
^ Experimental Art Foundation; Women's Art Movement (S.A.) (1980), Women's Art Movement, 1978-1979 Adelaide, South Australia, Experimental Art Foundation
^ "Jane Kent :: biography". Design and Art Australia Online. 13 March 2013. Retrieved 26 January 2022.
^ Marsh, Anne and Jane Kent, Live Art : Australia and America : Performance Art, Reviews, Criticism, Feminist and Political Art Organizations, Art and Politics, Interviews with American Artists, Artist's Pages. (1984)

[wam-1] Secomb, Robin; Francis, Rosemary (1 May 2009). "Women's Art Movement". The Australian Women's Register. University of Melbourne. Retrieved 24 January 2022.

[everyday-2] ^ ^a ^b ^c ^d ^e ^f Moore, Catriona; Speck, Catherine (2019). "Chapter 5: How the personal became (and remains) political in the visual arts". In Arrow, Michelle; Woollacott, Angela (eds.). Everyday Revolutions: Remaking Gender, Sexuality and Culture in 1970s Australia. doi:10.22459/ER.2019. ISBN 9781760462970. S2CID 149614750. Retrieved 25 January 2022 – via ANU.

[3] "Literary Awards".

[4] "Kiffy Rubbo, National Portrait Gallery". Portrait.gov.au. 26 June 2017. Retrieved 25 August 2017.

[5] "Meredith Rogers 1951-". National Portrait Gallery.

[6] Vivian, Helen, ed. (2008). When You Think About Art: The Ewing and George Paton Galleries 1971–2008. Macmillan Art. ISBN 978-1921394027.

[7] Anne Sanders, 'Visual Arts', The Encyclopaedia of Women & Leadership in Twentieth-Century Australia, Published by the Australian Women's Archives Project 2014, ISBN 978-0-7340-4873-8, http://www.womenaustralia.info/leaders/biogs/WLE0448b.htm, accessed 21 January 2018.

[adams2013-8] Adams, Jude (November 2013). "Looking from with/in: feminist art projects of the 70s". Outskirts. 29. [Website] Last updated: Tuesday, 9 November 2021 – via University of Western Australia.

[9] Adams, Jude (1 November 2013). "Looking from with/in: feminist art projects of the 70s". Outskirts: feminisms along the edge. Retrieved 3 October 2019.

[10] Kenyon, Therese. (1995). Under a hot tin roof: art, passion and politics at the Tin Sheds Art Workshop. Power Publications. ISBN 0730589331. OCLC 957035962.

[11] "Ann Newmarch 200 years: Willy Willy". University of Canberra. 12 October 2020. Retrieved 25 January 2022.

[conv2018-12] Inglis, Alison; Lorenzo, Catherine De; Speck, Catherine; Mendelssohn, Joanna (11 September 2018). "How our art museums finally opened their eyes to Australian women artists". The Conversation. Retrieved 25 January 2022. ...an edited extract from the new book Australian Art Exhibitions: Opening Our Eyes published by Thames & Hudson. I

[13] "Board". 4A Centre for Contemporary Asian Art. Retrieved 26 January 2022.

[14] "The Women's Show". www.daao.org.au. Retrieved 23 June 2021.

[15] Michelle Arrow; Angela Woollacott (2019). Everyday revolutions : remaking gender, sexuality and culture in 1970s Australia. Acton, A.C.T.: Australian National University Press. ISBN 978-1-76046-297-0. OCLC 1113935780.

[slsa-16] Women's Art Movement: Summary record 1974-1986. 24 January 2017. Retrieved 26 January 2022. {{cite book}}: |website= ignored (help)

[17] "Jacky Redgate Artist Profile". ARC ONE Gallery. Retrieved 27 January 2022.

[18] Experimental Art Foundation; Women's Art Movement (S.A.) (1980), Women's Art Movement, 1978-1979 Adelaide, South Australia, Experimental Art Foundation

[19] "Jane Kent :: biography". Design and Art Australia Online. 13 March 2013. Retrieved 26 January 2022.

