Preface

by Andrea Creutz and Marika Seidler

This summer, the editors of "Inserts" asked us to make a contribution that would address the feministic undertakings which have occurred at the Royal Danish Art Academy. Needless to say, we were excited and pleased with this invitation. This invite presented us with the opportunity to relay various initiatives accomplished by the female students and to assimilate knowledge about female art practices. Moreover, this provided us with the occasion to present these students works of art and their views on art.

Up to the present day, there has not been many women professors at the Art Academy. The staff of seven has consisted solely of men and it is within the last seven years that two women professors have been employed. Vibeke Mencke in 1990 and Ursula Reuter Christiansen in 1997. It is to be noted that half of the students have been women over the last twenty years. Furthermore, it seems as if the feministic initiatives of the 70's has not had a great impact on the Art Academy's approach to their curriculum as women artists are seldom discussed as important factions in art. Thankfully, this spirit is changing. Professors have invited women artists and a few theorists to give workshops and lectures. Nevertheless, there is still a lack of teaching, representation and knowledge concerning women's art. Whether or not this factor can be blamed on the professors or is a reflection of the general attitude in the artworld, who knows. However, on numerous occasions, this issue has been discussed by students.

Due to these circumstances, various groups of students created alternatives to the existing teaching methods. A feministic study group was formed. This group functions as a forum for discussion of art-theoretical texts, the individual's art work and as a place where one can exchange knowledge on work experiences. One of the study groups accomplishments is a book about gender and art, edited and produced by Åsa Sonjasdotter and Christina Prip. The book is scheduled to be finished in January 1998. Another event, "Women at bars" was arranged by some of this group's members. The aim of this project was to establish contact with women groups and to gather generations of women artists together. Furthermore, the Art Academy has financed a student run guest teaching program, Aircondition. During the time period of 1997/98 they conceived a program which focused on female teachers. Last year, they invited the art critic and curator Laura Cottingham to give a seminar on feministic art history. This assembly gave us a new and deeper insight into how female artists worked in the 70's.

In Laura Cottinghams seminar we realised the importance of art documentation as it ensures its availability to the general public. Cottingham brought with her an extensive collection of material; slides, videos and texts which gave a good description of the female artists in the 70's in the United States. After several years of research, she has acquired this substantial archive established through private sources, and old archives. It became obvious after we had seen the documentation that in some cases, contemporary art is an unconscious imitation of the 70's. This is tragic as it means that upcoming generations repeat the past, instead of learning from these artists' wisdom of experience and moving onwards. Without their inscription into the lines of art history, we are left solely with the works of male artists to use as reference points during the course of our artistic development. This awakening insight lead us to realize the importance of a project like "Inserts" as it highlights women artists today, and preserves this knowledge for coming generations.