Cirrus@Austlit

'After their having been for so long sidelined and forgotten, there is now without doubt a major global push to reclaim the artistic stories and legacies of female artists. In recent years, many galleries and museums around the world have turned their attention to programs and exhibitions presenting works on, or by, women. In 2020 the National Gallery of Australia launched a two-year project titled Know My Name: Australian Women Artists 1900 to Now, which seeks to bring the names of Australia’s female artists to the fore—living artists, as well as those who have been lost to history. While it is undoubtedly de rigueur to examine the work of female artists, that is not to say that political box-ticking explains the heightened interest in this cohort; rather, there is a general awakening to the inequities of the arts world (and wider world more generally) and the layers of privilege within it, particularly in relation to gender and race. Concomitantly with this reawakening comes the realisation that the work of these (women) artists should be exalted and elevated to a new status and that there is a palpable need to widen the scope of the Western tradition or canon of art to ensure these artists receive the acknowledgement due to them. It is into this new world, post the #MeToo movement, that Clem and Therese Gorman’s Intrépide has been launched. Arguably, the world in 2020 is a very different place from that of 2015, when the authors commenced their investigations, which of course does not negate the impact of their scholarship, but perhaps makes readers, both academic and lay readers, more critically aware of the subject matter constituting this publication.' (Introduction)