6 influential women on building a more equitable art world and the trailblazers who inspire them

What is your role in the art world and how did you come to choose that path?

Anna Bottinelli, President, Monuments Men and Women Foundation: The Monuments Men and Women Foundation is a nonprofit organisation dedicated to honouring the Monuments Men and Women of World War II by continuing their mission to preserve our shared cultural heritage from theft and destruction and reestablishing the high standard for the respect of the cultural treasures of others.

I’ve been involved with the foundation in different capacities for almost a decade. Born and raised in Florence, Italy, a love for the arts is in my being, and yet, despite walking the halls of the Uffizi from a very young age and having a bachelor’s and a master’s degree in art history, I was unaware that so much of my hometown’s artistic legacy was at risk of being lost or destroyed during World War II, had it not been for the Monuments Men. I’ve become captivated with the stories of these heroes and aim to share their history and uphold their legacy in any capacity that I can.

Johanna Burton, Director, Museum of Contemporary Art, Los Angeles: I proudly hold the post of Maurice Marciano Director of the Museum of Contemporary Art in Los Angeles. The path chose me as much as I chose it. I always knew I wanted to make a difference and have always believed artists play a fundamental role in creating a better and more just world. I’m so happy I help create the conditions for this to happen every day.

Sasha Stiles, artist, AI researcher and poet: I’m a lifelong poet obsessed with linguistic innovation and communication technologies, as well as art and design. I’m also obsessed with the material and aesthetic qualities of text, verse and books. (Jenny Holzer, Cy Twombly and Barbara Kruger are in my pantheon alongside Sappho and T.S. Eliot and James Baldwin.) I came to art through visual and concrete poetics, especially texts created using digital tools and experimental techniques. Though I’ve been making language art and publishing in literary journals since my student days, it’s really the convergence of poetry and new media that has felt the truest to my voice and fascinations.

I’m preoccupied by the idea that poetry and technology actually have a lot in common; poetic language is meticulously wrought and crafted code that evokes emotion and empathy and imagination in ways that no other human endeavour can. Poetry is a kind of data storage system invented to preserve and transmit vital information.

Since 2018 I’ve increasingly focussed on using bespoke artificial intelligence–powered language models and generative approaches to inform or augment my analogue authorial intelligence, as well as publishing via blockchain as a bespoke printing press. When carving out niches for poetry in unexpected places, from the traditional art world to the realms of AI and blockchain, I am often asked why, as a poet, I care about things like digital immortality, robot monks, artificial wombs, neural implants and virtual reality. To me, these speculative technologies are re-wiring what it means to be human, and that’s the province of poetry and art above all.

Jasmine Wahi, Founder and Co-Director, Project for Empty Space: Like so many cultural workers, I consider myself a multi-hyphenate. I’m a Founder and Co-Director of Project for Empty Space, a nonprofit arts organisation based in Newark, New Jersey. I’m also a curator, educator and writer. Those roles all intersect regularly.

I am one of those rare creatures who is doing the same thing that I wanted to do when I was five years old — although at that time I didn’t have the language to know what a curator was. I spent a lot of time visiting the Smithsonian as a child, and I knew very early on that I wanted to either be an artist or a culture maker. From that point on I had a really myopic focus throughout my schooling; I never considered that I would do anything but work in art. Sometimes I think that being a culture maker was more of a compulsion than a choice. It’s simply the only career path and lifestyle that makes me feel truly excited.

Amy Hau, Director, The Isamu Noguchi Foundation and Garden Museum: My journey in the art world traces back to 1986 when I embarked on a transformative chapter working with Isamu Noguchi. Those formative years provided an invaluable education, offering me a front-row seat to the inner workings of an artist’s practice. Under Noguchi’s guidance, I delved into every facet of his craft, from the intricate process of sculptural creation to managing public art commissions and curating exhibitions. It was during this time that my passion for the arts truly ignited.

Following Noguchi’s passing [in 1988], I remained steadfast in my commitment to his legacy, dedicating myself to the preservation and promotion of his work. I played a pivotal role in the settling of his estate, and as the steward of his foundation and museum, I continue to uphold his vision and values. My trajectory in the art world has been defined by a deep-rooted admiration for Noguchi’s artistic genius and a profound appreciation for the transformative power of art in society.

