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adventures with a scrap artist

Illustration of Louise Brigham's box furniture for "Ladie's Home Journal", 1910.

Recently, in the course of preparing an exhibition in Los Angeles, I stumbled across an early 20th century designer and teacher named Louise Brigham. I’d never heard of her, and I’ll bet you haven’t either. She turned up in a hundred-year-old copy of the Ladies’ Home Journal, which probably isn’t high on anyone’s reading list. In it was an article by Brigham entitled “How I Furnished My Entire Flat from Boxes.” The accompanying illustrations showed rooms filled with early-modernist furniture, strikingly more austere than either the conventional furniture designs of the day or the then-avant-garde Mission and Prairie styles being popularized by Gustav Stickley, Frank Lloyd Wright, and others. Brigham was inspired in part by the rectilinear designs of the Austrian architect Josef Hoffmann, but her work has a raw simplicity that won’t surface again until the 1930s, in the ‘crate furniture’ of Gerrit Rietveld.

A living room ca. 1900.

But what really startled me was that all of the furniture was built out of recycled packing crates—the soap boxes, canned-corn boxes, and gelatin boxes that would otherwise have been tossed on a scrap heap. Brigham had, in fact, designed an entire program of such furniture and published a book about it the prior year, entitled Box Furniture. In this book, she gives not only plans for a hundred different pieces of furniture, but also instructions in basic carpentry and color schemes for entire rooms.

Gustav Stickley plant stand, 1900.

Unlike most design in any period, Brigham’s book is aimed squarely at working people of very limited means; her intention was to bring both practical skills and advanced design to those who might otherwise not be able to afford either. She wrote Box Furnitureat a time when the average American worker earned less than $400 a year and a single piece of new furniture could cost a week’s wages. Brigham went on to furnish her own New York apartment almost entirely from box furniture, as a kind of model and advertisement for her system, at a total cost of $4.20.

Gerrit Rietveld crate stool, ca. 1934.

She also proselytized for her system widely in Europe and the United States, and she built a number of pieces into settlement houses, as she was an active champion of the settlement movement. She founded a workshop for teaching basic box-furniture carpentry to boys (and later girls), the Home Thrift Association; it had its first headquarters in New York’s Gracie Mansion. I was intrigued by what seemed an early appearance in the United States of an ethos of sustainability in design and wondered why I hadn’t heard of Brigham. Perhaps I had come across her and just forgotten? But when I went to google her, I discovered that very little has been written about her since her heyday, apart from a tiny handful of recent articles that argue for her as a pioneer of sustainable and affordable design. She did not even have a Wikipedia page. She does now, because I wrote one for her.

Louise Brigham's design for a quadruple desk.

I got so interested in Brigham that I dug out the contemporary newspaper articles on her, and I got a copy of her book (it’s also available as a PDF download from several websites, including Google Scholar). Working from these sources and two fine articles by Larry Weinberg and Jessica M. Pigza, I’ve reconstructed as much of her life as I was able to in a little over a week of digging, but huge gaps remain. I’m working on filling in some of the gaps, because the questions that occurred to me when I first saw Brigham’s work are still unanswered: What kind of person was she? What was her family background? What kind of art education did she get? Why did she not become a professional designer to the well-to-do like her friend Hoffmann? Did her ideas directly influence the De Stijl designers, and if so, how? How did she get involved in the settlement house movement? And most of all: how is it that this visionary spirit has all but disappeared from the historical record?

Louise Brigham, Wikipedia entry

Louise Brigham's Wikipedia page

Box Furniture received a good deal of initial exposure; it went through several editions and was translated into a number of foreign languages. It is one of the earliest design projects to incorporate the idea of modular or sectional units and to organize an entire program around both social and aesthetic objectives. It is a direct precursor of today’s do-it-yourself and sustainable design movements, as well as of consumer-assembled kit furniture such as Ikea produces. Yet none of Brigham’s work is known to have survived, and her box furniture project is all but unknown today, barely rating a footnote in the canonical story of 20th century furniture design.

The reasons for this erasure deserve closer examination, as part of the larger story of women’s role in the history of art, design, and technology. Right now, there are too many gaps in the story of her life to draw secure conclusions. So I invite anyone who knows something of Brigham to contact me, or to add to her Wikipedia page. And everyone in the Los Angeles area is invited to visit a small exhibition about her work that I’ve created—in tandem with another writer, Ruth Coppens—at the Institute of Cultural Inquiry. Entitled Evidence of Evidence,  it will be up until March 30th. (I’ve written a bit about how that exhibition came about here.)