[20] Marsh, Anne and Jane Kent, Live Art : Australia and America : Performance Art, Reviews, Criticism, Feminist and Political Art Organizations, Art and Politics, Interviews with American Artists, Artist's Pages. (1984)

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14]

[15]

[16]

[17]

[18]

[19]

[20]

@@ Line 2: / Line 2: @@
 {{use dmy dates|date=January 2022}}
 {{use Australian English|date=January 2022}}
-The '''Women's Art Movement''' ('''WAM''') was an Australian [[feminist art movement]], founded in [[Melbourne]] in 1974, [[Sydney]] in 1975 and [[Adelaide]] in 1976 or 1977 (initially in 1976 as the '''Women's Art Group''', or '''WAG''').<ref name=everyday>{{cite book | title=
+The '''Women's Art Movement''' ('''WAM''') was an Australian [[feminist art movement]], founded in [[Sydney]] in 1974, [[Melbourne]] in 1974, and [[Adelaide]] in 1976 (as the '''Women's Art Group''', or '''WAG''').
-Everyday Revolutions: Remaking Gender, Sexuality and Culture in 1970s Australia| editor1-first= Michelle |editor1-last=Arrow| editor2-first= Angela |editor2-last= Woollacott| via=[[ANU]]| isbn=9781760462970 |doi=10.22459/ER.2019| date= 2019 | chapter-url=https://press-files.anu.edu.au/downloads/press/n5524/html/ch05.xhtml?referer=&page=9 |url=https://press-files.anu.edu.au/downloads/press/n5524/html/upfront.xhtml?referer=&page=1#| chapter=Chapter 5: How the personal became (and remains) political in the visual arts| first1=Catriona |last1=Moore| first2= Catherine| last2= Speck| access-date=25 January 2022}}</ref><ref name=conv2018>{{cite web | last=Inglis | first=Alison | last2=Lorenzo | first2=Catherine De | last3=Speck | first3=Catherine | last4=Mendelssohn | first4=Joanna | title=How our art museums finally opened their eyes to Australian women artists | website=[[The Conversation]] | date=11 September 2018 | url=http://theconversation.com/how-our-art-museums-finally-opened-their-eyes-to-australian-women-artists-102647 | access-date=25 January 2022| quote=...an edited extract from the new book Australian Art Exhibitions: Opening Our Eyes published by Thames & Hudson. I}}</ref>
+==Background==
-Such movements had already been created in other countries, in which  [[women artist]]s looked at their position as women in society and their position as artists through a [[feminist]] framework.<ref name=wam/> The visit by US feminist art critic [[Lucy Lippard]] in 1975 provided the immediate impetus for the creation of the new movement in Australia. She spoke to women-only groups in Melbourne and Adelaide about the creation of archives of women artists' work on [[photographic slide]]s, known as slide registers, by a network of American women artists who called themselves the [[West-East Bag]] (WEB); the idea was to counteract their lack of showing in [[art galleries]].<ref name=everyday/>
+Such movements had already been created in other countries, in which [[women artists]] looked at their position as women in society and their position as artists through a [[feminist]] framework.<ref name=wam/> The visit by US feminist art critic [[Lucy Lippard]] in 1975 provided the immediate impetus for the creation of the new movement in Australia. She spoke to women-only groups in Melbourne and Adelaide about the creation of archives of women artists' work on [[photographic slide]]s, known as slide registers, by a network of American women artists who called themselves the [[West-East Bag]] (WEB); the idea was to counteract their lack of showing in [[art galleries]].<ref name=everyday>{{cite book | title= Everyday Revolutions: Remaking Gender, Sexuality and Culture in 1970s Australia| editor1-first= Michelle |editor1-last=Arrow| editor2-first= Angela |editor2-last= Woollacott| via=[[ANU]]| isbn=9781760462970 |doi=10.22459/ER.2019| date= 2019 | chapter-url=https://press-files.anu.edu.au/downloads/press/n5524/html/ch05.xhtml?referer=&page=9 |url=https://press-files.anu.edu.au/downloads/press/n5524/html/upfront.xhtml?referer=&page=1#| chapter=Chapter 5: How the personal became (and remains) political in the visual arts| first1=Catriona |last1=Moore| first2= Catherine| last2= Speck| s2cid= 149614750 | access-date=25 January 2022 | doi-access= free }}</ref>
