Article by Vlada MV Picture 2025
Stereotypes
about women in street art and graffiti
about women in street art and graffiti
Introduction
In 2020, the topic of women in street art became the subject of research for the Femstreet project[1], which was launched in Russia in 2020 and has since grown into an international initiative. The aim of the study was to understand why there are significantly fewer women than men in the fields of street art, graffiti, and muralism[2]. One of the key goals was to challenge stereotypes about women in these spheres.
During discussions with people unfamiliar with the topic, a common opinion was that women are less goal-oriented, dislike taking risks, avoid getting their clothes and hands dirty, and therefore are less likely to participate in street art. However, the many modern examples of women involved in train bombing[3] or painting large building facades—often requiring hours of work outdoors in difficult weather conditions—disprove this notion.
Many women are willing to risk their safety for self-expression and their ideas, combining street art with parenting, or consciously choosing not to have children in favor of self-realization. Each year, the number of such women increases, driven by changing social norms.
The growing popularity of the childfree lifestyle, dedication to personal interests, and rejection of stereotypical responsibilities—with the help of domestic workers or nannies—contribute to this shift. This demonstrates that women's representation in street art, graffiti, and muralism is shaped not only by personal preferences but also by the public perception of women's social roles, which is gradually transforming.
[1] Femstreet is a project dedicated to women's street art. Its goal is to support women in the fields of street art/graffiti/muralism across different countries. It engages in organizational and educational activities. Website: https://femstreet.tilda.ws/
[2] Graffiti (from Italian graffito — inscriptions) / writing (from English writing) refers to illegal lettering-based artwork, usually featuring the nickname of the artist or graffiti crew.
Street art refers to illegal or permitted artwork on walls or creative acts in urban space.
Muralism (from Spanish muro — wall) is large-scale wall painting, usually created legally on building facades.
[3] Train bombing refers to a form of graffiti where artists paint on trains, subway cars, or commuter rail.
In 2020, the topic of women in street art became the subject of research for the Femstreet project[1], which was launched in Russia in 2020 and has since grown into an international initiative. The aim of the study was to understand why there are significantly fewer women than men in the fields of street art, graffiti, and muralism[2]. One of the key goals was to challenge stereotypes about women in these spheres.
During discussions with people unfamiliar with the topic, a common opinion was that women are less goal-oriented, dislike taking risks, avoid getting their clothes and hands dirty, and therefore are less likely to participate in street art. However, the many modern examples of women involved in train bombing[3] or painting large building facades—often requiring hours of work outdoors in difficult weather conditions—disprove this notion.
Many women are willing to risk their safety for self-expression and their ideas, combining street art with parenting, or consciously choosing not to have children in favor of self-realization. Each year, the number of such women increases, driven by changing social norms.
The growing popularity of the childfree lifestyle, dedication to personal interests, and rejection of stereotypical responsibilities—with the help of domestic workers or nannies—contribute to this shift. This demonstrates that women's representation in street art, graffiti, and muralism is shaped not only by personal preferences but also by the public perception of women's social roles, which is gradually transforming.
[1] Femstreet is a project dedicated to women's street art. Its goal is to support women in the fields of street art/graffiti/muralism across different countries. It engages in organizational and educational activities. Website: https://femstreet.tilda.ws/
[2] Graffiti (from Italian graffito — inscriptions) / writing (from English writing) refers to illegal lettering-based artwork, usually featuring the nickname of the artist or graffiti crew.
Street art refers to illegal or permitted artwork on walls or creative acts in urban space.
Muralism (from Spanish muro — wall) is large-scale wall painting, usually created legally on building facades.
[3] Train bombing refers to a form of graffiti where artists paint on trains, subway cars, or commuter rail.
Causes of Stereotypes
In 1971, Linda Nochlin[1] in her article "Why Have There Been No Great Women Artists?"[2] addressed the problem of gendered upbringing and society’s attitude towards women. These aspects are directly related to the stereotypes present in street art and graffiti. She writes: “The question is not why there have been no great women artists, but rather why we do not think of women as great artists. What are the social institutions that have prevented their emergence?”
Nochlin debunks the romantic notion that a great artist is a born genius who breaks through against all odds. She emphasizes that becoming an outstanding painter requires a system of education and social support, which historically were accessible mainly to boys: “No one would assume that Michelangelo’s genius would have expressed itself in carving peach stones if, by some miraculous chance, he had been born a girl in the Eskimo society.”
“Art is not simply a direct, personal expression of some innate gift, as is often assumed, but the result of social circumstances that permit or prevent a person from learning and developing.”
In the 17th–18th centuries, women were almost universally barred from official art academies. Academic art education emerged in Europe in the 17th century and was based on drawing from nude models and studying anatomy—practices considered inappropriate for women.[3] Even in rare cases where women were allowed to study, their participation was strictly limited. For example, in the French Royal Academy of Painting and Sculpture, from its founding in 1648 to the end of the 18th century, only 15 women were accepted. None of them held the title of professor or the highest category of artist, as women were denied access to full training, including life drawing.[4]
Nochlin articulates both the external (historical) restrictions on women and internal ones—stereotypes rooted in psychology through gendered upbringing.
Internal Barriers
The FEMSTREET study (conducted between 2020–2023) revealed several patterns. Surveys of street artists from different countries showed that they often encounter internal constraints linked to their perception of gender roles. For example, in response to the question "Why are there fewer women than men in graffiti and street art?", 21 out of 89 respondents answered that the main reasons are physical weakness, heightened need for safety, or the belief that street culture aligns more with male temperament. This demonstrates that even among women street artists, stereotypes about women persist.
It can be assumed that dependence on public opinion affects women’s confidence. Illegal art/graffiti is perceived by society as a form of aggression, which is more strongly tabooed for women.[1] A woman may be called a “tomboy” or “manly” if she swears, yells, breaks the law, and so on.
As a result, women may doubt themselves even if they want to paint in the streets. They hesitate to take the first step due to fear and a lack of support in the form of a mentor or peer group (girls are less likely to get into spray-painting during adolescence within female circles, unlike boys who often form crews). FEMSTREET researcher and street artist MV Picture notes that many girls reached out to her, expressing their desire to start street art but hesitated and asked her to accompany them.
The absence of tangible role models in graffiti/street art/muralism reduces women’s engagement, highlighting the importance of the first artists who paved the way in this field. A prominent example is Lady Pink, the first graffiti artist to gain international recognition. According to her, many girls were interested in graffiti but did not dare to paint in the streets: “They sketched in black books but never went to the trains. They were all waiting for me to do that mission because I was the boldest. I had a lot of girls around me who looked up to me.”[4]
Her activity became an inspiring example, especially after her role in the cult film Wild Style[5]. The example of more experienced artists often helps others overcome barriers. However, due to the low number of women in this field, the opportunity to find a mentor or creative partner is significantly limited. That’s why women’s festivals and organizations that unite female street artists and graffiti writers are so important, such as Wom Collective[6] (UK), Femstreet[7] (Russia, international), Few and Far Women[8] (USA, international), Juntas[9] (festival in Portugal).
