Hi Gretta,
I scrolled the page & just saw that it was mainly men, perhaps it's synonymous
with aspects of Modernism ;-)
wishing you well.
marc
Marc Garrett
Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org
Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett
Just published: Artists Re:thinking the Blockchain
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner
Liverpool Press - http://bit.ly/2x8XlMK
Sent with [ProtonMail](https://protonmail.com) Secure Email.
> -------- Original Message --------
> Subject: Re: [NetBehaviour] Maecenas
> Local Time: 16 October 2017 2:11 PM
> UTC Time: 16 October 2017 13:11
> From: sondh...@panix.com
> To: NetBehaviour for networked distributed creativity
> <netbehaviour@netbehaviour.org>
>
> 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
>> 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
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