+Run as [[collective]]s, the groups facilitated [[consciousness-raising]]  studio and exhibition workshops, aiming to analyse the political implications of personal experiences in [[visual art]]. Like their international counterparts, the groups used non-judgemental consciousness-raising (CR) methods which had grown from [[women's liberation]] movement. By the mid-1980s, the WAM was a highly respected art movement, both across Australia and worldwide.<ref name=everyday/>
-In Adelaide, the Women's Art Group was established in 1977, co-founded by [[Ann Newmarch]] (who had also been a founding member of the Adelaide Progressive Art Movement in 1974),<ref >{{cite web | title=Ann Newmarch 200 years: Willy Willy | website=[[University of Canberra]] | date=12 October 2020 | url=https://www.canberra.edu.au/on-campus/art-collection/the-art-collection/ann-newmarch-200-years-willy-willy | access-date=25 January 2022}}</ref> in order to support and promote women artists, and to work together to combat [[sexism]] in the arts and society. Fifty women of a wide range of ages attended the first meeting. For the whole month of August 1977, it hosted ''The Women's Show'', which was a national event in both scope and participation. Hosted by the [[Experimental Art Foundation]], it included theatre, music, film, photography, poetry and literature, media, a conference and a visual art exhibition,<ref name=everyday/> and included over 350 works.<ref name=conv2018/>
+==Melbourne==
+The 1974 exhibition ''A Room of One’s Own: Three Women Artists'', co-curated by [[Kiffy Rubbo]], [[Lynne Cooke|Lynne Cook]] and [[Janine Burke]], helped initiate the Melbourne WAM. The following year, Rubbo commissioned Burke to curate the national touring exhibition ''Australian Women Artists 1840–1940''.<ref>{{Cite web|title=Literary Awards|url=http://www.literaryawards.com.au/victorianpremiers.html}}</ref><ref>{{cite web|date=2017-06-26|title=Kiffy Rubbo, National Portrait Gallery|url=http://www.portrait.gov.au/people/kiffy-rubbo-1944|access-date=2017-08-25|publisher=Portrait.gov.au}}</ref> The gallery hosted international feminist art critic, [[Lucy R. Lippard|Lucy Lippard]], who delivered a talk to a women-only audience. Melbourne's Women's Art Forum and [[Women's Art Register]] were subsequently established in the gallery.<ref>{{Cite web|url=http://www.portrait.gov.au/people/meredith-rogers-1951|title=Meredith Rogers 1951-|website=National Portrait Gallery}}</ref><ref>{{Cite book|title=When You Think About Art: The Ewing and George Paton Galleries 1971–2008|publisher=Macmillan Art|year=2008|isbn=978-1921394027|editor-last=Vivian|editor-first=Helen}}</ref><ref>Anne Sanders, 'Visual Arts', The Encyclopaedia of Women & Leadership in Twentieth-Century Australia, Published by the Australian Women's Archives Project 2014, {{ISBN|978-0-7340-4873-8}}, http://www.womenaustralia.info/leaders/biogs/WLE0448b.htm, accessed 21 January 2018.</ref>
+==Sydney==