[1] Linda Nochlin – American art historian, Ph.D., Professor Emeritus at the Institute of Fine Arts, New York University, one of the leading scholars of feminist art history.
[2] Article "Why Have There Been No Great Women Artists?" Linda Nochlin, 1971 http://contemporary-artists.ru/Why_Have_There_Been_No_Great_Women_Artists.html
[3] "Women and the Royal Academy of Arts" – Google Arts & Culture https://artsandculture.google.com/story/women-and-the-royal-academy-of-arts/mQVxhhGlQJ4DIQ
[4] "Art Education of Women in France" https://www.atelier-en-valise.com/post/l-%C3%A9ducation-artistique-des-femmes-en-france
"Women’s Art Schools in 19th-Century England" Laurel Lampela https://www.jstor.org/stable/3193419
[5] Wild Style (1983) – American musical drama by Charlie Ahearn, considered the first film about the emerging hip-hop culture.
[6] Wom Collective website: https://www.womcollective.org/
[7] Femstreet website: https://femstreet.tilda.ws/
[8] Few and Far Women: https://www.fewandfarwomen.org/about
[9] Juntas Festival: https://www.juntashacemosmas.org/
In 1971, Linda Nochlin[1] in her article "Why Have There Been No Great Women Artists?"[2] addressed the problem of gendered upbringing and society’s attitude towards women. These aspects are directly related to the stereotypes present in street art and graffiti. She writes: “The question is not why there have been no great women artists, but rather why we do not think of women as great artists. What are the social institutions that have prevented their emergence?”
Nochlin debunks the romantic notion that a great artist is a born genius who breaks through against all odds. She emphasizes that becoming an outstanding painter requires a system of education and social support, which historically were accessible mainly to boys: “No one would assume that Michelangelo’s genius would have expressed itself in carving peach stones if, by some miraculous chance, he had been born a girl in the Eskimo society.”
“Art is not simply a direct, personal expression of some innate gift, as is often assumed, but the result of social circumstances that permit or prevent a person from learning and developing.”
In the 17th–18th centuries, women were almost universally barred from official art academies. Academic art education emerged in Europe in the 17th century and was based on drawing from nude models and studying anatomy—practices considered inappropriate for women.[3] Even in rare cases where women were allowed to study, their participation was strictly limited. For example, in the French Royal Academy of Painting and Sculpture, from its founding in 1648 to the end of the 18th century, only 15 women were accepted. None of them held the title of professor or the highest category of artist, as women were denied access to full training, including life drawing.[4]
Nochlin articulates both the external (historical) restrictions on women and internal ones—stereotypes rooted in psychology through gendered upbringing.
Internal Barriers
The FEMSTREET study (conducted between 2020–2023) revealed several patterns. Surveys of street artists from different countries showed that they often encounter internal constraints linked to their perception of gender roles. For example, in response to the question "Why are there fewer women than men in graffiti and street art?", 21 out of 89 respondents answered that the main reasons are physical weakness, heightened need for safety, or the belief that street culture aligns more with male temperament. This demonstrates that even among women street artists, stereotypes about women persist.
It can be assumed that dependence on public opinion affects women’s confidence. Illegal art/graffiti is perceived by society as a form of aggression, which is more strongly tabooed for women.[1] A woman may be called a “tomboy” or “manly” if she swears, yells, breaks the law, and so on.
As a result, women may doubt themselves even if they want to paint in the streets. They hesitate to take the first step due to fear and a lack of support in the form of a mentor or peer group (girls are less likely to get into spray-painting during adolescence within female circles, unlike boys who often form crews). FEMSTREET researcher and street artist MV Picture notes that many girls reached out to her, expressing their desire to start street art but hesitated and asked her to accompany them.
The absence of tangible role models in graffiti/street art/muralism reduces women’s engagement, highlighting the importance of the first artists who paved the way in this field. A prominent example is Lady Pink, the first graffiti artist to gain international recognition. According to her, many girls were interested in graffiti but did not dare to paint in the streets: “They sketched in black books but never went to the trains. They were all waiting for me to do that mission because I was the boldest. I had a lot of girls around me who looked up to me.”[4]
Her activity became an inspiring example, especially after her role in the cult film Wild Style[5]. The example of more experienced artists often helps others overcome barriers. However, due to the low number of women in this field, the opportunity to find a mentor or creative partner is significantly limited. That’s why women’s festivals and organizations that unite female street artists and graffiti writers are so important, such as Wom Collective[6] (UK), Femstreet[7] (Russia, international), Few and Far Women[8] (USA, international), Juntas[9] (festival in Portugal).
[1] Linda Nochlin – American art historian, Ph.D., Professor Emeritus at the Institute of Fine Arts, New York University, one of the leading scholars of feminist art history.
[2] Article "Why Have There Been No Great Women Artists?" Linda Nochlin, 1971 http://contemporary-artists.ru/Why_Have_There_Been_No_Great_Women_Artists.html
[3] "Women and the Royal Academy of Arts" – Google Arts & Culture https://artsandculture.google.com/story/women-and-the-royal-academy-of-arts/mQVxhhGlQJ4DIQ
[4] "Art Education of Women in France" https://www.atelier-en-valise.com/post/l-%C3%A9ducation-artistique-des-femmes-en-france
"Women’s Art Schools in 19th-Century England" Laurel Lampela https://www.jstor.org/stable/3193419
[5] Wild Style (1983) – American musical drama by Charlie Ahearn, considered the first film about the emerging hip-hop culture.
[6] Wom Collective website: https://www.womcollective.org/
[7] Femstreet website: https://femstreet.tilda.ws/
[8] Few and Far Women: https://www.fewandfarwomen.org/about
[9] Juntas Festival: https://www.juntashacemosmas.org/
Causes of Stereotypes
In 1971, Linda Nochlin[1] in her article "Why Have There Been No Great Women Artists?"[2] addressed the problem of gendered upbringing and society’s attitude towards women. These aspects are directly related to the stereotypes present in street art and graffiti. She writes: “The question is not why there have been no great women artists, but rather why we do not think of women as great artists. What are the social institutions that have prevented their emergence?”
Nochlin debunks the romantic notion that a great artist is a born genius who breaks through against all odds. She emphasizes that becoming an outstanding painter requires a system of education and social support, which historically were accessible mainly to boys: “No one would assume that Michelangelo’s genius would have expressed itself in carving peach stones if, by some miraculous chance, he had been born a girl in the Eskimo society.”
“Art is not simply a direct, personal expression of some innate gift, as is often assumed, but the result of social circumstances that permit or prevent a person from learning and developing.”
