Zuleika Gallery’s Post

Is the (#art) market efficient? If so, the law of one #price should hold. My co-authors Roman Kräussl, Marco Navone, Patrick Verwijmeren and I show instead that #gender #culture is a source of pricing #bias in the art #market, see the clip below. Why is this important? Because #price is often used to infer #quality. This inference only makes sense if the art market is efficient. If it is not, and prices are biased, this correspondence breaks down. Since art prices for #women are systematically lower, as we show, a mistaken belief in efficient markets creates barriers for #female #artists. As the late curator Okwui Enwezor said in an interview in 2018 "‘excellence’ and ‘quality’ are some of the code words used to push back against change." As Camille Morineau said "To fix things museums and academics should focus on filling the gaps, ‘producing and sharing academically robust information on women artists...". Let's do it! Clip below extracted from THE EXHIBITIONISTS, produced by Northern Pictures. I was filmed at Lizzie Collins' amazing Zuleika Gallery in Woodstock. Open access version of paper available here: https://lnkd.in/e28iiHzC. Quotes extracted from Charlotte Burns' excellent #article https://lnkd.in/e3xehCg6 #finance #equity #equality #progress #criticalthinking #commonsense #museums #academics #excellence

🔍 The gender pay gap doesn't just impact traditional workplaces; it reaches into the creative realms of art and culture. Historically, paintings by men have fetched significantly higher prices than those by women, reflecting deep-seated biases that perpetuate gender inequality in the art world. 🎨 In her recent research, Renee Adams dives into these disparities, exposing the long-standing patterns that have placed greater value on male artists' work. This isn't just a case of individual preferences—it's a systemic issue that has shaped art history and the cultural narratives we tell ourselves. #GenderPayGap #Art #GenderEquality #CulturalChange #ArtHistory

Art collectors uttered a cry of horror when they learned they were looking at a "near-real" appropriation of Elaine Sturtevant, not an original Andy Warhol. Handy businessmen who have (some) creative talent are most successful in art. Under "handy businessmen," you can include both gallery owners and self-employed artists. They start small and invest more and more money in cumulating megalomaniacal work that is described as "sensational" in the media. These become crowd-pleasers, which in turn create traveling "blockbuster" exhibitions that museums can "buy into. Investors in these kinds of crowd pleasers are people who have enough wealth to collect expensive art. The top ten richest people do not include women. That makes the woman-artist combination less robust or more risky for investors than the man-artist combination because this combination usually does pay off. Meanwhile, the rise of women in institutional networks has been remarkably successful. Women are increasingly deciding how grants are spent within the cultural sector. This could imply that high-quality art that attracts little audience can be purchased with grant money. Exactly the segment that is classified as a "risk investment" in the art market. So it looks like, a growing balance is emerging at the moment: to put it roughly in general terms: the men are concerned with (economic) quantity and the women are watching over quality. 😆 #artmarket #capitalism #institutionalisation #elainesturtevant #appropriation

Monday's are for Men's Gender Equality Is it ever ok to exclude men? Consider this - a women's only art exhibit in Australia. "The Ladies Lounge," created by Kirsha Kaechele, is an immersive experience only for women - a posh venue, delicious high tea, and male butlers. Men are notably absent. This exhibit subverts the old Australian pub concept. A male visitor lodged a sex discrimination complaint after being denied entry. The museum admits the exhibit does discriminate, claiming the complainant experienced the artwork as intended. Kaechele asserts that men experience the lounge as art through their rejection. After a court ruling, the Lounge is being modified to remain a women-only space. Exclusion feels wrong, but it's sparking global dialogue on gender segregation. If you made me pick a side, I'd go with "in this case, I think it's ok." Not because it is ok. It's not ok. But because of the thought and planning that went into the exhibit and the powerful message that it has. What's your take - brilliant artistry or offensive messaging? #genderequality #inclusion #exclusion #deiinart https://lnkd.in/edpbmsrR

The Chicano Art Movement represents a kaleidoscopic convergence of aesthetics and politics. When examined at a distance, it can be misunderstood as a singular, cohesive movement with a clearly defined beginning and end. Any effort to encapsulate the Chicano Art Movement, however, must insist on recognizing the multiplicity and simultaneity of artistic visions that came out of it, as well as a porousness that facilitated solidarity with artists and groups beyond the Mexican American community. This overview focuses primarily on creative production during the mid-1960s and ’70s as a way to parallel the activities of el Movimiento, also known as the Chicano Civil Rights Movement. (Throughout this article, “Chicano” is used when referring to artwork created during the historic era of el Movimiento in order to signal the exclusion that women and LGBT+ artists experienced, while “Chicana/o/x” indicates reference to a contemporary context.)