+Beginning with its first meeting in April 1974<ref name=adams2013>{{cite journal| url=https://www.outskirts.arts.uwa.edu.au/volumes/volume-29/adams-jude-looking-with-in| first=Jude| last=Adams| title=Looking from with/in: feminist art projects of the 70s| website= [[Outskirts (journal)|Outskirts]]| volume= 29| date= November 2013 |others= [Website] Last updated: Tuesday, 9 November 2021| via= [[University of Western Australia]]}}</ref> and inspired by [[Linda Nochlin]]’s essay "[[Why Have There Been No Great Women Artists?]]", the Sydney WAM, founded in 1975,<ref name=everyday/> aimed to address discrimination and sexism within the art world through various actions and exhibitions.<ref>{{Cite web|url=https://link.galegroup.com/apps/doc/A356143041/AONE?sid=lms|title=Looking from with/in: feminist art projects of the 70s|last=Adams |first=Jude|date=2013-11-01| website=Outskirts: feminisms along the edge |language=en|access-date=2019-10-03}}</ref>
+[[Marie McMahon]] was a founding member,<ref name=everyday/> [[Vivienne Binns]], Barbara Hall, [[Frances Phoenix]], [[Beverly Garlick|Beverley Garlick]], [[Jude Adams]] and [[Toni Robertson]], were at the forefront of  the development of The Women's Art Movement in Sydney.<ref>{{Cite book|url=http://worldcat.org/oclc/957035962|title=Under a hot tin roof: art, passion and politics at the Tin Sheds Art Workshop.|last=Kenyon, Therese.|date=1995|publisher=Power Publications|isbn=0730589331|oclc=957035962}}</ref>
+==Adelaide==
+In Adelaide, the Women's Art Group was established in 1976 or 1977 (initially in 1976 as the Women's Art Group or WAG, which aimed to set up a slide register as Melbourne WAM had done),<ref name=everyday/> co-founded by [[Ann Newmarch]] (who had also been a founding member of the Adelaide [[Progressive Art Movement (Australia)|Progressive Art Movement]] in 1974),<ref>{{cite web | title=Ann Newmarch 200 years: Willy Willy | website=[[University of Canberra]] | date=12 October 2020 | url=https://www.canberra.edu.au/on-campus/art-collection/the-art-collection/ann-newmarch-200-years-willy-willy | access-date=25 January 2022}}</ref> in order to support and promote women artists, and to work together to combat [[sexism]] in the arts and society. Fifty women of a wide range of ages attended the first meeting. For the whole month of August 1977, it hosted ''The Women's Show'', which was a national event in both scope and participation. Hosted by the [[Experimental Art Foundation]], it included theatre, music, film, photography, poetry and literature, media, a conference and a visual art exhibition,<ref name=everyday/> and included over 350 works,<ref name=conv2018>{{cite web | last1=Inglis | first1=Alison | last2=Lorenzo | first2=Catherine De | last3=Speck | first3=Catherine | last4=Mendelssohn | first4=Joanna | title=How our art museums finally opened their eyes to Australian women artists | website=[[The Conversation (website)|The Conversation]] | date=11 September 2018 | url=http://theconversation.com/how-our-art-museums-finally-opened-their-eyes-to-australian-women-artists-102647 | access-date=25 January 2022| quote=...an edited extract from the new book Australian Art Exhibitions: Opening Our Eyes published by Thames & Hudson. I}}</ref> curated by [[Julie Ewington]] ({{as of|lc=yes|2021}} on the board of the [[4A Centre for Contemporary Asian Art]] in Sydney<ref>{{cite web | title=Board | website=4A Centre for Contemporary Asian Art  | url=https://4a.com.au/people |access-date =26 January 2022}}</ref>), and Helen James.<ref>{{Cite web|title=The Women's Show |url=https://www.daao.org.au/bio/event/the-womens-show-3/|access-date=2021-06-23|website=www.daao.org.au}}</ref> Participating artists included [[Stephanie Radok]], Loene Furler, [[Bonita Ely]], [[Jude Adams]], [[Margaret Dodd]], [[Frances Budden]] (later Phoenix), [[Marie McMahon]], and many others.<ref>{{Cite book|url=https://www.worldcat.org/oclc/1113935780|title=Everyday revolutions : remaking gender, sexuality and culture in 1970s Australia|date=2019| author1=Michelle Arrow| author2=Angela Woollacott| publisher= Australian National University Press|isbn=978-1-76046-297-0|location=Acton, A.C.T.|oclc=1113935780}}</ref>
