Rachel Simone Weil

Photo Credit: Albert Lee | Daily Texan Staff

When the activists behind the national Art+Feminism campaign browsed through art categories on Wikipedia, they found thousands of detailed pages dedicated to male artists. As they continued reading, they all shared the same thought: Where were the women? 

UT’s School of Information will host the 2015 Art+Feminism Wikipedia Edit-a-thon on Saturday. During the communal editing event, participants will spend an entire day updating articles that concern art and feminism on Wikipedia. 

Art+Feminism’s campaign seeks to improve the coverage of women in the arts in digital media, such as Wikipedia. 

According to Wikimedia surveys, about 9 percent of Wikipedia editors are female. Art+Feminism’s goal is to make this statistic more balanced.

Pearl Ko, information studies graduate student and co-director of Advocating for Women in Technology, said that she feels the lack of female voices in editing impacts the quality of  information available on Wikipedia.

“Because of the ubiquity of Wikipedia-supplied information, we must be mindful of which voices are expressed and which are not,” Ko said. “If Wikipedia is to remain a free-access encyclopedia, then we all should and have a right to contribute.”

Through public events, such as the Edit-a-thon, Ko said she wants to spur discussion on how the gender gap in Wikipedia’s articles influences common public perception of female artists and feminist topics. Rachel Simone Weil, art and art history lecturer, said she shares Ko’s concerns.

“Many of us might imagine that Wikipedia articles, especially those on popular topics, remain relatively unchanged and uncontested as they gravitate toward ‘the Truth,’” Weil said. “Yet a peek under the hood of the editing process reveals so much about how histories and truths are constructed, illuminating their inherent instability.”

UT alumna Amy Cavender, who helped plan Art+Feminism’s Edit-a-thon, said she believes the Internet belongs to everyone. 

“We should all chip in to make it bigger and better,” Cavender said. “It is my hope that specifically focusing on these areas will draw in people who might not normally feel like they ‘can’ or ‘should’ edit Wikipedia, or who may have a lot to say about subjects that fall under the broader topics but haven’t thought about Wikipedia as a viable forum to do so.”

Weil said she thinks there is a risk of some people misunderstanding the goal of the Edit-a-thon.

“The intent is not to disproportionately overstate the roles of women or downplay the achievements of men through a malicious rewriting of history,” Weil said. “Rather, this project seeks to revisit gaps in scholarship and canonical history — places in which the accounts of women’s contributions to society may, for one reason or another, simply not exist.”

Ko said she agrees with Weil’s assessment of Art+Feminism’s goals. She hopes that the upcoming event will give women more confidence to participate in editing.

“It’s really up to no one but ourselves to change what we see on Wikipedia, but admittedly it can be intimidating when you feel alone, inexperienced or unwelcome,” Ko said. “A vital first step is to encourage everyone to participate and make Wikipedia a welcoming space.”

Retro gaming enthusiast and graduate student of graphic design Rachel Weil founded FEMICOM, a museum to preserve and celebrate feminine themes in retro video games. Weil also designs graphics and art for use in 8 bit video games.


Photo Credit: Marshall Nolen | Daily Texan Staff

Rachel Simone Weil knows video games aren’t just for boys. 

Weil is a visual artist and second-year Master of Fine Arts design candidate. She creates 8-bit glitchable art under the name Party Time! Hexcellent!, based on graphics from the Nintendo Entertainment System. She also runs FEMICOM, an online museum dedicated to preserving feminine design games and gaming systems.

Raised on frequent trips to the arcade and afternoons gaming with her cousins, Weil realized the female-driven market of Sailor Moon and Mary-Kate & Ashley games was strictly a childhood phenomenon. 

“As I got older, I kind of found myself struggling to see where I fit into gamer culture,” Weil said. “It started to feel a little more difficult to fit in being, not just female, but someone who really enjoyed girlhood and feminine things.”

The diminishment of this feminine aesthetic is where Weil’s work comes into play. She mixes feminine game design tropes like pastel roses and baby-pink bows with the glamorous materialism of femme icon Barbie to create the visual equivalent of a sugar rush.

“I think a lot of people who didn’t grow up in that culture see [the aesthetics] as very cute and kind of whimsical and funny but it doesn’t carry the same sense of nostalgia that it carries forme,” Weil said. “If we think it’s kind of silly and frivolous, why do we think that? What does that say about how we value femininity and value girlhood?”

Despite the oh-so sweet exterior of this girly design, Weil’s visuals contain a deeper social critique on the gender stereotypes within gaming culture. 

“I feel like girlhood nostalgia does not transfer to adults as well as boyhood nostalgia,” Weil said. “So you have a lot of, for example, contemporary movies based on boys’ franchises from 20 years ago, like ‘Transformers’ and ‘G.I. Joe.’ This is an acceptable form of nostalgic enjoyment and pleasure, but you don’t see that in the same way for girls … I think there’s something interesting about girls becoming women and their history as girls is not deemed as legitimate for them to revisit.”

Weil’s efforts to study and preserve this inequality developed into FEMICOM, the feminine computer museum. The collection runs the gamut from Hello Kitty Game Boy Color cartridges to the Electronic Mall Madness board game and every odd Sailor Moon game in between. A glance through the museum’s online catalogue is an instant romp down memory lane for girl gamers of the ‘80s and ‘90s. 

“It’s almost like looking at the box art and seeing that it’s pink is enough to say ‘I can’t even look at it, just trash it,’” Weil said. “That was part of my inspiration for starting FEMICOM. I was participating in these forums and video game databases and reading articles on Wikipedia and there was such a lack of information about these games, in part I think because people feel uneasy about stereotypes and dismiss it. Either dismiss it because it’s not a legitimate game or dismiss it because they don’t want to feel that they’re promoting stereotypes.”

Skot Deeming, who has curated several exhibitions of Weil’s art, believes this critique transcends gender lines and rewrites gaming history.

“All too often the narrative of game history is dominated by the ‘great innovators’ of the industry, which in the majority of cases ends up reinforcing the notion that the medium is one dominated by male perspectives, in spite of the fact that the history of games is rich with examples of women in lead roles in game-making,” Deeming said. “Rachel’s work pushes back against that mainstream narrative and shows us all an alternate history, one which is as important to the culture as any other historical narrative.”

Rather than promote the ultra-femme or shopaholic stereotype present in many of these games, Weil hopes to preserve them as cultural artifacts. Elizabeth Lovero, a graduate student at the School of Information, feels that Weil’s work is an open-ended push to start talking about our society’s norms on gender and art.

“What I really appreciate about FEMICOM is that it seems to be premised on questions, not foregone conclusions,” Lovero said. “She sets aside the well-trod questions of value — is this ‘good’ art or the ‘right’ kind of feminine — and instead tries to open herself up to the objects themselves.”

Weil will speak at the North Door’s Nerd Nite on Wednesday.