Anke Adler-Slottke, Consultant and Auctioneer, Christie’s: I led my first auction in 1963 in London for Robson Lowe Ltd, an auction house specialising in philately that had a relationship with Christie’s. I entered this profession somewhat by chance, but my multilingualism was crucial for conducting sales in Switzerland; I helped Robson Lowe establish its Swiss branch the following year. I spoke German, English and French and later added Italian, which allowed me to speak to the bidders in their own language, buying time for those in the room to convert prices to their native currency and bid with confidence.

When Robson Lowe merged with Christie’s in 1980 I became the company’s first multilingual female auctioneer on a permanent basis. In addition I served as Christie’s global director of tours and exhibitions, which played a key role in opening international markets in Asia and the Middle East. I was also deeply involved as a business leader and auctioneer in Christie’s Mauerbach auction in Vienna in 1996. The historic sale, in which objects that had been seized by the Nazis were sold to raise funds for victims of the Holocaust, paved the way for Christie’s work in art restitution.

Today I work out of the Chairman’s Office. As I’ve reduced the number of commercial auctions I lead, I’ve taken on more charity auctions, continuing the relationships I’ve made over 44 years at Christie’s.

The theme of this year’s International Women’s Month is Inspire Inclusion. What does this mean to you and how do women in your field inspire inclusion?

Anna Bottinelli: During World War II, women were assigned to auxiliary branches and supportive roles in the military and barred from serving in combat roles, yet there are countless instances of their services being instrumental in the war effort. There were 27 Monuments Women who served as members of the Monuments, Fine Art, and Archives program (MFAA) of the Allied armies. Each one of them, despite society telling them otherwise, pushed through those limitations and regulations and found ways to put their skills to use — and they found great respect and appreciation among their male colleagues. When I think of skilled scholars, both men and women, working alongside each other to return some four million objects stolen and displaced by the Nazis and war, that inspires inclusion to me.

Johanna Burton: Inclusion means you don’t just invite people to sit at your table but also ask them to determine its very shape. My background includes curation and art history, but just as importantly I’ve always been deeply involved in education, which prioritises real exchange, even when it’s uncomfortable. Women in the art world — and beyond — have been my mentors as well as my mentees, and I am inspired to see the field grow, change and test itself in response to our complex and sometimes disorienting present.

Sasha Stiles: I’m constantly inspired by the beautiful souls I encounter through my work, and I’m lucky to have a global network of strong, brilliant, dynamic and dedicated collaborators and peers. I quite simply would not be where I am without them. It’s because of supportive and generous powerhouses like Sofia Garcia, Elena Zavelev, Jess Conatser, Itzel Yard, Jill Kearney and Christie’s own Nicole Sales that I had my first opportunities to bring poetry into art settings and into the metaverse and Web3. That energy is something I try to reciprocate, from introducing poets to new tools and ways of thinking, to buying and collecting works by women artists and writers, to cofounding theVERSEverse, a women-driven experimental literary collective that platforms and amplifies diverse global voices.

Jasmine Wahi: For far too long the mainstream art world has been predicated on hierarchies and exclusionary practices. Women and BIPOC folx have been intentionally marginalised and invisibilised, often relegated to ‘outsider art’ or ‘other.’ That period is over, or at least, in the twilight of it’s stronghold. Inspiring inclusion means setting a precedent, visibly, of being in roles of leadership and impact. People like Isolde Brielmaier at the New Museum, Rujeko Hockley at the Whitney, Patton Hindle at Artadia, Diya Vij at Creative Time, Legacy Russell at The Kitchen, Mickalene Thomas and Jane South at Pratt>Forward: these women, and so many like them, not only hold positions of power (which includes hiring power); they also cultivate a culture of care and community for artists and other cultural workers. These communities aren’t based on hierarchy or capitalism but on collaboration and uplifting the people around them.

Amy Hau: ‘Inspire Inclusion’ holds deep significance for me. At its core, it embodies the imperative to ensure that all voices are not only heard but also valued and celebrated. Representation lies at the heart of this theme. As a member of the board of the Asian American Arts Alliance, I am deeply committed to advancing its core mission of fostering greater representation of Asian American and Pacific Islander artists and women in the arts, in particular, where we are actively challenging stereotypes, breaking down barriers and reshaping narratives.