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crowd-sourcing abortion

Birth or Not website

Birth or Not website (screen cap)

I imagine I’m not the only one on DiffEng who’s been following the strange history of the Birth or Not website, which was created by a couple named Pete and Alisha Arnold and invited internet visitors to vote on whether Alisha should abort her pregnancy. As one of the site’s taglines put it:

You can vote and choose whether we abort or keep our unborn child. For the first time, your vote on the topic of abortion can make a difference.

Right.

Leaving aside for now the misguided notion that ‘other’ votes on abortion don’t matter—such as voting for a pro-choice senator over an anti-abortion senator—what are we to make of this? Articles and interviews elsewhere on the web suggest one of two impulses behind this website: either it was a nasty stunt by Pete—who’s been outed as an anti-abortion polemicist active in right-to-life forums—that was designed to disgust people with abortion by offering them a personalized (but entirely fake) intervention; or, as Alisha states in a Nov. 24th blog post, it was the couple’s attempt to find their way out of an impasse since Alisha is pro-choice and initially disagreed with Pete over whether to terminate her pregnancy (she has since decided to have the child). Or, just possibly—a bit of both.

The vote was closed down on Nov. 28th, and as of this writing the 2 million votes registered on site (raw score: 78% for abortion, 22% against) were being analyzed for—I love this part—election fraud.

What I mainly see when I consider this story is a use of internet technology to enable something that looks new—voting on an abortion—but is actually just a sheeped-up old wolf of a problem. The central, bedrock issue in abortion is always the same: who controls the (pregnant) woman’s body? Those opposed to abortion don’t want to grapple with this easily answered question so they always try to change the debate to the much more elusive question of when an embryo can be considered ‘alive’, ‘viable’, ‘ensouled’, ‘human’, etc. Or they make claims about the woman’s inadequacy to the task of managing her own body—hence those recurrent suggestions about putting ‘crack mothers’ in jail.

Allowing a stranger on the internet to tell a woman if she can have an abortion is no different from allowing a legislator or judge or doctor to tell her this. Offloading the hard decision in any of these cases implies that the woman does not need to be in control of her own body and—worse—is perhaps even incapable of it. The Birth or Not site may have helped Alisha make her own decision (although it has blown back on her as well, if the reports that she lost her job over the website are true), but it has harmed, in a small way, every woman who has fought for this most basic right of control over her own body.

The fact is that Alisha wouldn’t even have the option of putting her decision up to a bunch of netizens if a lot of votes hadn’t been cast over a lot of time to create the current legal protections—shaky as they are—for her right to decide for or against an abortion. Those were the votes that ‘made a difference’.

photographing a feminist anarchist

Emma Goldman police mug shot, 1893.

I recently came across this double police mug shot of Emma Goldman over on Slate, in “A Short History of Mug Shots” (I’d guess they cribbed it from this mug shot site). I’ve seen at least one other pair of mug shots of Goldman (below), but I found this one particularly interesting for its semiotic slippages.

As with all such mug shots, the purpose is to construct the subject as a criminal (and in this case also as an undesirable alien). But Goldman’s neat hair and middle-class clothes—especially that great hat—partially block this reading. In Barthian terms, the hat is the punctum of the photograph, the point to which the eye constantly returns even though there is no possible sense in which it was intended as the focal point of the photograph when it was taken. Perhaps that is why the photographer made her take it off for the second shot.

Emma Goldman, 1901 mug shots.

Moreover, the lack of an immediate visible distinction between the two photographs (the vertical line traditional in mug shot pairs) suggests a first reading of not a single person but two sisters, perhaps twins, one more relaxed than the other. One can almost imagine these vivid images gracing a carte de visite. Nor would they necessarily have seemed too ‘serious’ for such a use. The technology of photography at this time was still such that—due to long exposures—everyone looked serious in their photographs.

The other mug shots (at right) do a better job with their criminalizing semiosis:  the stripped-off outer clothing, the wild hair, and the more rigid full-face and profile positions. Here, too, the plain background more clearly reads as a police station wall—in the 1893 photos, the impression is rather of an ordinary background out of focus.

Emma Goldman 'at home'.