In the 17th–18th centuries, women were almost universally barred from official art academies. Academic art education emerged in Europe in the 17th century and was based on drawing from nude models and studying anatomy—practices considered inappropriate for women.[3] Even in rare cases where women were allowed to study, their participation was strictly limited. For example, in the French Royal Academy of Painting and Sculpture, from its founding in 1648 to the end of the 18th century, only 15 women were accepted. None of them held the title of professor or the highest category of artist, as women were denied access to full training, including life drawing.[4]
Nochlin articulates both the external (historical) restrictions on women and internal ones—stereotypes rooted in psychology through gendered upbringing.
External Causes
The stereotype that graffiti and street art are primarily male activities has historical roots. Men began actively developing graffiti culture in the 1970s, while there were only two known female taggers in the city—Barbara62 and Eva62.[1] The first widely recognized female graffiti writer, Lady Pink, emerged only in the 1980s. However, her inclusion in an all-male graffiti crew also reflected social trends: during the second wave of feminism in the 1980s, having a woman on the team was seen as a progressive move.
Stereotypes in graffiti during the 70s were so strong that graffiti writers often expressed skepticism or even aggression toward the first women in the scene. Lady Pink (Sandra Fabara, USA), one of the first female graffiti writers in New York, said directly: “The more they told me: ‘You’re a girl, you can’t do graffiti, you can’t go into the subway because you’re a girl, you’re just a woman’ — I had to stand up and shut them up.”[2]
Andrea von Bujdoss (USA) recalled that in the 1990s, the graffiti scene felt like “a closed boys’ club.” Quote: “It’s generally a boys’ club, and I think women still don’t have that kind of equality, so sometimes I wasn’t always welcomed just because I was a girl. I felt like a unicorn in that environment. People couldn’t believe there was actually a girl who wanted to paint on the same wall.”[3] She also challenged the myth about women lacking determination: “If people said something to me, I would push back even harder.”
World-renowned U.S. artist Swoon, who began her career in street art, noted that thanks to the efforts of the previous generation, it has become easier for her to assert herself in the art world: “Sometimes I think my mom did all that work in the seventies so I could have a normal life, where the important thing is not being a woman artist, but just an artist.”[1] In one interview, she also shared that she hid her gender when she started painting in the streets: “I think this happens to young women, when there’s this feeling that if your gender becomes the focus, you’ll be stigmatized…”[2]
Czech graffiti artist Sany, who made the first documentary about women’s experience in graffiti—Girl Power[3]—stated that in the 90s, she found inscriptions on her pieces like “Blow me for my piece” and “Go back to the kitchen.”
In 2000s Russia, where graffiti had only emerged in the 1990s, graffiti artist Kris shared: “I faced sexism when I broke into hip-hop (at 14). Even some members of my own crew belittled me, saying things like ‘Go make borscht.’”[5]
Clearly, it was more difficult for women to gain recognition in the graffiti scene—and later in street art, which has its roots in graffiti.
Muralism flourished in the 1920s–30s. In Mexico, it became a major tool for shaping public opinion and propaganda. It’s commonly believed that there were no women among the great muralists of the 20th century, but that’s not true. The first collective of female muralists was Mujeres Muralistas—Latina artists who formed a crew in 1973 in San Francisco. One of their main motivations was the fact that, at the time, there were no successful women muralists in the Mexican movement. They wanted to prove that women could also create large-scale works in public space. In contrast to the politicized work of male muralists like Diego Rivera and David Siqueiros, their murals promoted the beauty of nature, women, peace, and universal values.[1]
If a female muralist wanted to create a radical or political mural, she was called “too aggressive.” Thus, women expressing political views through art often faced accusations of being overly aggressive or inappropriate. Civic activism and political engagement were traditionally seen as male qualities, and women displaying them were perceived negatively.
All of these historical conditions stem from a patriarchal societal structure. The expectations for women to remain feminine create a fear of being judged for participating in graffiti and street art. Among 73 female street artists who answered the question about society’s reaction to their work, 35 noted that they face expectations related to the traditional female role, which prioritizes family over career.
From these results, we can conclude that sometimes women are held back by judgment from society or family. Many girls who started painting in the streets said they hid this fact from their relatives at first.
[1] https://www.foundsf.org/index.php?title=Mujeres_Muralistas
https://hyperallergic.com/188992/why-arent-women-street-artists-just-street-artists/#:~:text=gender%20I%20am,%E2%80%9D
[2] Interview with Swoon for Untitled Magazine: https://untitled-magazine.com/the-street-artist-caledonia-curry-aka-swoon-exclusive-interview/
[3] https://www.kinopoisk.ru/film/998793/?utm_referrer=yandex.ru
[4] Piece – a well-executed graffiti work in multiple colors with detail.
[5] Quote from the book Femstreet, 2021 https://online.fliphtml5.com/kocis/xuya/#p=1
[1] Tagging – street slang for illegally writing your tag or signature with your crew or artist name.
[2] Article about Lady Pink: https://heroinecentral.wordpress.com/2014/01/04/tag-shes-it-lady-pink-the-first-lady-of-graffiti/#:~:text=%E2%80%9CThe%20more%20they%20told%20me%3A,Pink%2C%20graffiti%20and%20fine%20artist
[3] Interview with Queen Andrea: https://urvanity-art.com/en/2020/05/25/queen-andrea-new-york/#:~:text=I%20did%20in%20a%20sense,paint%20on%20the%20same%20wall
In 1971, Linda Nochlin[1] in her article "Why Have There Been No Great Women Artists?"[2] addressed the problem of gendered upbringing and society’s attitude towards women. These aspects are directly related to the stereotypes present in street art and graffiti. She writes: “The question is not why there have been no great women artists, but rather why we do not think of women as great artists. What are the social institutions that have prevented their emergence?”
Nochlin debunks the romantic notion that a great artist is a born genius who breaks through against all odds. She emphasizes that becoming an outstanding painter requires a system of education and social support, which historically were accessible mainly to boys: “No one would assume that Michelangelo’s genius would have expressed itself in carving peach stones if, by some miraculous chance, he had been born a girl in the Eskimo society.”
“Art is not simply a direct, personal expression of some innate gift, as is often assumed, but the result of social circumstances that permit or prevent a person from learning and developing.”
In the 17th–18th centuries, women were almost universally barred from official art academies. Academic art education emerged in Europe in the 17th century and was based on drawing from nude models and studying anatomy—practices considered inappropriate for women.[3] Even in rare cases where women were allowed to study, their participation was strictly limited. For example, in the French Royal Academy of Painting and Sculpture, from its founding in 1648 to the end of the 18th century, only 15 women were accepted. None of them held the title of professor or the highest category of artist, as women were denied access to full training, including life drawing.[4]
Nochlin articulates both the external (historical) restrictions on women and internal ones—stereotypes rooted in psychology through gendered upbringing.
External Causes
The stereotype that graffiti and street art are primarily male activities has historical roots. Men began actively developing graffiti culture in the 1970s, while there were only two known female taggers in the city—Barbara62 and Eva62.[1] The first widely recognized female graffiti writer, Lady Pink, emerged only in the 1980s. However, her inclusion in an all-male graffiti crew also reflected social trends: during the second wave of feminism in the 1980s, having a woman on the team was seen as a progressive move.
