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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).^[1]^[2]

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.^[3] 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.^[1]

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),^[4] 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,^[1] and included over 350 works.^[2]

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.^[3]^[5]

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.^[1]

References

^ ^a ^b ^c ^d 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. Retrieved 25 January 2022 – via ANU.{{cite book}}: CS1 maint: unflagged free DOI (link)
^ ^a ^b 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
^ ^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.
^ "Ann Newmarch 200 years: Willy Willy". University of Canberra. 12 October 2020. Retrieved 25 January 2022.
^ Experimental Art Foundation; Women's Art Movement (S.A.) (1980), Women's Art Movement, 1978-1979 Adelaide, South Australia, Experimental Art Foundation

[everyday-1] 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. Retrieved 25 January 2022 – via ANU.{{cite book}}: CS1 maint: unflagged free DOI (link)

[conv2018-2] 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

[wam-3] Secomb, Robin; Francis, Rosemary (1 May 2009). "Women's Art Movement". The Australian Women's Register. University of Melbourne. Retrieved 24 January 2022.

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

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

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 {{Short description|Australian feminist art movement, 1970s-1980s}}
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 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=
 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>