Both of these mug shot pairs contrast with by far the bulk of the Goldman photos I’ve ever seen, which are  studio portraits typical of the era like the one at left. There are many variations on these—sitting, standing; full-length, bust-length—but a good number feature the ‘thoughtful intellectual’ typology of hand under chin.

I prefer either of the mug shot pairs to these studio portraits—although just as posed and just as formal, they are at the same time much more candid. In those mug shots I can see the determination, self-possession, and anger that must have been major features of Goldman’s character. The studio portraits seem perverse by contrast, offering (especially in the aggregate) a view of a comfortable, stable, middle-class existence that takes almost no account of her actual life.

random thought of the day

I was reading an article recently that used the phrase “serial monogamy” when it occurred to me that this is actually a rather curious phrase to choose for describing one of the major partnership patterns in the U.S. I mean, suppose we called it instead “variable polygamy”? Wouldn’t this do a better job describing a field of experiences that ranges from strict monogamy to many kinds of of overlapping relationships— not just those that overlap at the beginning and end, but various forms of polyamory, extramarital affairs, and so on. And it seems to me very problematic to describe the kinds of long-term involvements that are typical of the adults in divorced and extended families as a discrete series of monogamous relationships. I’d argue that the choice of “serial monogamy” has a good deal of wishful thinking in it—it’s prescriptive rather than strictly descriptive. However, ‘polygamy’ carries so much baggage in this culture that it’s a forbidden descriptor for all practical purposes. But clearly the choice of such sweeping designations has consequences for the culture, from the kinds of scientific investigations that are pursued to the ways in which certain relationships are normalized while others are demonized or overlooked.

DAC 2009

The international Digital Arts and Cultures conference is being held at UC Irvine this year, Dec. 12-19. Subtitled “after media: embodiment and context” it looks like being an exciting event. Among the dozens of presenters and session leaders are Nell Tenhaaf,  Andrea Polli, Nina Czegledy, and Katherine Hayles. There is an associated exhibition at the Beall Center for Art and Technology, as well as a concert. Come one, come all…

Be Careful What You Wish For?

I am impelled to write this out of fury as I watch American women’s right to affordable birth control (including abortion) get sacrificed in the Democrats’ push to pass a health care reform bill. I don’t even have much new to say on the subject that hasn’t been written elsewhere (see for example this post on doublex.com). In California, where I live, we have become used to watching a minority—Republicans—hold the will of the majority hostage through the rule that a 2/3 majority is needed to pass anything through the Legislature. This is exactly what is happening at the national level—a very small handful of Congresspeople—in this case, Democrats—has succeeded in holding the health care reform effort hostage to their outdated and misogynist views on birth control. Over 90% of American women use birth control at some point in their lives, and all of these women and their partners—representing a substantial majority of the country’s population—are going to be harmed by this perceived need to pander to a few legislators.

The phrase “be careful what you wish for” suggests that when one gets what one wants, there are usually unintended consequences that turn the moment into a Pyrrhic victory.  Certainly this looks like one of those moments for American women: take a big hit in the pocketbook, or even be forced by economic necessity to give up birth control altogether—which will be a catastrophe for many women and their partners—in order to get reform of a health care system that already discriminates against women (for example, in its pricing mechanisms). Yet even as I am placed in this double bind by Congress, I don’t find myself wishing I’d “been careful” and hadn’t supported the push for health care reform.  “Be careful what you wish for” implies an irreconcilable choice, but there is no sound reason why 100 million adult American women should not have both health care reform and insurance coverage of birth control.

I see this as a classic case of a technology that doesn’t have a powerful enough interest group behind it. Which suggests both that American women still have a long way to go in owning their fair share of political power, and that people should be much more skeptical about the socio-political mechanisms by which new technologies get adopted. If a small group can derail such an important and widely used technology, then in the case of a successful technology one should always look for the power groups that pushed it through and not just assume that it was bound to happen that way.

I find myself fantasizing about a last-minute rescue of the birth-control provisions of the health care reform legislation, or about some kind of constitutional challenge eventually going forward to the Supreme Court. The first fantasy is pathetic and the second—given the present makeup of the Roberts Court—seriously deranged. But fantasy is one of the pernicious side effects of political impotence.

Cartoon We

In an idle moment the other day (yeah, I really shouldn’t admit to having those in academia), I loaded into my Firefox an add-on I found on Facebook called MyWebFace that promised to let me make a cartoon image of myself.

