A Female Art History
Art Market Report Vol. II
I. Women in the Spotlight of the Art Market
Historically, private collections have been less diverse with regard to the gender of artists and, across all regions and demographic groups, tended to be dominated by works by male artists (an average of 60%). As noted in earlier reports by Art Basel and UBS, this does not always mean that collectors were biased in their selections; rather, they report that, when choosing which works to acquire, they were influenced neither by the background nor by the gender of the artists exhibited. Instead, the reasons for predominantly male collections lie primarily in the limited presence of women artists in galleries and at auction.
However, looking at collectors’ acquisitions over the past five years, it becomes clear that this imbalance is slowly shifting. The share of works by women artists increased from 33% in 2018 to 42% in 2022—a clear trend that can be attributed in particular to the large, established markets of the United States, the United Kingdom, and France.
II. “The Story of Art Without Men” – A Feminine Art History
The trend toward more diverse collections is driven, not least, by the current feminist art discourse—one that gives women in art history a voice and offers a re-reading of the canon from which contemporary women artists are now benefiting. Historians of Western art history largely devoted their work to male art and its manifestations. Women artists of their time were rarely discussed or recognised; they were labelled muses or sources of inspiration, while their artistic achievement was seldom honoured. A 2019 study found that, across the collections of 18 major U.S. art museums, 87% of works are by men and 85% by white artists; at London’s National Gallery, women artists account for just 1%.
This imbalance prompted the British art historian Katy Hessel to write a history of art that explicitly adopts a female perspective. Taking as its point of reference Ernst Gombrich’s “The Story of Art”—a cornerstone of art-historical literature that nevertheless includes not a single woman artist—her book is titled “The Story of Art Without Men” and received wide acclaim across the industry. “It’s not that I think women’s art is inherently different from men’s—it’s more that society and its tastemakers have, in every era, prioritised one group. And I didn’t feel we could simply let that stand.” (Katy Hessel)
III. Contemporary Women Artists: More Popular Than Ever
Social media has made it easier than ever for artists to present themselves, share their work, and build visibility beyond major institutions and galleries. Background and gender play a far smaller role in these spaces, which offers women a significant advantage that previously did not exist in the same way. They no longer need to prove themselves first to curators, museum directors, or gallerists, and can build their own audiences directly. It is therefore hardly surprising that many of today’s most prominent artists laid the foundations of their visibility through an active presence on social media—often prompting established galleries and museums to take notice.
Well-known examples include Vivian Greven (29k followers), Flora Yukhnovich (67k followers), and Sali Muller (21k followers). Each combines a substantial online following with representation by reputable galleries and exhibitions in major museums—factors that, in turn, contribute to their works being shown at leading art fairs and entering private collections. This shift is also supported by a changing art world, shaped by new leadership: for the first time, women are at the helm of the Louvre, Tate, and the National Gallery of Art in Washington.