{"id":5928,"date":"2026-02-18T15:45:43","date_gmt":"2026-02-18T14:45:43","guid":{"rendered":"https:\/\/great-artmag.com\/?p=5928"},"modified":"2026-06-11T07:42:08","modified_gmt":"2026-06-11T05:42:08","slug":"etude-femmes-artistes-parite","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/etude-femmes-artistes-parite\/","title":{"rendered":"[\u00c9tude] Femmes artistes dans les expositions en 2026 : vers une parit\u00e9 enfin durable ?"},"content":{"rendered":"

En 2025, seules 13 % des \u0153uvres conserv\u00e9es dans les collections permanentes de 18 plus grands mus\u00e9es am\u00e9ricains sont sign\u00e9es par des femmes. Autrement dit, dans les institutions qui structurent le r\u00e9cit mondial de l\u2019art, 9 \u0153uvres sur 10 demeurent des cr\u00e9ations r\u00e9alis\u00e9es par des hommes. Et pourtant, le paysage change. La question n\u2019est plus de savoir si les femmes artistes progressent dans les grandes expositions internationales : elles progressent. La vraie interrogation porte sur le rythme, la profondeur et la durabilit\u00e9 de cette transformation.<\/strong><\/p>\n

Un r\u00e9\u00e9quilibrage progressif<\/h3>\n

Les grandes foires et manifestations internationales ont commenc\u00e9 \u00e0 infl\u00e9chir leurs programmations. Selon un rapport de Art Basel & UBS Global Art Market dat\u00e9 de 2024, pr\u00e9sent\u00e9 lors de Art Basel, les femmes repr\u00e9sentaient environ 39 % des artistes expos\u00e9s dans les galeries participantes. C’est un niveau qui peut atteindre pr\u00e8s de 48 % dans certaines foires am\u00e9ricaines comme l\u2019Armory Show. Ces chiffres \u00e9taient encore inf\u00e9rieurs \u00e0 30 % au d\u00e9but des ann\u00e9es 2010. L\u2019\u00e9volution est tangible. Elle traduit \u00e0 la fois une pression institutionnelle, une vigilance accrue des commissaires et une transformation du march\u00e9. Les galeries de premier plan int\u00e8grent davantage de femmes artistes. Les collectionneuses jouent un r\u00f4le moteur. Les foires internationales mettent en avant des pratiques curatoriales plus \u00e9quilibr\u00e9es.<\/p>\n

Vers une transformation structurelle des collections<\/h3>\n

Les chiffres publi\u00e9s par Mount Saint Mary\u2019s University r\u00e9v\u00e8lent un \u00e9cart vertigineux entre visibilit\u00e9 contemporaine et h\u00e9ritage institutionnel. Le National Museum of Women in the Arts, qui documente ces in\u00e9galit\u00e9s depuis des d\u00e9cennies, insiste sur un point crucial. L\u2019histoire de l\u2019art telle qu\u2019elle est accroch\u00e9e aux murs reste profond\u00e9ment d\u00e9s\u00e9quilibr\u00e9e. La programmation temporaire peut \u00e9voluer rapidement. Les collections permanentes, elles, cristallisent les choix pass\u00e9s. Corriger ces choix demande des acquisitions co\u00fbteuses, une r\u00e9\u00e9criture des cartels, une r\u00e9vision des narrations curatoriales. Cela suppose une transformation structurelle. En effet, on ne r\u00e9pare pas des si\u00e8cles d\u2019exclusion en une d\u00e9cennie. Entre 2008 et 2020, les expositions monographiques consacr\u00e9es aux femmes repr\u00e9sentent moins de 15 % du total dans 31 grandes institutions.<\/p>\n

\"\"
Le National Museum of Women in the Arts (NMWA) est un mus\u00e9e situ\u00e9 \u00e0 Washington, D.C., consacr\u00e9 exclusivement \u00e0 la mise en valeur des artistes femmes. Ouvert au public depuis 1987.<\/figcaption><\/figure>\n

En galerie, plus d’1\/3 de femmes artistes<\/h3>\n

Les femmes artistes repr\u00e9sentent environ 39 % des ventes en galerie sur le march\u00e9 primaire selon le rapport Art Basel & UBS. Mais leur part chute lorsqu\u2019on observe le march\u00e9 secondaire et les ench\u00e8res internationales. Car cela repr\u00e9sente uniquement 22 % de la valeur globale. Les records \u00e0 plusieurs dizaines de millions de dollars restent largement masculins. Selon les analyses Artprice 2025, moins de 5 % des artistes ayant franchi le seuil des 10 millions de dollars aux ench\u00e8res sont des femmes. N\u00e9anmoins, le haut du march\u00e9 demeure verrouill\u00e9 par un canon historiquement masculin. Ce verrouillage financier n\u2019est pas anodin. La valeur marchande influence les acquisitions mus\u00e9ales. Egalement les pr\u00eats institutionnels et la reconnaissance critique. Les collectionneuses augmentent leur part dans les achats majeurs. Les galeries investissent dans la carri\u00e8re longue d\u2019artistes femmes. Les mus\u00e9es comme le Centre Pompidou commencent \u00e0 consacrer des budgets sp\u00e9cifiques aux acquisitions correctrices.<\/p>\n

