good on you gretta, for not letting him get away with it (or at least,
not without discussion ...). this kind of casual sexism really needs to
be challenged, as in many ways it's even more insidious than the
outright variety which is easier to call out. it reinforces women's
invisibility & the idea that this state of affairs is somehow natural.

who was the museum director and which museum? so at least those of us on
this list can know who to avoid.

(maybe we need a #metoo campaign for experiencing this kind of put-down
in the arts ... )

h : )


On 18.10.2017 17:52, Alan Sondheim wrote:
>
>
> 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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>> ____________________________________________________________________________
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>> ____________________________________________________________________________
>>
>>
>> NetBehaviour mailing list
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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
>> 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.
>>
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>> email archive http://sondheim.rupamsunyata.org/
>> web http://www.alansondheim.org / cell 718-813-3285
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> email archive http://sondheim.rupamsunyata.org/
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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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