Anke Adler-Slottke: Inclusion is very important to me and for this industry. Throughout my work, I’ve been privileged to meet so many people around the world. Whether speaking to a bidder in her own language or bringing Christie’s touring exhibitions to Moscow, Beijing, Shanghai, Tokyo, Tel Aviv and Dubai, it’s so important to meet new challenges with curiosity and respect different cultures and individuals.

As an auctioneer and as a business getter, I’ve always felt a duty to make everyone’s experiences with our company pleasant and memorable. Collecting art is a passion, and the human touch in this business is essential.

Is there a woman — or women — who has paved the way for you and others? What can we learn from her example?

Anna Bottinelli: The Monuments Women demonstrate courage, resilience, determination and ingenuity. Rose Valland risked her life for four years as she remained at her post at the Jeu de Paume, clandestinely documenting art theft under the suspicious eyes of the Nazis. Motoko Fujishiro Huthwaite overcame discrimination and embraced grace, finding the strength to put the past behind her and serve her country. Ardelia Ripley Hall’s name is synonymous with the archival record of the Monuments Men and Women, as well as her decades-long fight for postwar restitution efforts in the United States. The legacies of these women speak just as loud as their actions.

Johanna Burton: So many examples! My mentor and previous boss, [director] at the New Museum, Lisa Phillips, who has been the brains and heart behind so many incredible projects, comes to mind. I can’t imagine my own career without having learned from her. She’s been in her post for 25 years, and she took that baton from another legend, Marcia Tucker, the founding director of the New Museum, whom I never knew but whose work was equally impactful for me as I entered the field. The women I admire most are all relay-racers, not only breaking the glass ceiling themselves but also making sure the rest of the team is keeping pace.

Sasha Stiles: The earliest named author in world literature was an ancient Mesopotamian woman poet and high priestess in the Sumerian city of Ur: Enheduanna lived circa 2250 BCE and composed many hymns that she collected into a proto book, to which she signed her name.

She wrote, ‘What I’ve created has never existed.’ She knew she wasn’t just a poet but also a technologist, an innovator. She is such an enigmatic figure in many ways, yet I feel a strong kinship with her. To come forward to the present: Martine and Bina Rothblatt — the couple behind the humanoid android BINA48, to whom I’ve served as a Poetry Mentor — have long been at the forefront of important and provocative conversations about virtual humanity and machinic personhood. By translating their love story into technological inquiry, they give so much of today’s AI discourse a beating heart.

Jasmine Wahi: Thelma Golden. Hands down. Golden sets the ultimate example of not only going against the grain but also pushing an institution for Black folx and other People of Colour into the mainstream limelight. Curator, museum director, powerhouse — Thelma is an inspiration to all of us who are pushing to make this industry more inclusive and equitable.

Amy Hau: Not just one, but I am fortunate to have a number of trusted friends on whom I rely for brainstorming sessions or to share challenges and triumphs. Each of them brings a unique perspective and set of experiences to the table, enriching our discussions and inspiring me to think differently.

Anke Adler-Slottke: When I was coming up as an auctioneer and business woman, it was a man’s world. I was almost too busy to consider the lack of role models at the time. Since then I’ve mentored many young people in the industry. Christie’s now has a worldwide team of around 50 auctioneers, with an equal balance of women and men, a testament to how far we’ve come.

Who are the women in your field today that you find most inspiring and why?

Anna Bottinelli: Dr. Laura Tedesco’s work in Afghanistan, as recounted in her podcast Monuments Woman, has provided me the most inspiration recently. Tedesco is a cultural heritage specialist working with the US State Department. She has overseen the preservation of archaeological sites, monuments and museums in Afghanistan, Pakistan, Sri Lanka and Uzbekistan. Her use of cultural diplomacy is a vital example of how art and its preservation can transcend political disagreements and be a catalyst for peace amongst people.

