At Penlee House in Penzance, the permanent collection has long been dominated by male artists—a reflection of historical inequalities. But a new collaborative exhibition, Making Her Mark, brings together works by some of Britain’s most celebrated female artists, including Tracey Emin, Barbara Hepworth, Laura Knight, and Gillian Ayres.
The show is a partnership between Penlee House, Worcester City Art Gallery and Museum, and Kirkcaldy Galleries in Fife, with each contributing more than 20 works. It is the first exhibition under Art Fund’s £5m Going Places programme, which aims to connect museums across the UK over five years.
Curator Katie Herbert said the galleries “clicked” during a speed-dating-style session, focusing on the historical exclusion of women in art. “We do have some women artists in our collections but not as many as maybe we should,” she noted. One highlight is Dod Procter’s Portrait of Eileen Mayo, reflecting how women were barred from life classes and had to paint each other in private.
Herbert admitted initial nerves about displaying Emin’s provocative work prominently but was persuaded to give it a prime spot. Another key piece is Lys Hansen’s Features, Fingers, Foot, which depicts the artist’s frustration with being steered toward domesticity.
The collaboration posed logistical challenges—a tapestry by Imogen Bright Moon was larger than expected but found space beside the Emin. Alongside the exhibition, artist Kate Turner worked with care-experienced young people to create a protest banner, now also on display. Turner noted that female artists still face a gender pay gap and misogyny: “Representation has improved, but there’s still lots to talk about.”
Making Her Mark runs in Penzance until autumn, then travels to Worcester and Kirkcaldy next year. Future Going Places exhibitions will explore heritage crafts at risk and refugee experiences.