An aside: I might add that I found this app only because I was searching the Facebook ad board looking for an ad that I would be willing to  ‘thumbs up’ to appear alongside my page. Not only did I find no such thing, I discovered that Facebook now does not allow users to ‘thumbs down’ an ad. Possibly this is my fault, since I relentlessly thumbs-downed (down-thumbed?) dozens of ads in my first weeks on Facebook, hoping to help skew the ad pool toward public service ads and away from shopaholic ads (the bulk). It always gives you a good feeling as an adult citizen of a republic when your options are: you may approve of this, or you may approve of this.

Back to MyWebFace. It’s set up as a kind of simple Identi-Kit, allowing you to construct your face from mostly predictable parts: noses, eyebrows, lips, etc., all of various shapes. Size, color, and placement of most objects can be adjusted. 9686912After I was finished, I ended up with what you see here. Anyone who knows me will see that this is not a good cartoon of me; the reason for this lies in the kinds of choices the software gives—and just as importantly, withholds. Eyebrows, eyes, and mouths come in a fair range of shapes (not enough noses, though). Skin color is wide open– a matter of picking from a palette of millions of shades.

For face shape, however, you appear to be stuck with a default upper half of the face and a modifiable chin. Result for me: entirely wrong face shape. (Oddly, you can choose various kinds of ‘blush’ for your cheeks, as if that is more important than basic face shape.) In addition, the general body type is  too skinny for me and not modifiable (this head shot is a detail of a full-length image). Hair style: no options match my admittedly idiosyncratic style. Accessories: no glasses frames match the ones I wear. Hair accessories and hats: nothing matches what I wear; the earphones were the best option because I use them when playing online games. Clothing: nothing really matched in the limited choices, largely because almost all the clothing styles skewed at least a decade younger than I am. In general, registering aging was not an option. You can make your hair all blond/red/brown/black, or all gray, and nothing in between—no one in MyWebFace’s world is grizzled. There is one pane for wrinkles, but they’re so lightly drawn and weirdly thought out that they don’t make the face look older so much as scribbled on. Basically, you can’t make yourself look older than about 25 with this software (or to be fair, much younger either; no kids need apply). Can you say target demographics?

Coincidentally, as I was halfway through writing this, I stumbled on the image below over on boingboing.net, in a post rejoicing in the wonderful  title “Ralph Lauren opens new outlet store in the Uncanny Valley.” laurenThey credited a favorite site of mine, Photoshop Disasters, where the image has since been made to disappear by a DMCA-wielding Ralph Lauren; see this Huffington Post entry for a similar threat against boingboing. Ralph Lauren has admitted to their “poor imaging and retouching that resulted in a very distorted image of a woman’s body.” Yet model Filippa Hamilton was fired by Ralph Lauren last April; she says they told her she was overweight. So fashion logic has finally created the inevitable impasse for itself, in which the cartoonized emaciation of this image is “very distorted” but a 5’10″ model weighing 120 lbs is “overweight” (although one might want to take models’ claims about their height-to-weight ratio with a grain of salt; given the constraints of their job, they have every incentive to modify this figure to gain professional advantage.) In other words, at ground zero of the American female body image, the concept of “just right” has at last shrunk to a complete null set.

My reason for making this post, though, has less to do with the general problem of body image than with the propagation of this cartoonization through software—through Photoshop, which allows it (but does not require it; you can just as easily make yourself fatter and older in Photoshop), and MyWebFace, which actually requires it. What has previously been reinforced through consumption of media created by others, we are now made complicit in reinforcing through the software we ourselves use and the objects we ourselves make.

Dusting off the patriarch

For those of us who grew up in Massachusetts, immunized by long exposure to the national obsession with All Things Kennedy (sort of like 18th century milkmaids and cowpox?), this has been a long week of déja vu. Without detouring into the late Senator Edward Kennedy’s complex life, I want to consider why the media seemingly finds it impossible to refer to Kennedy without using the term ‘patriarch’—and, in at least one case that I stumbled across, ‘revered patriarch’. Of course, in our democracy there is no longer any legal sanction for the position of patriarch as head of an extended family, as that terrain of authority has been partitioned up among the much more modest scopes of “head of household,” “parent,” “guardian,” and the like, while expanding to include both men and women. In one sense, patriarch is now little more than an honorific designating the high influence within a family exerted by a senior male (although I should note that saying it is “little more than” an honorific does not do justice to the fact that by sheer repetition, honorifics reinforce the importance of the status that they assert).