Le r\u00f4le des associations et des r\u00e9seaux est d\u00e9terminant<\/h3>\n

L’association AWARE<\/a>, en France, documente et rend visibles des artistes oubli\u00e9es ou marginalis\u00e9es, offrant aux commissaires des ressources scientifiques solides. Le National Museum of Women in the Arts<\/a> poursuit son travail de plaidoyer international en publiant des donn\u00e9es qui emp\u00eachent toute complaisance. Les Guerrilla Girls<\/a>, depuis les ann\u00e9es 1980, continuent de rappeler par l\u2019ironie et la statistique que la repr\u00e9sentation f\u00e9minine ne peut \u00eatre r\u00e9duite \u00e0 un effet de mode. Ces structures influencent d\u00e9sormais les politiques publiques, les strat\u00e9gies curatoriales et m\u00eame les crit\u00e8res d\u2019\u00e9valuation des institutions. Elles ont transform\u00e9 le d\u00e9bat en enjeu mesurable. Les chiffres ne sont plus anecdotiques ; ils sont devenus un outil politique.<\/p>\n

\n

Top 10 des femmes artistes en 2025<\/h4>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Artiste<\/th>\n\u0152uvre<\/th>\nPrix record 2025 (\u20ac)<\/th>\n<\/tr>\n<\/thead>\n
Frida Kahlo<\/td>\nEl sue\u00f1o (La cama)<\/td>\n\u2248 50 300 000 \u20ac<\/td>\n<\/tr>\n
Marlene Dumas<\/td>\nMiss January<\/td>\n\u2248 12 500 000 \u20ac<\/td>\n<\/tr>\n
Jenny Saville<\/td>\nPropped<\/td>\n\u2248 11 500 000 \u20ac<\/td>\n<\/tr>\n
Cady Noland<\/td>\nBluewald<\/td>\n\u2248 9 000 000 \u20ac<\/td>\n<\/tr>\n
Cecily Brown<\/td>\nBedtime Story<\/td>\n\u2248 5 700 000 \u20ac<\/td>\n<\/tr>\n
Simone Leigh<\/td>\nSentinel IV<\/td>\n\u2248 5 200 000 \u20ac<\/td>\n<\/tr>\n
Paula Rego<\/td>\nDancing Ostriches<\/td>\n\u2248 4 000 000 \u20ac<\/td>\n<\/tr>\n
Suzanne Valadon<\/td>\nDeux nus ou Le bain<\/td>\n\u2248 1 150 000 \u20ac<\/td>\n<\/tr>\n
Artemisia Gentileschi<\/td>\nDavid avec la t\u00eate de Goliath<\/td>\n\u2248 2 500 000 \u20ac<\/td>\n<\/tr>\n
Ad\u00e9la\u00efde Labille-Guiard<\/td>\nAutoportrait (1782)<\/td>\n\u2248 990 000 \u20ac<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Sources : r\u00e9sultats d\u2019ench\u00e8res 2025 (Sotheby\u2019s, Christie\u2019s, Artprice).
\nMontants arrondis selon taux de conversion moyen 2025.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

En 2025, seules 13 % des \u0153uvres conserv\u00e9es dans les collections permanentes de 18 plus grands mus\u00e9es am\u00e9ricains sont sign\u00e9es par des femmes. Autrement dit, dans les institutions qui structurent le r\u00e9cit mondial de l\u2019art, 9 \u0153uvres sur 10 demeurent des cr\u00e9ations r\u00e9alis\u00e9es par des hommes. Et pourtant, le paysage change. La question n\u2019est plus […]<\/p>\n","protected":false},"author":1,"featured_media":5930,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1469],"tags":[1331,1329,1386],"class_list":["post-5928","post","type-post","status-publish","format-standard","has-post-thumbnail","category-enquetes","tag-art-basel","tag-femmes-artistes","tag-marche-de-lart"],"yoast_head":"\n[\u00c9tude] Femmes artistes dans les expositions en 2026 : vers une parit\u00e9 enfin durable ? - GREAT-ARTMAG<\/title>\n<meta name=\"description\" content=\"En 2025, seules 13 % des \u0153uvres conserv\u00e9es dans les collections permanentes de 18 plus grands mus\u00e9es am\u00e9ricains sont sign\u00e9es par des femmes.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/great-artmag.com\/en\/etude-femmes-artistes-parite\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[\u00c9tude] Femmes artistes dans les expositions en 2026 : vers une parit\u00e9 enfin durable ? 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