Dear all
I tend to agree with Alan, and wondered Gretta what kind of works you had in
mind when you mentioned "immaterial / non-existent artworks" (the non existing
ones
i find particularly interesting, did you mean works of a scale that makes them
uncollectible or not so visible, like the kind of Smithson land art
extravaganzas?
I just attended the Carolee Schneemann retrospective ("Kinetic Painting") at
MMK Frankfurt, a massive exhibition across 11 galleries in the museum showing
early work from the 50s, through late work, paintings, assemblages,
performances, films, photographic and graphic works, writings and
installations. This is such a comprehensive exhibition, including documentary
photographs and films of her performance actions, that one could spend days in
it and revel in the achievements of a [female] artist who has affected history
through her own work and through her influence over subsequent generations of
artists, perhaps especially in the field of performance art. Though Schneemann
obviously worked through the erotics and charisma of her body (Stelarc
objectiifies "the body" differently, I think or treats 'it' differently), I
wonder whether gender notions are easy to apply (especially as dichotomies)?
When you think of land art or Smithson, you might also think of Ana Mendieta or
someone like Yayoi Kusama or Min Tanaka or Otobong Nkanga who have worked in
their own ways, with "landscapes" (so did Gertrude Stein, or Anita Berber). I
enclose a photo
of Nkanga's "Wetin You Go Do?" - currently at Tate Modern's Tanks. quite a
heavy work!
best
Johannes Birringer
dap-lab
________________________________________
From: [email protected]
[[email protected]] on behalf of Alan Sondheim
[[email protected]]
Sent: 16 October 2017 14:11
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] Maecenas
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
> <[email protected]> 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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>
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