+WAM members included [[Anne Marsh (professor)|Anne Marsh]], [[Frances Phoenix]], [[Jenny Boult]], Polly Siems, Jane Kew, Kate Millington, Phil McKillup,<ref name=slsa/> and [[Jacky Redgate]] was actively involved.<ref>{{cite web | title=Jacky Redgate Artist Profile | website=ARC ONE Gallery | url=https://arcone.com.au/jacky-redgate-artist-profile | access-date=27 January 2022}}</ref>
 Some time after its establishment, the Adelaide group gained some funding from the South Australia Arts Grant Advisory Committee, the Community Arts Board, and the [[Visual Arts Board]]. This funding allowed for the publication of the book ''Women's Art Movement 1978-1979, Adelaide, South Australia'', in 1980.<ref name=wam>{{cite web |  title=Women's Art Movement |first1= Robin |last1=Secomb |first2=Rosemary| last2= Francis| website=[[The Australian Women's Register]]| publisher= [[University of Melbourne]] | date=1 May 2009 | url=https://www.womenaustralia.info/biogs/AWE1034b.htm | access-date=24 January 2022}}</ref><ref>{{Citation  | title=Women's Art Movement, 1978-1979 Adelaide, South Australia  | author1=[[Experimental Art Foundation]]  | author2=Women's Art Movement (S.A.)  | year=1980  | publisher=Experimental Art Foundation  | language=English}}</ref>
+There was also a strong [[Aboriginal Australian|Aboriginal]] women's art component, and its constitution was altered to reflect this. Adelaide members exhibited their work in other states, and some went abroad:<ref name=slsa/> Jane Kent<ref>{{cite web | title=Jane Kent :: biography | website=Design and Art Australia Online | date=13 March 2013 | url=https://www.daao.org.au/bio/jane-kent/events/ | access-date=26 January 2022}}</ref> and Anne Marsh went to [[California]] in 1984 to look at [[performance art]], publishing a book on their findings afterwards.<ref>Marsh, Anne and Jane Kent, Live Art : Australia and America : Performance Art, Reviews, Criticism, Feminist and Political Art Organizations, Art and Politics, Interviews with American Artists, Artist's Pages. (1984)</ref> The group was involved in a diverse range of activities including the [[Adelaide Festival of Arts]] and its [[Adelaide Writers' Week]], and supported [[artists-in-residence]] such as [[Jill Orr]] and [[Bettye Saar]].<ref name=slsa/>
-Run as [[collective]]s, the groups facilitated [[consciousness-raising]]  studio and exhibition workshops, aiming to analyse the political implications of personal experiences in [[visual art]]. Like their international counterparts, the groups used non-judgemental consciousness-raising (CR) methods which had grown from [[women's liberation]] movement. By the mid-1980s, the WAM was a highly respected art movement, both across Australia and worldwide.<ref name=everyday/>
-The [[State Library of South Australia]] holds records pertaining to the Adelaide branch between 1974 and 1986 in its collection.<ref name=slsa>{{cite web | title= Women's Art Movement: Summary record 1974-1986| website=State Library of South Australia | date=24 January 2017 | url= https://catalog.slsa.sa.gov.au:443/record=b2573128~S1| access-date=26 January 2022}}</ref>
+The [[State Library of South Australia]] holds records pertaining to the Adelaide branch between 1974 and 1986 in its collection.<ref name=slsa>{{cite book | title= Women's Art Movement: Summary record 1974-1986| website=State Library of South Australia | date=24 January 2017 | url= https://catalog.slsa.sa.gov.au:443/record=b2573128~S1| access-date=26 January 2022}}</ref>
+==See also==
+*[[George Paton Gallery]]
 ==References==
@@ Line 20: / Line 36: @@
 {{Feminism}}
 {{Westernart}}
+{{Authority control}}
 {{DEFAULTSORT:Women's Art Movement}}
-[[Category:Art movements ]]
+[[Category:Australian art movements]]
-[[Category:Contemporary art]]
+[[Category:Contemporary art movements]]
 [[Category:Feminist theory]]
 [[Category:Political art]]