[NetBehaviour] Maecenas

Wed Oct 18 12:52:01 CEST 2017

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.garrett at 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 <http://www.furtherfield.org/>
> 
> Furtherfield Gallery & Commons in the park
> Finsbury Park, London N4 2NQ
> http://www.furtherfield.org/gallery
>  <http://www.furtherfield.org/gallery>
> Currently writing a PhD at Birkbeck University, London
> https://birkbeck.academia.edu/MarcGarrett
>  <https://birkbeck.academia.edu/MarcGarrett>
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> 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: sondheim at panix.com
>> To: NetBehaviour for networked distributed creativity <netbehaviour at 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 <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.catlow at 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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