In my PhD there was found to be a new ‘Androgynous Aesthetics’ (Gorrill 2016) in contemporary British painting, possibly attributable to low female visibility and the encroachment of the feminine into a masculine arena. In the northern-Nordic regions however female artist visibility is high (46%*) (Gorrill 2017) , and perhaps as a result a stronger female presence in Nordic painting has enabled a distinct gender identity to develop, as the female and male aesthetics are vastly different. I have tentatively termed this ‘Essentialist Aesthetics’, as opposed to ‘Aesthetic Essentialism’ (Lamarque 2010).
Please get in touch for further information on these new, developing theories. Alternatively, you can read about them in the following chapters in my forthcoming book with I.B. Tauris/Bloomsbury – Women Can’t Paint: Gender, the Glass Ceiling and Values in Contemporary Art :-
‘Masculinities and Femininities in Painting: the New Androgynous Aesthetics in Contemporary Art’ (Chapter One)
‘The Museum Exposed: Gendered Visibilities and Essentialist Aesthetics through Equality’ (Chapter Three)
Gorrill, H. (2016) Gendered Economic and Symbolic Values in Contemporary British Painting [Doctoral Thesis]. Coventry: Coventry University (externally advised upon by the RCA)
Gorrill, H. (2017) ‘Essentialist Aesthetics in Contemporary Finnish Painting’ [in press]
Gorrill, H. (2017) ‘A Comparative Transnational Study of Gendered Aesthetics and Identities in the National Contemporary Finnish Painting Collection’ [in press]
Lamarque, P. (2010) Work and Object: Explorations in the Metaphysics of Art. Oxford: Oxford University Press