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The use of
environmental and sustainable indicators of global organizations has greater
advantages than those of national initiatives or those developed by researchers
in said subject, due to the fact that they have a much broader scope for
sustainability, have been applied in a systematic manner and therefore have
greater comparability and reliability. The environmental indicators are
constructed from the approaches to sustainable development in universities with
regards to the social, economic, institutional and environmental dimensions in
the organizations. This work involves the application of environmental and
sustainable indicators for internationally recognized efficiency in university
activities, which contribute towards organizing, summarizing and developing the
processes for development planning and environmental management.
The works produced both by ethnic artists and by women artists lead us to suspect that either the aesthetic sensibility of art experts has not evolved sufficiently or that it is not “pure” enough to free them from the load of prejudices surrounding such works and those who produce them. To illustrate this problem, we will first offer two substantially different examples. The first concerns Report No. 8 commissioned by Emakunde, the Basque Women’s Institute (Spain) and published in the mid-nineteen nineties. The second refers to the Kunstkompass, a tool used to establish the ranking of the one hundred most internationally recognised artists. Next, we will examine the four clearly ranked circles of recognition existing in the artistic field. Finally, to demonstrate up to what point the position of women artists in the artistic field is that of inside yet out, we will analyse the content of two articles published in mid-February 2008 in the Babelia supplement of the El País spanish newspaper about two exhibitions of works by women artists.