Mary Beth Edelson, Some Living American Women Artists: Last Supper, 1972- 2012, digital archival print with mixed media, 23.5" x 36.75" Click pic to view larger
(Original in the collection of the Museum of Modern Art, New York City)
"My museum would focus on, for starters, work produced by women, internationally, over the past 50 years. Some of the artists I’m thinking about call or called themselves feminists, though many don’t or didn’t. A huge percentage of current art comes right out of their work. Together it would be more than a collection; it would be a force. And given the low interest in and low prices of such art, I could probably pick up most of the work straight from studios and estates — no Sotheby’s commissions, thank you — and touch only a fraction of my $120 million museum fund."
I'm with Cotter, though I think it's also important to buy from the galleries that show these artists' works. (And, of course, as artists we get to trade.)
Installation view of Mary Beth Edelson's solo show, Hail to the Feminists Who Produced the Revolution, at Accola Griefen Gallery in Chelsea through May 12
I'm not waiting for $120 million. I trade a lot, and I also buy. To be completely upfront about it, the work that opens this post and which you see on the far wall in this picture will be delivered to me when the show closes.
What art would you acquire with that $120 million?
Coming next week: a full visual report on Lush Geometry, the group show I'm in at DM Contemporary, plus Ruth Hardinger at Creon, and Kevin Finklea at Giampietro Gallery in New Haven.
*While its art handlers are locked out of a decent-wage contract. See Pablo Helguera's related cartoon here