“female artists”

In 2016, solo shows at SculptureCenter will only feature female artists

A series of scheduled solo exhibitions for 2016 at the ScultpureCenter in New York City will feature projects made exclusively by female artists. Artists Rachelle Goldberd, Leslie Hewitt, Mika Tajima, and Cosima von Bonin will all be participating in the upcoming exhibitions. When asked about the reasoning behind this push for all female artists being put on show, executive director Mary Ceruti said: “[…] part of our mandate,[…] is to show work that has merit and doesn’t have enough attention, and that happens to be more true for women than men because they don’t get a lot of visibility in the art world.” This is exciting news in the art world, which tends to be dominated by male artists. Sculpture Center has been a part of New York’s cultural community since 1928, when it was founded as “The Clay Club” by Dorothea Denslow. In its current location, SculptureCenter is a ground floor gallery space displaying sculptures, and its upper level features workshops, education programs, and studio...

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Women’s contributions to Abstract Expressionism at Denver Art Museum

From 12 June 2016 until 25 September 2016, The Denver Art Museum (DAM) will be putting on an exhibition that celebrates the contributions of females to Abstract Expressionism, entitled “Women of Abstract Expressionism”. The exhibition has brought together 51 paintings of 12 artists. The works of artists from the West Coast (where women were considered equal to their male counterparts), and those on the East Coast show the expressive freedoms of women at the time. These works from the 1940s and 1950s will be on display. The selected artists are Elaine de Kooning, Joan Mitchell, Ethel Schwabacher, Judith Godwin, Jay DeFeo, Sonia Gechtoff, and Grace Hartigan. “For millennia women have been creators and innovators of artistic expression […] not until the 20th century have they received some of the credit that is long overdue. We are delighted to be the first U.S. museum to tell these stories of the most prolific female Abstract Expressionists,” said Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. The exhibition will span the entire fourth level of the Hamilton Building, with a video especially made for the exhibition. After being presented in the Denver space, this exhibition will go on to the Mint Museum, in Charlotte, North Carolina, in October 2016 and then the Palm Springs Art Museum in February...

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Top 50 highest selling female artists at auction

Artnet has recently released the results for the top 50 highest-selling female artists (both living and deceased) at auction for the past three decades, in terms of sales by value and number. The majority of the artists in the list are Postwar and Contemporary. The highest-selling female artist at auction by a large margin is the American Joan Mitchell (1925-1992), who has sold 701 lots, and whose works have fetched $299,041,411. The second highest-selling artist is the Japanese Yayoi Kusama (b. 1929), who has sold 3232 lots, and whose works fetched $190,460,619. The third highest-selling is American artist Georgia O’Keeffe (1887-1986), who has sold 156 lots, and whose works have fetched $185,407,082. Other artists featured in the top 20 include: Mary Cassatt, Agnes Martin, Louise Bourgeois, Tamara de Lempicka, Cindy Sherman, Natalia Sergeevna Goncharova, Marie Laurencin, Irma Stern, Barbara Hepworth, Berthe Morisot, Maria Helena Vieira da Silva, Zhou Sicong, Niki de Saint Phalle, Marlene Dumas, Eileen Gray, Gabriele Münter, and Bridget...

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Joan Mitchell named most successful female artist

New York, 9 August 2013, Art Media Agency (AMA). A study conducted by Artnet and Bloomberg has sought to establish art market rankings for female artists, publishing a list of the most significant sales for both dead and living artists. Results for the total sales of works by both living or dead female are topped by artist Joan Mitchell (1925-1992), a painter belonging to the Abstract Expressionism movement, whose works have reached $239.8m at auctions since 1985 – a figure which represents the sale of 646 works, including a record sale of $9.3m for a piece sold in 2011. Suzanne Gyorgy, head of art consultants and finance at Citi Private Bank, commented on the results via Bloomberg, stating “When you are walking into a serious collector’s home, it’s more common to see a Joan Mitchell painting than it was five, six years ago.” The results name Mary Cassatt as the 2nd most successful female artists, with 1,098 of Cassatt’s pieces having sold for a total of $136.5m. Following Cassatt are Japanese artist Yayoi Kusama ($127.7m), Agnes Martin ($115m), Georgia O’Keeffe ($114.9m), Tamara de Lempicka ($111.1m), Natalia Goncharova ($110.8m), Marie Laurencin ($99.9m), Louise Bourgeois ($97.4m) and Cindy Sherman ($89.9m). The results for living female artists place Yayoi Kusama on top, followed by Cindy Sherman, Marlene Dumas ($57.5m), Bridget Riley ($43.2m), Cecily Brown ($35.4m), Elizabeth Peyton ($21.5m), Beatriz Milhazes ($19m), Xu Lele ($16.8m), Julie Mehretu ($15.6m) and Cady Noland...

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Gender parity on the art market, myth or reality?

Paris, 18 April 2013, Art Media Agency (AMA). It seems that gender equality in the world of employment has not yet been achieved. How does it look like in the particular world of art? To find an answer one just has to visit art fairs or analyse auction sales results from the last few years to conclude that male artists are in majority. Of course, there are important female artists, but there is no balance yet between the genders. Moreover the situation is the same in the whole art sector. It should be noted that the artist’s figure was exclusively masculine until the last thirty years of the 20th century. Looking at the past, this trend was much stronger for the reason that there are hardly any female artists that left their trace in the art history. Reasons of the conflict According to a study led by sociologist Séverine Sofio, female artists were always in poor relations with the art history mostly due to the fact that their art was extremely rarely discussed, and when discussed it was at their disadvantage. According to Victor Hugo’s answer to a letter from his fiancée Adèle — Lettre à la fiancée, from Sunday, 3 February 1822, who asked his opinion about her friend painter: “This young person about whom you wrote me did not succeed in becoming an artist and that ruined her reputation. It is enough for a woman to make one of her aspects public so that the people think she totally belongs to them. How to expect the young girl to keep her imagination pure and her lifestyle innocent after the studies necessary to practice painting? […] Do not think, Adèle, that I put the woman painter next to the woman prostitute. It is only the fact that she...

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