La MaMa Experimental Theatre Club

74A East 4th Street
(btw Bowery & 2nd Ave)
New York, NY 10003
212.475.7710

Office: M–F 11a–6p
Box Office: M–Su 12–6p



Alison Blickle "Gilda's Past, 2012"

Girls Just Want to Have Fund$

January 10 – January 20, 2013


The Rema Hort Mann Foundation brings you: Girls Just Want To Have Funds, Round 2       (panel discussion, art exhibition, benefit art auction and catalog)

In support of women artists and their ideas, practices and artworks
www.rhmfoundation.org

GJWTHFunds Project Partners: La MaMa Galleria, Zurcher Studio and artcritical.com

Artworks by Alison Blickle, Alexandra Grant, Franziska Klotz, Alex Olson, Lara Schnitger, Claire
Sherman, Karen Seapker and Linda Sormin.

Gallery Hours: Wed-Sun 1-7pm

(private appointments available, rhmfoundation@gmail.com)

Tuesday, January 15
Panel Discussion: Women & the (In)equality of the Art Market
Time: 6:30pm‐ 9pm
rsvp: jan15rsvp@rhmfoundation.org

Public discussion with women artists on gender disparity in the art market with Janine Antoni, Jennifer Dalton, Alexandra Grant, Linda Sormin and others…moderated by Foundation Director Quang Bao.

 

Introduction to panel:Presentation of the 2012 RHM Foundation Art Grantees, Cecilia Alemani

Cecilia Alemani is the Donald R. Mullen, Jr. Curator and Director of High Line Art, which is presented by Friends of the High Line. High Line Art commissions and produces public art projects on and around the High Line. Alemani also curates Frieze Projects for Frieze Art Fair, New York (2012‐2013),was a guest curator for Performa 11, New York (2011), served as Curatorial Director for X Initiative, New York (2009 – 2010), and co‐founded No Soul For Sale, a festival of independent spaces, New York (2009).

 

Two Special Art Projects As Part of Jan 15 Panel (to‐be‐considered)

In 2001, Brooklyn‐based artist Jennifer Dalton created a drawing that listed the descriptive words used by art critics reviewing exhibitions in a popular year‐end “Best of” issue. Dalton devised guidelines and rules that allowed her to include noun‐phrases and negative and positive words. The most commonly used adjective that year was ‘luminous’.

She divided her list into two separate vertical columns: one showing words published about women artists and the other about men artists. The list for women ended one‐third of the way down the scroll, while the list for men continued on as the paper bent on the wall and then spilled several more feet out on to the floor. When Dalton executed her project again in 2007, the ratio had slightly worsened; her hand‐written scroll for men had grown even longer.

“Every Descriptive Word Used To Describe Artists and Their Work in Artforum’s Best of 2007” is a poetic, humanist “receipt” of what happens to women artists without anyone necessarily intending to harm them. We simply talk about work by men artists four times more than we talk about work by women artists. Dalton’s artwork reinforces the statistical studies that show the disparity of commercial success between men and women using reviews, awards, exhibitions, museum shows and price points as benchmarks.

Hurricane Sandy recently damaged Dalton’s 2007 artwork. GJWTHFunds in cooperation with Edward Winkleman Gallery will be exhibiting this work, restored ‐‐ and Dalton who is a panelist on January 15 will be updating her ‘receipt’ with the 2012 “Best of” Artforum.
‐‐‐‐‐

“Price & Prejudice ” Michael Hort runs Earth Enterprise, a green‐minded printing company, with a special niche for artist books, exhbition catalogs and vanity art projects. Over lunch, Foundation Director Quang Bao complained that women artists always talk about what a privilege it is to make their art, show their art and live the life of a working artist ‐‐“I don’t care about the money part,” they repeatedly told him. GJWTHFunds debuts a responsive, collaborative work between the two to make evident to women artists the consequence of not caring about money.


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