However, the relentless appearance of the term coupled with Senator Kennedy’s name suggests that the word is doing other work as well, serving as code for what cannot be said otherwise. For one thing ‘patriarch’ makes visible a large number of otherwise irrelevant individuals by linking them up into a subordinate web: not just family, but abject family. It is impossible to use the word patriarch without envisioning a vast faceless horde milling about aimlessly, waiting for the patriarch to tell them what to do. Somewhere a Kennedy third cousin once removed is living some kind of life that has nothing to do with the ‘clan’, but evoking the word patriarch immediately sweeps this person into a crowd. One consequence is thus to make the patriarch’s position of informal influence seem larger than it may actually be. There is no question that Senator Kennedy was hugely influential in Congress, in the formal context of his job; but was he really the go-to guy for all those hundreds of random individuals linked by accidents of birth? To put it another way: doesn’t it actually put Kennedy down to suggest that he was influential because of progeneration rather than because of his own competence as a Senator?

Another function of the word patriarch in this particular instance may be to allow the media to underline the size of Senator Kennedy’s family—one of nine children himself, he has numerous near relatives in his own and the following generation—without getting bogged down in often fractious debates on family size in America. ‘Patriarch’ can thus serve as code for suggestions about Catholic fertility or male virility that the writer doesn’t want to explicitly adumbrate for fear of offending someone. It is left to the individual reader to decode the hidden text.

I believe that the chief work the word does in this context, however, is to express the realities of nepotism without going into the ugly details. Senator Kennedy’s father, Joseph P. Kennedy, ruthlessly bought, bartered, and finagled his way to wealth and power, and then used both to further political careers for three of his sons. Their individual qualifications for the jobs they held aside, they each benefited from Joe Kennedy’s machinations on their behalf; and this pattern has been replicated in the following generation. Certainly nepotism is no new force in American politics; indeed, a 2003 article in Atlantic Monthly by Adam Bellow argues that this is a golden age of dynastic politics (Bellow sees political nepotism as a force for both good and bad). ‘Patriarch’ puts a normative face on this reality that serves to sweep it back under the rug.

I do realize that this is something of a basic gloss on Patriarchy 101; also that I have not addressed the rather dissimilar use of the word ‘matriarch’ in connection with the Kennedys. But I do find it interesting that not all the disquisitions on patriarchy over the last half-century could keep journalists of all stripes from reflexively grabbing for ‘patriarch’ as a term of admiration when Senator Kennedy died.

Enough, already.

blogging the numbers

I stumbled on an interesting post over at double X blog that roundly criticized much writing about how women have been affected by the economic downturn as “recession lite.” Its central complaint amounts to too much soft news, not enough numbers. The author—Linda Hirshman, a retired professor of philosophy and women’s studies at Brandeis—goes on to commend a number of feminist blogs and initiatives that are making a point of grappling with the relevant statistics, with an eye to affecting public policy.

I don’t know how accurate Hirshman’s overall picture is—though I picked up on it partly because I had long since become annoyed myself about all those silly depressionista stories about how Clipping Coupons Saves Thousand$! or When Mom and Dad Move In to Your Basement! Hirshman is mainly taking women writers to task for this, so I don’t know if she shares my (admittedly anecdotal) sense that just as much of this fluff is coming from men as from women writers but wants to hold feminist bloggers to a higher standard, or if she really thinks women writers churn out more anumerical fluff than men do.

If the latter is true, I am left wondering: is this one of the predictable downstream effects of an acculturation process that has pushed so many women away from mathematics in high school? Or an effect of longstanding gender assumptions in the publishing field, regarding both which stories women reporters should cover and which stories women want to read? Or both? Or, more optimistically, is the interesting story here to be found in the signs of a reversal, given that recent statistics show more women now take advanced math in high school and beyond (e.g. the 2008 study published in Science)?

OK, count me also guilty here of speculating about trends in the absence of good—make that: any—numbers. So tempting, and so dangerous…

where women aren’t

An interesting discussion has been taking place on the ‘faces’ listserv of women in media and communication arts concerning the continuing underrepresentation of women artists in galleries and other exhibition venues. Artist Deborah Kelly started the discussion off with a post entitled “Are there any women artists in France? At all?,” writing:

“I just received the regular newsletter from the Palais de Tokyo, which has a very active program which seems to show male artists exclusively. Not that the curators ever feel the need to mention or notice or highlight (OR EXCUSE) such a thing….