Stereotypes in graffiti during the 70s were so strong that graffiti writers often expressed skepticism or even aggression toward the first women in the scene. Lady Pink (Sandra Fabara, USA), one of the first female graffiti writers in New York, said directly: “The more they told me: ‘You’re a girl, you can’t do graffiti, you can’t go into the subway because you’re a girl, you’re just a woman’ — I had to stand up and shut them up.”[2]
Andrea von Bujdoss (USA) recalled that in the 1990s, the graffiti scene felt like “a closed boys’ club.” Quote: “It’s generally a boys’ club, and I think women still don’t have that kind of equality, so sometimes I wasn’t always welcomed just because I was a girl. I felt like a unicorn in that environment. People couldn’t believe there was actually a girl who wanted to paint on the same wall.”[3] She also challenged the myth about women lacking determination: “If people said something to me, I would push back even harder.”
World-renowned U.S. artist Swoon, who began her career in street art, noted that thanks to the efforts of the previous generation, it has become easier for her to assert herself in the art world: “Sometimes I think my mom did all that work in the seventies so I could have a normal life, where the important thing is not being a woman artist, but just an artist.”[1] In one interview, she also shared that she hid her gender when she started painting in the streets: “I think this happens to young women, when there’s this feeling that if your gender becomes the focus, you’ll be stigmatized…”[2]
Czech graffiti artist Sany, who made the first documentary about women’s experience in graffiti—Girl Power[3]—stated that in the 90s, she found inscriptions on her pieces like “Blow me for my piece” and “Go back to the kitchen.”
In 2000s Russia, where graffiti had only emerged in the 1990s, graffiti artist Kris shared: “I faced sexism when I broke into hip-hop (at 14). Even some members of my own crew belittled me, saying things like ‘Go make borscht.’”[5]
Clearly, it was more difficult for women to gain recognition in the graffiti scene—and later in street art, which has its roots in graffiti.
Muralism flourished in the 1920s–30s. In Mexico, it became a major tool for shaping public opinion and propaganda. It’s commonly believed that there were no women among the great muralists of the 20th century, but that’s not true. The first collective of female muralists was Mujeres Muralistas—Latina artists who formed a crew in 1973 in San Francisco. One of their main motivations was the fact that, at the time, there were no successful women muralists in the Mexican movement. They wanted to prove that women could also create large-scale works in public space. In contrast to the politicized work of male muralists like Diego Rivera and David Siqueiros, their murals promoted the beauty of nature, women, peace, and universal values.[1]
If a female muralist wanted to create a radical or political mural, she was called “too aggressive.” Thus, women expressing political views through art often faced accusations of being overly aggressive or inappropriate. Civic activism and political engagement were traditionally seen as male qualities, and women displaying them were perceived negatively.
All of these historical conditions stem from a patriarchal societal structure. The expectations for women to remain feminine create a fear of being judged for participating in graffiti and street art. Among 73 female street artists who answered the question about society’s reaction to their work, 35 noted that they face expectations related to the traditional female role, which prioritizes family over career.
From these results, we can conclude that sometimes women are held back by judgment from society or family. Many girls who started painting in the streets said they hid this fact from their relatives at first.
[1] https://www.foundsf.org/index.php?title=Mujeres_Muralistas
https://hyperallergic.com/188992/why-arent-women-street-artists-just-street-artists/#:~:text=gender%20I%20am,%E2%80%9D
[2] Interview with Swoon for Untitled Magazine: https://untitled-magazine.com/the-street-artist-caledonia-curry-aka-swoon-exclusive-interview/
[3] https://www.kinopoisk.ru/film/998793/?utm_referrer=yandex.ru
[4] Piece – a well-executed graffiti work in multiple colors with detail.
[5] Quote from the book Femstreet, 2021 https://online.fliphtml5.com/kocis/xuya/#p=1
[1] Tagging – street slang for illegally writing your tag or signature with your crew or artist name.
[2] Article about Lady Pink: https://heroinecentral.wordpress.com/2014/01/04/tag-shes-it-lady-pink-the-first-lady-of-graffiti/#:~:text=%E2%80%9CThe%20more%20they%20told%20me%3A,Pink%2C%20graffiti%20and%20fine%20artist
[3] Interview with Queen Andrea: https://urvanity-art.com/en/2020/05/25/queen-andrea-new-york/#:~:text=I%20did%20in%20a%20sense,paint%20on%20the%20same%20wall
Stereotypes Today
According to data from 105 interviews, 55 respondents reported instances of sexism in their professional practice. It is important to consider that some forms of condescending behavior may not be perceived as discrimination, but rather as the norm. The most common forms of bias included women’s work being mistakenly attributed to men, their authorship being questioned, and women being seen only as assistants to more experienced male colleagues.
These stereotypes are particularly evident in muralism, where the work requires physical effort and technical skills. 8 out of 22 muralists surveyed encountered distrust toward their professional competencies, including doubts about their ability to operate a lift or independently carry out large-scale projects. These examples demonstrate that overcoming gender prejudice remains a significant challenge for women in street art.
Here are quotes from contemporary artists and graffiti writers that illustrate these experiences:
Former graffiti writer and now muralist from Ukraine SoMari: “Some people didn’t believe I did the first pieces myself. I heard things like: ‘Oh come on, tell us who painted it for you, you couldn’t have done it like that.’ The same happened with any slightly complex project. I’ve encountered the attitude: ‘A woman on a ship brings bad luck.’”[1]
A muralist from the Netherlands: “Older men are very shocked when they see me operating a lift. Most people are extremely kind to me, but there’s always someone who says: ‘Wow, can you really do that?’ or ‘Do you know how to use that machine?’ And when I work with a male assistant, they praise him, even though I’m doing most of the work — and always based on my own sketch.”[2]
Nizhny Novgorod artist Vera Shirdina: “When I was working on a facade, a young male volunteer came by to help me carry paint buckets. Then a woman/man came up and immediately addressed him as the artist. I was standing there completely covered in paint — literally the entire color palette of the facade was on me — and they said, ‘Sir artist.’”[3]
Leader of the Russian art group Yav’: “There was also a situation where Yav’ was initially invited to a public art festival, but then they wanted to revoke the invitation once they found out the group’s leader was a woman. Their reasoning was: ‘How can a woman paint a large mural? That’s physically difficult.’”[4]
Physical fitness plays an important role in street art, especially in bombing, which requires the ability to move quickly, overcome obstacles, and work in stressful conditions. Painting large buildings also requires stamina, but it can be developed gradually by increasing project scale and practicing regularly.
Women working in street art duos or in male crews report fewer instances of sexism. Nearly all participants in mixed creative teams shared this. It highlights that the perception of women in the field is largely shaped by social context and established norms.