Is it OK for an art exhibition to exclude men? In a truly innovative form of art imitating life, The Ladies Lounge, an art installation in an Australian gallery has been making headlines. This women-only exhibit was installed in 2020 at the Tasmanian MONA Gallery by artist Kirsha Kaechele. It is an installation experience for women-only, an elegantly furnished space offering a decadent high tea that sought to draw attention to and reverse themes of gender-based entitlement and discrimination. The space is serviced by male butlers "who live to serve women, attending to their every wish and showering them with praise and affection". 𝐁𝐮𝐭 𝐦𝐞𝐧 𝐚𝐫𝐞 𝐨𝐭𝐡𝐞𝐫𝐰𝐢𝐬𝐞 𝐧𝐨𝐭𝐢𝐜𝐞𝐚𝐛𝐥𝐲 𝐚𝐛𝐬𝐞𝐧𝐭, 𝐭𝐮𝐫𝐧𝐞𝐝 𝐚𝐰𝐚𝐲 𝐚𝐭 𝐭𝐡𝐞 𝐞𝐧𝐭𝐫𝐚𝐧𝐜𝐞. This "Ladies Lounge" takes the concept of an old Australian pub and turns it on its head. A sex discrimination complaint was raised by a male visitor to the exhibit who was denied entry to the Ladies Lounge exhibit. The museum agrees the exhibit does indeed discriminate. But it argued the complainant hasn't missed out on anything - he experienced the artwork exactly as intended. 𝐀𝐟𝐭𝐞𝐫 𝐭𝐡𝐞 𝐜𝐨𝐦𝐩𝐥𝐚𝐢𝐧𝐭 𝐰𝐚𝐬 𝐥𝐨𝐝𝐠𝐞𝐝, 𝐭𝐡𝐞 𝐥𝐨𝐮𝐧𝐠𝐞'𝐬 𝐜𝐫𝐞𝐚𝐭𝐨𝐫 𝐊𝐢𝐫𝐬𝐡𝐚 𝐊𝐚𝐞𝐜𝐡𝐞𝐥𝐞, 𝐬𝐚𝐢𝐝 𝐦𝐞𝐧 𝐰𝐞𝐫𝐞 𝐠𝐞𝐭𝐭𝐢𝐧𝐠 𝐭𝐨 "𝐞𝐱𝐩𝐞𝐫𝐢𝐞𝐧𝐜𝐞" 𝐭𝐡𝐞 𝐥𝐨𝐮𝐧𝐠𝐞 𝐚𝐬 𝐚𝐫𝐭, 𝐬𝐭𝐚𝐭𝐢𝐧𝐠 "𝐭𝐡𝐞𝐢𝐫 𝐞𝐱𝐩𝐞𝐫𝐢𝐞𝐧𝐜𝐞 𝐨𝐟 𝐫𝐞𝐣𝐞𝐜𝐭𝐢𝐨𝐧 𝐈𝐒 𝐭𝐡𝐞 𝐚𝐫𝐭𝐰𝐨𝐫𝐤". In response to a court ruling that men should be permitted to view the exhibition, The Ladies Lounge is currently being modified to include a 𝒕𝒐𝒊𝒍𝒆𝒕, allowing the curators to reopen it as a women-only space. I am really torn on this case. On the one hand exclusion goes against what so many of us are working towards. On the other hand, the provocative experience of exclusion being turned into art is at least generating a discussion around the world about the problems with gender segregation (thinking here of the recent scandal around high profile men holding membership to this country's most exclusive mens club - The Garrick Club). What do you think - is this a powerful work of genius, or an offensive message? #GenderBias #GenderEquality #BreakingBarriers https://lnkd.in/eZafD8d3

What would I have done if I were a female painter in the 16th, 17th, or 18th century when women were denied formal training and exhibition opportunities solely based on gender? That's the question I asked myself as I visited the Tate Britain exhibition "Now You See Us, Women Artists in Britain, 1520-1920", which offers poignant insight into the struggles and triumphs of women artists in Britain. Their talents were often overshadowed and overlooked simply because of their #gender. Rumour has it that when Anna Mary Howitt, an English Pre-Raphaelite painter, writer, feminist, and spiritualist, expressed her frustration about the barriers faced by female artists and her longing to be a man, her friend Eliza Florence Bridell urged her to take proactive measures to challenge the status quo instead of wishing for the privilege of being a man. Sadly, this conversation highlights the inequality and #discrimination that female artists have experienced throughout the centuries. What I see in these exquisite portraits beyond the mere subjects is the #resilience and #determination of pioneering women artists who refused to accept systemic discrimination. This allowed them to eventually gain admission and membership to the Royal Academy of Arts. (However, it took these women over 150 years of persistent advocacy efforts). It is profoundly discomforting and disappointing that, despite some progress, the Royal Academy appointed its first female Professors only in 2011, its first female Keepers in 2011, and its first female President (Rebecca Salter) only in 2019. Recognising the challenges and triumphs of pioneering women artists, how can we actively support and create more inclusive and diverse environments in our professional and personal communities? #coaching #diversity #inclusion

The latest Countess Report monitoring gender equity in the visual arts sector has found that male artists are much more likely than women to have their art acquired by state galleries or be represented by commercial galleries. The National Gallery of Australia had among the highest representation of women artists as a result of its national program of exhibitions and programs referred to as Know My Name. Women dominated art prizes, winning 4 out of 6 richest prizes, in 2022, but men received a higher amount of prize money on average. Among Australia’s major museums, female representation was at the lowest level across all gallery types, with the exception of the Museum of Contemporary Arts which achieved 50 per cent gender equity.

Today we commemorate Juneteenth, a pivotal moment in American history that marks the end of slavery in the United States. This day reminds us of the importance of freedom, equality, and the ongoing commitment to justice for all. Watch the below video from our parent company Advanced Group to learn more about #Juneteenth.

July 6, eight great female artists will exhibit in Gallery Sapere Aude. The title of the exhibition is ‘Gender…’ Some of the questions, which will be raised, are: What characterizes ‘female art’? If anything. Is it relevant to discuss gender in relation to an 'objective' assessment of art? Why is female art less expensive than art made by men? A question that leads to the question about what is good art (a question, which nobody - for many reasons - in the art world want to answer).