It's the men who have traditionally gotten the most attention, but there
have always been many brilliant women; when I did Individuals in 1974 for
Dutton, the ratio was pretty much even, and when I curated later at Nexus
in Atlanta, it was the same. This is an issue and prejudice on the part of
cultural sexism, not on the part of the great number of amazing woman
artists I've known. The museum director is obviously way out of line here
and I wonder if he thinks all the men he loves are white.
Alan
On Wed, 18 Oct 2017, Gretta Louw wrote:
Had another frustrating (yet, fundamentally unsurprising) incident since I
sent that email in which a museum director matter-of-factly told me that all
of the greatest artists in history were men and after I strenuously argued
against that, we continued discussing the work we were cooperating on? well
let?s just say that in the end, a few days later, the museum decided that they
didn?t have the budget after all to acquire the piece of mine that they?d been
interested in. I wonder what changed?? ;)
On 18. Oct 2017, at 10:40, marc.garrett
<marc.garr...@protonmail.com> wrote:
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 2NQ
http://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 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-invisibl
e-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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www.furtherfield.org
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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.
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