Objectification in Street Art
Beyond stereotypes about physical weakness, women often face objectification. This can come from mural commissioners, festival organizers, or even fellow artists. Graffiti writers in particular frequently experience this — some people assume their motivation is to attract attention from male graffiti artists rather than to engage in graffiti as a form of self-expression. One in three graffiti artists surveyed mentioned such situations, and 7 out of 31 respondents reported unwanted sexualization and intrusive attention.
In the West, the term “groupies” is often used — not just for fans of music bands, but also for women perceived to be involved in the graffiti scene for male attention. However, in reality, only 5 out of 105 artists surveyed said they started graffiti because of a male partner.
Women also frequently encounter unwanted attention from passersby and the police. In the best case, this manifests as condescension or misplaced “kindness”; in the worst — threats of violence or actual violence.
Many artists note that their appearance is judged more often than their professional skills. On one hand, physical attractiveness can help with career promotion through social media. On the other hand, it can lead to underestimation of their professionalism. 17 out of 89 respondents encountered situations where, due to their perceived vulnerability, people tried to deceive, intimidate, or dismiss them. At the same time, 29 artists spoke of real dangers of illegal painting — from detainment to violent assaults.
[1] Interview with Kharkiv-based female street artists: https://nakipelo.ua/ru/iz-chego-sostoit-zhizn-harkovskih-ulichnyh-hudozhnic
[2] Quote from the book Femstreet: https://online.fliphtml5.com/kocis/xuya/#p=1
[3] Quote from the book Femstreet: https://online.fliphtml5.com/kocis/xuya/#p=1
[4] Quote from the book Femstreet: https://online.fliphtml5.com/kocis/xuya/#p=1
According to data from 105 interviews, 55 respondents reported instances of sexism in their professional practice. It is important to consider that some forms of condescending behavior may not be perceived as discrimination, but rather as the norm. The most common forms of bias included women’s work being mistakenly attributed to men, their authorship being questioned, and women being seen only as assistants to more experienced male colleagues.
These stereotypes are particularly evident in muralism, where the work requires physical effort and technical skills. 8 out of 22 muralists surveyed encountered distrust toward their professional competencies, including doubts about their ability to operate a lift or independently carry out large-scale projects. These examples demonstrate that overcoming gender prejudice remains a significant challenge for women in street art.
Here are quotes from contemporary artists and graffiti writers that illustrate these experiences:
Former graffiti writer and now muralist from Ukraine SoMari: “Some people didn’t believe I did the first pieces myself. I heard things like: ‘Oh come on, tell us who painted it for you, you couldn’t have done it like that.’ The same happened with any slightly complex project. I’ve encountered the attitude: ‘A woman on a ship brings bad luck.’”[1]
A muralist from the Netherlands: “Older men are very shocked when they see me operating a lift. Most people are extremely kind to me, but there’s always someone who says: ‘Wow, can you really do that?’ or ‘Do you know how to use that machine?’ And when I work with a male assistant, they praise him, even though I’m doing most of the work — and always based on my own sketch.”[2]
Nizhny Novgorod artist Vera Shirdina: “When I was working on a facade, a young male volunteer came by to help me carry paint buckets. Then a woman/man came up and immediately addressed him as the artist. I was standing there completely covered in paint — literally the entire color palette of the facade was on me — and they said, ‘Sir artist.’”[3]
Leader of the Russian art group Yav’: “There was also a situation where Yav’ was initially invited to a public art festival, but then they wanted to revoke the invitation once they found out the group’s leader was a woman. Their reasoning was: ‘How can a woman paint a large mural? That’s physically difficult.’”[4]
Physical fitness plays an important role in street art, especially in bombing, which requires the ability to move quickly, overcome obstacles, and work in stressful conditions. Painting large buildings also requires stamina, but it can be developed gradually by increasing project scale and practicing regularly.
Women working in street art duos or in male crews report fewer instances of sexism. Nearly all participants in mixed creative teams shared this. It highlights that the perception of women in the field is largely shaped by social context and established norms.
Objectification in Street Art
Beyond stereotypes about physical weakness, women often face objectification. This can come from mural commissioners, festival organizers, or even fellow artists. Graffiti writers in particular frequently experience this — some people assume their motivation is to attract attention from male graffiti artists rather than to engage in graffiti as a form of self-expression. One in three graffiti artists surveyed mentioned such situations, and 7 out of 31 respondents reported unwanted sexualization and intrusive attention.
In the West, the term “groupies” is often used — not just for fans of music bands, but also for women perceived to be involved in the graffiti scene for male attention. However, in reality, only 5 out of 105 artists surveyed said they started graffiti because of a male partner.
Women also frequently encounter unwanted attention from passersby and the police. In the best case, this manifests as condescension or misplaced “kindness”; in the worst — threats of violence or actual violence.
Many artists note that their appearance is judged more often than their professional skills. On one hand, physical attractiveness can help with career promotion through social media. On the other hand, it can lead to underestimation of their professionalism. 17 out of 89 respondents encountered situations where, due to their perceived vulnerability, people tried to deceive, intimidate, or dismiss them. At the same time, 29 artists spoke of real dangers of illegal painting — from detainment to violent assaults.
[1] Interview with Kharkiv-based female street artists: https://nakipelo.ua/ru/iz-chego-sostoit-zhizn-harkovskih-ulichnyh-hudozhnic
[2] Quote from the book Femstreet: https://online.fliphtml5.com/kocis/xuya/#p=1
[3] Quote from the book Femstreet: https://online.fliphtml5.com/kocis/xuya/#p=1
[4] Quote from the book Femstreet: https://online.fliphtml5.com/kocis/xuya/#p=1
Stereotypes Today
According to data from 105 interviews, 55 respondents reported instances of sexism in their professional practice. It is important to consider that some forms of condescending behavior may not be perceived as discrimination, but rather as the norm. The most common forms of bias included women’s work being mistakenly attributed to men, their authorship being questioned, and women being seen only as assistants to more experienced male colleagues.
These stereotypes are particularly evident in muralism, where the work requires physical effort and technical skills. 8 out of 22 muralists surveyed encountered distrust toward their professional competencies, including doubts about their ability to operate a lift or independently carry out large-scale projects. These examples demonstrate that overcoming gender prejudice remains a significant challenge for women in street art.