Women are ‘mysteriously’ vanishing from public life and art— perhaps partly because we stopped counting and calling to account.”

In the deluge of responses, many different aspects of this frustration were articulated: that when the issue is raised in public forums, men don’t see a problem or a need to participate in the ensuing discussion; that women curators don’t show enough women artists; that the need for Guerrilla Girls style activism never seems to abate. The writers are calling the situation bad everywhere, and some participants voiced concern that the situation is actually getting worse (and I would guess that it is likely to continue doing so, given that the poor state of the world economy will tend to make people behave more conservatively in general).

From artist Anne-Sarah Le Meur:

“I began to boycott exhibitions with 100% [male] participants. In France, if you have 10% women, you should be happy.”

From artist and writer Martha Rosler:

“In 2005 or 2006 a young male German curator working in England told me that a young male French curator had proposed a show for the English institution, and the curator says he exclaimed in shock, ‘But there are no women!’ The French guy stared at him and replied, ‘We don’t have to think about that any more!’….

Guerrilla Girls are still working hard here in the US because things are slipping back back back… And women artists are still disrespected by most critics.”

From artist Perry Bard:

“I just came back from Beijing where I’m in a show with 10 male Chinese artists and 10 artists from US male and female. When I asked the curator why no women he said they weren’t ready yet.”

Not to pick on China, but—over half a billion women and none of them are ready?

For a look at some recent statistics for Australia, check out the CoUNTess blog (“women count in the artworld”), which features a spreadsheet summarizing the poor situation on that continent.

In new media, digital media, computer art, techno-art, and related “hot” areas, a number of observers (myself included) have noted a closing down just in the last decade or so. That is, in the early 1990s, when the web was new and hardly anyone knew what “new media art” or “internet art” or “interactive art” or any of those other neologisms might be, women were much more visible and exhibitions were more inclusive than they are now. (It would be interesting to see some research nailing down this anecdotal evidence.)

One question this raises is the degree to which the problem in the techno-arts is not just one of inadequate curating, but might also have to do with women leaving the field in discouragement (or not entering it in the first place). Speaking from my own limited experience as a curator in the United States, I would venture that both are at work. In 2000, I co-curated a show on computer games and art (SHIFT-CTRL) that included roughly 40% women (the numbers are difficult to count precisely since several companies and large collectives were included). Four years later, when I co-curated a sequel exhibition on independent and alternative games (ALT+CTRL), the proportion of women artists was much lower despite energetic efforts by all three curators to recruit women for the show—no more than 15%, a percentage that reflected the tiny proportion of women who responded to the show’s open call and to our recruitment efforts. If I had this latter exhibition to do over, I would handle it quite differently; I feel that we missed a real opportunity to take issue with the culturally embedded notion that games are a male domain.

The question, as always, is: what is to be done? Several listserv participants noted that some women artists, perhaps especially younger artists, don’t want to be included (or made to feel they’re being included) in shows as part of a quota of women. But as artist and writer Faith Wilding noted in her response:

“Maybe tactics of solidarity have to be invoked again—if you are the only, or one of the only women artists invited to an exhibition, conference, etc. then tell them you won’t participate unless they change the list (also make them think about needing to include differences in general).”

And Martha Rosler likewise noted that it is critical that women own the fight and not succumb to that maddening sense that it should have been won by now.

She added:

“In 2003 a young female French curator held a panel in Paris about this very problem and the audience was packed with young women. One asked, in anguish, ‘Why did we fail?’ I could only answer that history is not yet over…”

And this is really why the problem has to be addressed vigorously. Exclusion from exhibitions is only the first stage in a vicious spiral. If you’re not in the exhibitions, you don’t get bought by collectors, who later pass their collections on to museums, who draw on those collections for future shows. And perhaps most importantly, you don’t get included in the books that periodically emerge summarizing the state of a field. You are literally written out of history. (And don’t count on the rewrite—it’ll have its own inaccuracies).

If this sounds like a call to arms, it is. And I’m not just talking to you (whoever ‘you’ are). It’s myself I need to remind, as much as anyone.