The Collection


2013 marks 100 years since women gained full voting rights in Norway. We therefore choose this year focus on works by women artists in the museum’s collection. We’ve ckosen three different approaches.

Women (and men)

We’ve looked at how many works in SKMU’s collection are made made by men versus how many are made by women. How har the purchasing budget been used to buy art made by womwn versus art made by men? What kind of art do we have that are made by women-are there any particular dominant art forms? And, not least, has this changed over time, from when Christiansands Billedgalleri was founded in 1902 up to SKMU’s current collection?


Women’s (art)history

We’ve also inquired into what the works in the museum’s collection can tell us about the history of women-both general history and womens’s position in art history. Can any of the works be linked to women’s conditions, rights and aspirations at different points in time? For instance, if a Norwegian woman living in the late 1800s wanted to be an artist, what possibilities were open to her?


The present

Contemporary art constitutes a major part of SKMU’s collection, and several gallery rooms are devoted to it. One research question underlying this part of the exhibition is whether there is a uniquely female visual language. Durring the 1800s, art critics took for granted that femal qualities came to expression in art produced by women. To what extent are conditions for today’s artists marked by gender?Is gender a fruitful perspective for approaching an artwork?