Here are quotes from contemporary artists and graffiti writers that illustrate these experiences:
Former graffiti writer and now muralist from Ukraine SoMari: “Some people didn’t believe I did the first pieces myself. I heard things like: ‘Oh come on, tell us who painted it for you, you couldn’t have done it like that.’ The same happened with any slightly complex project. I’ve encountered the attitude: ‘A woman on a ship brings bad luck.’”[1]
A muralist from the Netherlands: “Older men are very shocked when they see me operating a lift. Most people are extremely kind to me, but there’s always someone who says: ‘Wow, can you really do that?’ or ‘Do you know how to use that machine?’ And when I work with a male assistant, they praise him, even though I’m doing most of the work — and always based on my own sketch.”[2]
Nizhny Novgorod artist Vera Shirdina: “When I was working on a facade, a young male volunteer came by to help me carry paint buckets. Then a woman/man came up and immediately addressed him as the artist. I was standing there completely covered in paint — literally the entire color palette of the facade was on me — and they said, ‘Sir artist.’”[3]
Leader of the Russian art group Yav’: “There was also a situation where Yav’ was initially invited to a public art festival, but then they wanted to revoke the invitation once they found out the group’s leader was a woman. Their reasoning was: ‘How can a woman paint a large mural? That’s physically difficult.’”[4]
Physical fitness plays an important role in street art, especially in bombing, which requires the ability to move quickly, overcome obstacles, and work in stressful conditions. Painting large buildings also requires stamina, but it can be developed gradually by increasing project scale and practicing regularly.
Women working in street art duos or in male crews report fewer instances of sexism. Nearly all participants in mixed creative teams shared this. It highlights that the perception of women in the field is largely shaped by social context and established norms.
Objectification in Street Art
Beyond stereotypes about physical weakness, women often face objectification. This can come from mural commissioners, festival organizers, or even fellow artists. Graffiti writers in particular frequently experience this — some people assume their motivation is to attract attention from male graffiti artists rather than to engage in graffiti as a form of self-expression. One in three graffiti artists surveyed mentioned such situations, and 7 out of 31 respondents reported unwanted sexualization and intrusive attention.
In the West, the term “groupies” is often used — not just for fans of music bands, but also for women perceived to be involved in the graffiti scene for male attention. However, in reality, only 5 out of 105 artists surveyed said they started graffiti because of a male partner.
Women also frequently encounter unwanted attention from passersby and the police. In the best case, this manifests as condescension or misplaced “kindness”; in the worst — threats of violence or actual violence.
Many artists note that their appearance is judged more often than their professional skills. On one hand, physical attractiveness can help with career promotion through social media. On the other hand, it can lead to underestimation of their professionalism. 17 out of 89 respondents encountered situations where, due to their perceived vulnerability, people tried to deceive, intimidate, or dismiss them. At the same time, 29 artists spoke of real dangers of illegal painting — from detainment to violent assaults.
Professionalism
There is an opinion that men are more professional in street art/graffiti/muralism due to their greater experience. In the Femstreet study, only 11 women started painting in the streets before the 2000s, and in most cases, their entry was in 1998–1999. This gap does indeed affect accumulated experience.
However, experience does not always determine the quality of work. Among global street art stars, artists like Faith47, JDL Street Art, Lauren YS, and Natalia Rak demonstrate that talent and self-expression play no less important a role than years of practice. Moreover, on the Femstreet website in the Interview[1] section, there are examples of artists who began their path in the 2010s and even after 2020, but whose skill level already rivals men who have been active since the 1990s. Bright examples include Zmaja[2] and Sophi Odling[3].
Thus, the time of starting a career is an important factor but not a decisive one. Today, women's street art is actively developing, overcoming historical barriers and breaking down stereotypes.
Balancing Street Art and Family Life
One of the factors affecting women's participation in street art/graffiti/muralism is the combination of creativity and family responsibilities. Many women stop doing graffiti after having children, which is due not only to personal choice but also to social norms. Moscow-based graffiti artist Pie One notes that men, after becoming fathers, continue to paint, while women are often forced to choose family[1].
Street artist Lena Sisileva says she faces judgment for going out to paint or paste up drawings with her infant child[2].
However, there are those who successfully combine art and raising children. For example, Faith47, a well-known South African muralist, began her career at 18 while being a young mother. In her work, she often explores the themes of female strength and motherhood. In an interview with Senses Lost, she admitted that having a child helped her focus on art and build a successful career:
“Having a child is very grounding, and since I'm not a very grounded person, it was quite hard for me. I don’t know what it would’ve been like without him — I don’t think I would’ve worked as hard as I do now. I mean, I had him at 18, so I never had time to slack off or go to school… but it made me more focused, and I had to grow up quickly, but at the same time, I think it’s a great thing to start early because we’re growing up together… and I would love for him to always put what he loves first… to tap into his talents and passions and live them fully… that’s the key… so it motivates me to do the same.”[3]
[1] Interview with Pai One: https://t.me/femstreet/365
[2] Interview with Elena Sisileva: https://t.me/femstreet/504
[3] Interview with Faith47: https://senseslost.com/interviews/faith47-interview/
[1] Interview section on Femstreet: https://femstreet.tilda.ws/#rec782057чё225
[2] Zmaja: https://femstreet.tilda.ws/zmajaeng
[3] Sophi Odling: https://femstreet.tilda.ws/odling
According to data from 105 interviews, 55 respondents reported instances of sexism in their professional practice. It is important to consider that some forms of condescending behavior may not be perceived as discrimination, but rather as the norm. The most common forms of bias included women’s work being mistakenly attributed to men, their authorship being questioned, and women being seen only as assistants to more experienced male colleagues.
These stereotypes are particularly evident in muralism, where the work requires physical effort and technical skills. 8 out of 22 muralists surveyed encountered distrust toward their professional competencies, including doubts about their ability to operate a lift or independently carry out large-scale projects. These examples demonstrate that overcoming gender prejudice remains a significant challenge for women in street art.
Here are quotes from contemporary artists and graffiti writers that illustrate these experiences:
Former graffiti writer and now muralist from Ukraine SoMari: “Some people didn’t believe I did the first pieces myself. I heard things like: ‘Oh come on, tell us who painted it for you, you couldn’t have done it like that.’ The same happened with any slightly complex project. I’ve encountered the attitude: ‘A woman on a ship brings bad luck.’”[1]
A muralist from the Netherlands: “Older men are very shocked when they see me operating a lift. Most people are extremely kind to me, but there’s always someone who says: ‘Wow, can you really do that?’ or ‘Do you know how to use that machine?’ And when I work with a male assistant, they praise him, even though I’m doing most of the work — and always based on my own sketch.”[2]
Nizhny Novgorod artist Vera Shirdina: “When I was working on a facade, a young male volunteer came by to help me carry paint buckets. Then a woman/man came up and immediately addressed him as the artist. I was standing there completely covered in paint — literally the entire color palette of the facade was on me — and they said, ‘Sir artist.’”[3]
Leader of the Russian art group Yav’: “There was also a situation where Yav’ was initially invited to a public art festival, but then they wanted to revoke the invitation once they found out the group’s leader was a woman. Their reasoning was: ‘How can a woman paint a large mural? That’s physically difficult.’”[4]
Physical fitness plays an important role in street art, especially in bombing, which requires the ability to move quickly, overcome obstacles, and work in stressful conditions. Painting large buildings also requires stamina, but it can be developed gradually by increasing project scale and practicing regularly.