Johanna Burton: Thelma Golden, Ann Philbin, Sandra Jackson-Dumont, Cameron Shaw, Anne Ellegood, Ryan Dennis, Andrea Andersson, Larissa Harris, among many others. Some of these women I know very well; a couple I admire more or less from afar. They have all, in various ways, demanded and created real — necessary — change, while refusing to give up on the promise of the power of art, artists, institutions, audiences and ideas.

Sasha Stiles: This is an impossible question because there are far too many to name, but if pressed I would cite a handful of artists whose beautiful, challenging work with technology — from AI to biotech — has inspired poems in my book Technelegy. Women like Stephanie Dinkins, whose use of AI to preserve family history resonates deeply with my own work leveraging machine to engage with my Kalmyk-Mongolian heritage; and Ani Liu and Neri Oxman, who see technology and natural systems not at odds with one another but as mirrors, matrices of wild imagination and limitless creativity. And Alison Knowles, whose generative poem ‘The House of Dust’ (1967) changed my life upon first encounter. The critic and professor of visual culture Charlotte Kent writes incisively about generativity and always plants new poem-seeds in my mind.

Jasmine Wahi: There are way too many to choose just one. But if I have to single out one person, it’s our Co-Director at Project for Empty Space, Rebecca Pauline Jampol. This woman has done it all and continues to do so: from starting an artist space that predates our collaboration in Newark, New Jersey, to making performance art, to leading a public art program, to being a mom, to putting up with my shenanigans daily all while co-running our three spaces. If that isn’t superhero material, I don’t know what is. And she does it all with grace, humility and an abundance of generosity and care.

Amy Hau: In my field, I find many women, particularly those from diverse backgrounds, who inspire me with their leadership, resilience and commitment to driving positive change. Among them, I look to my fellow female colleagues of colour who are leading organizations as beacons of inspiration and empowerment.

Anke Adler-Slottke: I’m inspired by women who manage to combine business sense with compassion. Having an open mind and a genuine wish to help can ease what might otherwise be a nerve-wracking situation. That empathy goes a long way in our profession.

What advice would you give to girls and women who aspire to be leaders in your field?

Anna Bottinelli: Speak up. Be prepared to stand up for what is right, even if it goes against powerful forces. The Monuments Woman Evelyn Tucker, who served as a restitution representative in Austria, took personal pride in her work and courageously denounced the misuse of looted art as decor for officers of the military government. She believed that her criticisms and commitment to reform, even if it came at the expense of her own safety, was for the greater good of restitution. Today, I think there is a need for more forceful and inspiring voices like Tucker. Collaborative work is also, in my view, an essential element of this field. Restitution’s interdisciplinary nature involves so many different areas of expertise — from history to law, research to diplomacy, and even politics. The MFAA’s success came from this diverse application of skills, which is still essential today.

Johanna Burton: Keep your north star in sight, but don’t be afraid to take left turns! More often than not, it’s truly surprising how you end up exactly where you’re supposed to be.

Sasha Stiles: Follow your obsessions; obsessions do not lie, and there is no shortcut to what they reveal. Dive into what you can’t not do and absorb it all, no matter how eclectic or unpopular or outlandish. Your unique interests and experiences are what enable you to develop true purpose, and they’ll guide you to build a community that believes fiercely in your voice and vision.

Jasmine Wahi: Don’t ever let anyone tell you ‘no.’ This sounds cliché, but from experience, I can say if I had listened to anyone who doubted my ability to manifest my aspirations, I would not be here today. I said it five years ago in my TED Talk, and the same sentiment stands: If there isn’t space for you at the table, don’t ask to make space. Just take it. If you find that you don’t fit into the system, make your own system and make your own leadership. Remember: cultural space is not finite. It’s unbounded and abundant. So don’t allow anyone to tell you that there are limits to what can be done. Have the audacity to operate with a grounded sense of abundance. 

Amy Hau: My advice to young people is to embrace the unknown. Instead of fearing what you don’t know, see it as an opportunity for growth. Every challenge presents a chance to expand your skills and knowledge.

Anke Adler-Slottke: Have passion and enjoy your work. Perhaps I should have retired long ago, but I love my work. It’s our passion for art that brings us to this field. Art has the power to transcend politics and religion and unite people all over the world.