Body Art was both male and female, Gina Pane, Collette, Marina Abramovich, etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. Orridge, but also Hannah Wilke, etc. A pretty mixed group. Most of the hard-core conceptualists were male, but there are also Adrian Piper, the Guerilla Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, etc., who spanned conceptualism and physical/person production as well.
- Alan On Mon, 16 Oct 2017, Gretta Louw wrote:
It?s interesting to me that artists working with immaterial / non-existent artworks in the past are so overwhelmingly male, but I don?t know yet what it means?http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw ork.html Something perhaps about the other side of the body art coin perhaps? On 15. Oct 2017, at 17:15, ruth catlow <ruth.cat...@furtherfield.org> wrote: I'd be up for thinking this one through. Let's do it. On 13/10/17 20:34, Edward Picot wrote: Oops! Apologies for posting this twice. I thought the first one hadn't worked. On 13/10/17 19:10, Edward Picot wrote: Can't we do something with this? Couldn't we create a conceptual work of art that didn't actually exist at all - we could use some ideas from Curt Cloninger's 'Essay About Nothing' to represent it - and market shares in it via the Blockchain? Proceeds to Furtherfield, unless the value went above a trillion dollars, in which case I want a cut. Edward On 11/10/17 18:56, Rob Myers wrote: On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days or years later, Picard might pick up that same phone and order the broker to sell. """ - William Gibson, "Count Zero", 1986. _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
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