Women working in street art duos or in male crews report fewer instances of sexism. Nearly all participants in mixed creative teams shared this. It highlights that the perception of women in the field is largely shaped by social context and established norms.
Objectification in Street Art
Beyond stereotypes about physical weakness, women often face objectification. This can come from mural commissioners, festival organizers, or even fellow artists. Graffiti writers in particular frequently experience this — some people assume their motivation is to attract attention from male graffiti artists rather than to engage in graffiti as a form of self-expression. One in three graffiti artists surveyed mentioned such situations, and 7 out of 31 respondents reported unwanted sexualization and intrusive attention.
In the West, the term “groupies” is often used — not just for fans of music bands, but also for women perceived to be involved in the graffiti scene for male attention. However, in reality, only 5 out of 105 artists surveyed said they started graffiti because of a male partner.
Women also frequently encounter unwanted attention from passersby and the police. In the best case, this manifests as condescension or misplaced “kindness”; in the worst — threats of violence or actual violence.
Many artists note that their appearance is judged more often than their professional skills. On one hand, physical attractiveness can help with career promotion through social media. On the other hand, it can lead to underestimation of their professionalism. 17 out of 89 respondents encountered situations where, due to their perceived vulnerability, people tried to deceive, intimidate, or dismiss them. At the same time, 29 artists spoke of real dangers of illegal painting — from detainment to violent assaults.
Professionalism
There is an opinion that men are more professional in street art/graffiti/muralism due to their greater experience. In the Femstreet study, only 11 women started painting in the streets before the 2000s, and in most cases, their entry was in 1998–1999. This gap does indeed affect accumulated experience.
However, experience does not always determine the quality of work. Among global street art stars, artists like Faith47, JDL Street Art, Lauren YS, and Natalia Rak demonstrate that talent and self-expression play no less important a role than years of practice. Moreover, on the Femstreet website in the Interview[1] section, there are examples of artists who began their path in the 2010s and even after 2020, but whose skill level already rivals men who have been active since the 1990s. Bright examples include Zmaja[2] and Sophi Odling[3].
Thus, the time of starting a career is an important factor but not a decisive one. Today, women's street art is actively developing, overcoming historical barriers and breaking down stereotypes.
Balancing Street Art and Family Life
One of the factors affecting women's participation in street art/graffiti/muralism is the combination of creativity and family responsibilities. Many women stop doing graffiti after having children, which is due not only to personal choice but also to social norms. Moscow-based graffiti artist Pie One notes that men, after becoming fathers, continue to paint, while women are often forced to choose family[1].
Street artist Lena Sisileva says she faces judgment for going out to paint or paste up drawings with her infant child[2].
However, there are those who successfully combine art and raising children. For example, Faith47, a well-known South African muralist, began her career at 18 while being a young mother. In her work, she often explores the themes of female strength and motherhood. In an interview with Senses Lost, she admitted that having a child helped her focus on art and build a successful career:
“Having a child is very grounding, and since I'm not a very grounded person, it was quite hard for me. I don’t know what it would’ve been like without him — I don’t think I would’ve worked as hard as I do now. I mean, I had him at 18, so I never had time to slack off or go to school… but it made me more focused, and I had to grow up quickly, but at the same time, I think it’s a great thing to start early because we’re growing up together… and I would love for him to always put what he loves first… to tap into his talents and passions and live them fully… that’s the key… so it motivates me to do the same.”[3]
[1] Interview with Pai One: https://t.me/femstreet/365
[2] Interview with Elena Sisileva: https://t.me/femstreet/504
[3] Interview with Faith47: https://senseslost.com/interviews/faith47-interview/
[1] Interview section on Femstreet: https://femstreet.tilda.ws/#rec782057чё225
[2] Zmaja: https://femstreet.tilda.ws/zmajaeng
[3] Sophi Odling: https://femstreet.tilda.ws/odling
Stereotypes Today
According to data from 105 interviews, 55 respondents reported instances of sexism in their professional practice. It is important to consider that some forms of condescending behavior may not be perceived as discrimination, but rather as the norm. The most common forms of bias included women’s work being mistakenly attributed to men, their authorship being questioned, and women being seen only as assistants to more experienced male colleagues.
These stereotypes are particularly evident in muralism, where the work requires physical effort and technical skills. 8 out of 22 muralists surveyed encountered distrust toward their professional competencies, including doubts about their ability to operate a lift or independently carry out large-scale projects. These examples demonstrate that overcoming gender prejudice remains a significant challenge for women in street art.
Here are quotes from contemporary artists and graffiti writers that illustrate these experiences:
Former graffiti writer and now muralist from Ukraine SoMari: “Some people didn’t believe I did the first pieces myself. I heard things like: ‘Oh come on, tell us who painted it for you, you couldn’t have done it like that.’ The same happened with any slightly complex project. I’ve encountered the attitude: ‘A woman on a ship brings bad luck.’”[1]
A muralist from the Netherlands: “Older men are very shocked when they see me operating a lift. Most people are extremely kind to me, but there’s always someone who says: ‘Wow, can you really do that?’ or ‘Do you know how to use that machine?’ And when I work with a male assistant, they praise him, even though I’m doing most of the work — and always based on my own sketch.”[2]
Nizhny Novgorod artist Vera Shirdina: “When I was working on a facade, a young male volunteer came by to help me carry paint buckets. Then a woman/man came up and immediately addressed him as the artist. I was standing there completely covered in paint — literally the entire color palette of the facade was on me — and they said, ‘Sir artist.’”[3]
Leader of the Russian art group Yav’: “There was also a situation where Yav’ was initially invited to a public art festival, but then they wanted to revoke the invitation once they found out the group’s leader was a woman. Their reasoning was: ‘How can a woman paint a large mural? That’s physically difficult.’”[4]
Physical fitness plays an important role in street art, especially in bombing, which requires the ability to move quickly, overcome obstacles, and work in stressful conditions. Painting large buildings also requires stamina, but it can be developed gradually by increasing project scale and practicing regularly.
Women working in street art duos or in male crews report fewer instances of sexism. Nearly all participants in mixed creative teams shared this. It highlights that the perception of women in the field is largely shaped by social context and established norms.
Objectification in Street Art
Beyond stereotypes about physical weakness, women often face objectification. This can come from mural commissioners, festival organizers, or even fellow artists. Graffiti writers in particular frequently experience this — some people assume their motivation is to attract attention from male graffiti artists rather than to engage in graffiti as a form of self-expression. One in three graffiti artists surveyed mentioned such situations, and 7 out of 31 respondents reported unwanted sexualization and intrusive attention.
In the West, the term “groupies” is often used — not just for fans of music bands, but also for women perceived to be involved in the graffiti scene for male attention. However, in reality, only 5 out of 105 artists surveyed said they started graffiti because of a male partner.
Women also frequently encounter unwanted attention from passersby and the police. In the best case, this manifests as condescension or misplaced “kindness”; in the worst — threats of violence or actual violence.
