it means that immaterial / non-existent artworks by women artists are
doubly invisible, since so much [visible/material] art by women is
anyway invisible in the patriarchal art world ...

h : )

(emerging from an intense 4 days at the faces 20th anniversary in graz,
where invisibility/under-representation of women's art & women artists
was much discussed!)


On 16.10.2017 15:11, Alan Sondheim wrote:
>
> 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.
>>
>>
>>
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>> -- 
>> Co-founder Co-director
>> Furtherfield
>>
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>>
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>>
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>>
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>> debates
>> around critical questions in art and technology, since 1997
>>
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-- 
helen varley jamieson
he...@creative-catalyst.com <mailto:he...@creative-catalyst.com>
http://www.creative-catalyst.com
http://www.upstage.org.nz
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