The Ultimate Fighting Championship (UFC) has announced the launch of the ‘Strike’ non-fungible token (NFT) marketplace in collaboration with blockchain technologies company Dapper Labs.
Blockchain startup was valued at US$7.6bn in September. Dapper Labs has created NFT platforms for NBA, NFL and LaLiga. Recalculating Art is on BBC Radio 4 at 11.30am on 11 August. Or the art that I think is more interesting.” As Bellatrix Hubert of the David Zwirner gallery in New York, says: “If I’m looking at the artists we’re most interested in right now, it is predominantly women that are making the best art. For canny investors who want a bargain and a higher return, it’s a no-brainer. Even though prices for work by female artists are starting from a far lower base, they are currently rising 29% faster than for art by men. Auction houses are now pushing female artists, and the Venice Biennale was hugely weighted towards women this year.Ĭollectors are noticing too. A few are even selling art by men in order to buy more art by women. Museums are trying to rebalance their collections. The good news is that the world is slowly starting to change. So female artists are really up against it. They were told that people would no longer take their work seriously that buying their work was too much of a risk because they wouldn’t be as committed to their careers. Meanwhile, some female artists have been dropped by galleries as soon as they announced they were pregnant. The same happens if they are given a temporary show. Once an artist has been bought by a museum, the value of their work soars. Where is Artemisia Gentileschi? Or Frida Kahlo? Or O’Keeffe? And you only have to look at museum collections to see how disproportionately male they still are. It mentions just one female artist in its 688 pages. You only have to look at EH Gombrich’s The Story of Art, still the bestselling art book in the world, assigned to art students everywhere. Most expensive ever … Salvator Mundi fetched $450m. And, of course, convention and history were framed by patriarchy.” So there’s been a sort of confirmational history, which you could call the canon. Everybody lacks confidence, everybody’s looking for confirmation. How have we got here? Frances Morris, director of Tate Modern, says: “Women artists have fared very poorly because there’s been an unconscious collusion between the marketplace, art history and the institutions. As she puts it: “The same artist, the same painting.” If the collectors were told it was painted by a man they said they liked it more than if they were told it was painted by a woman. Then she showed a sample of affluent men who visit galleries – the classic profile of an art collector – a painting created by AI, and randomly assigned it either a male or female artist’s name. This is pretty good evidence that art by men is no different from, and thus no better than, art by women. They guessed right 50% of the time – no better than tossing a coin. 
She showed participants five paintings by men and five by women and asked them to identify the gender of the artist. Could it be that men are simply better artists? Oxford professor of finance Renée Adams decided to put the idea to the test.
“That’s just absolutely mind-blowing,” she says. While the value of a work by a man rises if he has signed it, the value of a work by a woman falls if she has signed it, as if it has somehow been tainted by her gender. Gorrill stumbled across another startling finding. In Leonardo’s long shadow … Georgia O’Keeffe in New Mexico, 1960. Yet it presides over the biggest pay gap I can think of.
For some time, women have made up 70% of students in art college, selected on merit, and the art world prides itself on its liberal, progressive values. “It’s the most shocking gender value gap that I’ve come across in any industry at all,” she told me for a BBC Radio 4 documentary, Recalculating Art.
Helen Gorrill, the author of Women Can’t Paint, has studied the prices of 5,000 paintings sold all over the world and found that for every £1 a male artist earns for his work, a woman earns a mere 10p. But even among living artists, Jeff Koons holds the record, at $91m, while the female record held by Jenny Saville is just $12.5m.Īnd lower down the chain, a 10:1 disparity still holds. For most of human history, women were not allowed to practise art in the same way as men so there are inevitably fewer old mistresses than old masters. Buying their work was seen as risky as they wouldn’t be as committed to their careers Women were dropped by galleries on becoming pregnant.
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