Many artists note that their appearance is judged more often than their professional skills. On one hand, physical attractiveness can help with career promotion through social media. On the other hand, it can lead to underestimation of their professionalism. 17 out of 89 respondents encountered situations where, due to their perceived vulnerability, people tried to deceive, intimidate, or dismiss them. At the same time, 29 artists spoke of real dangers of illegal painting — from detainment to violent assaults.
Stereotypes about Feminine Style
There is a notion about the characteristic features of “female” street art and graffiti, such as the frequent use of bright colors (especially pink and purple), rounded forms, and an illustrative aesthetic. However, analysis of artworks shows that these stereotypes do not always match reality. For example, Faith47 and JDL Street Art work in a black-and-white realistic style, while Sheva and Lida (Samka)[1] prefer an aggressive, sharp wildstyle[2].
Some artists, like Runa or Kate Late[3], consciously avoid “feminine” stylistic choices, creating works in ugly-style. This may be linked to a desire to distance themselves from imposed standards of beauty and to express themselves freely without regard for public expectations.
“Feminine” style is often perceived by men as something unserious or superficial — but is it really so? A more detailed analysis can be found in the article “Feminine Style in Street Art and Graffiti.”
Conclusion
Despite historical and social barriers, women continue to claim space in street art, demonstrating high skill and individual style. Each year, more and more women enter the urban environment across the globe, forming new traditions, styles, and meanings — overcoming stereotypes and thanks to mutual support.
Support, recognition, and visibility of their work help dismantle outdated views and create conditions for equal participation in cultural processes. Street art has long ceased to be an exclusively male domain.
In-depth interviews with female street artists can be found on the Femstreet.tilda website and in the Femstreet book, available online (on the site) and offline in some Russian libraries.
[1] Interview with Lida: https://femstreet.tilda.ws/lida
[2] Aggressive style in graffiti, from the English word “wild.”
[3] Interview with Kate Late: https://femstreet.tilda.ws/late
According to data from 105 interviews, 55 respondents reported instances of sexism in their professional practice. It is important to consider that some forms of condescending behavior may not be perceived as discrimination, but rather as the norm. The most common forms of bias included women’s work being mistakenly attributed to men, their authorship being questioned, and women being seen only as assistants to more experienced male colleagues.
These stereotypes are particularly evident in muralism, where the work requires physical effort and technical skills. 8 out of 22 muralists surveyed encountered distrust toward their professional competencies, including doubts about their ability to operate a lift or independently carry out large-scale projects. These examples demonstrate that overcoming gender prejudice remains a significant challenge for women in street art.
Here are quotes from contemporary artists and graffiti writers that illustrate these experiences:
Former graffiti writer and now muralist from Ukraine SoMari: “Some people didn’t believe I did the first pieces myself. I heard things like: ‘Oh come on, tell us who painted it for you, you couldn’t have done it like that.’ The same happened with any slightly complex project. I’ve encountered the attitude: ‘A woman on a ship brings bad luck.’”[1]
A muralist from the Netherlands: “Older men are very shocked when they see me operating a lift. Most people are extremely kind to me, but there’s always someone who says: ‘Wow, can you really do that?’ or ‘Do you know how to use that machine?’ And when I work with a male assistant, they praise him, even though I’m doing most of the work — and always based on my own sketch.”[2]
Nizhny Novgorod artist Vera Shirdina: “When I was working on a facade, a young male volunteer came by to help me carry paint buckets. Then a woman/man came up and immediately addressed him as the artist. I was standing there completely covered in paint — literally the entire color palette of the facade was on me — and they said, ‘Sir artist.’”[3]
Leader of the Russian art group Yav’: “There was also a situation where Yav’ was initially invited to a public art festival, but then they wanted to revoke the invitation once they found out the group’s leader was a woman. Their reasoning was: ‘How can a woman paint a large mural? That’s physically difficult.’”[4]
Physical fitness plays an important role in street art, especially in bombing, which requires the ability to move quickly, overcome obstacles, and work in stressful conditions. Painting large buildings also requires stamina, but it can be developed gradually by increasing project scale and practicing regularly.
Women working in street art duos or in male crews report fewer instances of sexism. Nearly all participants in mixed creative teams shared this. It highlights that the perception of women in the field is largely shaped by social context and established norms.
Objectification in Street Art
Beyond stereotypes about physical weakness, women often face objectification. This can come from mural commissioners, festival organizers, or even fellow artists. Graffiti writers in particular frequently experience this — some people assume their motivation is to attract attention from male graffiti artists rather than to engage in graffiti as a form of self-expression. One in three graffiti artists surveyed mentioned such situations, and 7 out of 31 respondents reported unwanted sexualization and intrusive attention.
In the West, the term “groupies” is often used — not just for fans of music bands, but also for women perceived to be involved in the graffiti scene for male attention. However, in reality, only 5 out of 105 artists surveyed said they started graffiti because of a male partner.
Women also frequently encounter unwanted attention from passersby and the police. In the best case, this manifests as condescension or misplaced “kindness”; in the worst — threats of violence or actual violence.
Many artists note that their appearance is judged more often than their professional skills. On one hand, physical attractiveness can help with career promotion through social media. On the other hand, it can lead to underestimation of their professionalism. 17 out of 89 respondents encountered situations where, due to their perceived vulnerability, people tried to deceive, intimidate, or dismiss them. At the same time, 29 artists spoke of real dangers of illegal painting — from detainment to violent assaults.
Stereotypes about Feminine Style
There is a notion about the characteristic features of “female” street art and graffiti, such as the frequent use of bright colors (especially pink and purple), rounded forms, and an illustrative aesthetic. However, analysis of artworks shows that these stereotypes do not always match reality. For example, Faith47 and JDL Street Art work in a black-and-white realistic style, while Sheva and Lida (Samka)[1] prefer an aggressive, sharp wildstyle[2].
Some artists, like Runa or Kate Late[3], consciously avoid “feminine” stylistic choices, creating works in ugly-style. This may be linked to a desire to distance themselves from imposed standards of beauty and to express themselves freely without regard for public expectations.
“Feminine” style is often perceived by men as something unserious or superficial — but is it really so? A more detailed analysis can be found in the article “Feminine Style in Street Art and Graffiti.”
Conclusion
Despite historical and social barriers, women continue to claim space in street art, demonstrating high skill and individual style. Each year, more and more women enter the urban environment across the globe, forming new traditions, styles, and meanings — overcoming stereotypes and thanks to mutual support.
Support, recognition, and visibility of their work help dismantle outdated views and create conditions for equal participation in cultural processes. Street art has long ceased to be an exclusively male domain.
In-depth interviews with female street artists can be found on the Femstreet.tilda website and in the Femstreet book, available online (on the site) and offline in some Russian libraries.
[1] Interview with Lida: https://femstreet.tilda.ws/lida
[2] Aggressive style in graffiti, from the English word “wild.”
[3] Interview with Kate Late: https://femstreet.tilda.ws/late
