RESOLUTION-DATA: (Museums, Documentas & such…)

1. When a museum deals with a specific subject-matter in art, it should research it almost in an academic manner & present the subject on its grass-roots adaptation. Its role should be didactic & it is only natural that such ambivalent issues, as Feminism, which was an avant-garde underground movement in the 70's should under those circumstances appear on surface as an acknowledged "ism" in the art, as was the case wit Cubism, Expressionism, etc., under the hospice of a museum as the missing link in what is called History of Art/Herstory.

2. It is thus unacceptable that such issues as Feminism in the Arts will always reinvent itself according the interest of exhibition organizers on its protege… Such shows as Documenta (Kassel, Germany) should function as museums as such, accumulating information & research grass-roots movements in the arts, coordinating those with regards to the artists within their social context, communicating the message in a comprehensive manner to the public. If Documenta 12 has declared its item (among others) "Is the Classic our Modern (art)?" such a field research should have occurred bringing to the surface all those avant-garde underground artists working on those issues – thus, could the public have been informed & introduced to authentic work on that subject-matter. However, the organizers have reinvented the subject-matter according the art market & to their own personal ambitions to be considered as innovators in the field, thus annihilating the authentic artists from the art scene (who can face the multimillion Euro mega-shows?)

3. The invitation of authentic artists & inventors of new art movements in such museum topic art shows should also be compensated by payment acknowledging thus their contribution to the arts, but with no relation to the art market, considering the value of their art according their working value as that of any worker….

4. A new tendency has occurred in recent years; that, of popular film-makers adapting an art style such as Installation Art as their mean of expression, showing in art oriented spaces. Thus using their notoriety as film-makers to attract the ignorant public into believing that they are the inventors of such an unpopular field, yet invented by unknown artists, while they receive all the credit for their minor creations….

5. When such film-makers get such honorable spaces within museum walls such as Beaubourg (Godart, i.e.) such issues should be first of all researched by organizers as mentioned above & the grass-root movements on their artists should be recognized & brought forward to public.

6. A few years ago my mother was diagnosed with Alzheimer decease. All care-taking responsibility fell on my shoulders. Finding that no suitable public care-taking was available, beside technical aspects. Thus the end of life becomes a farce; the fate of old-age & Alzheimer should be as that of well-bred Kindergartens, reinventing them on their emotional & psychological aspects besides their functional….Women as Alzheimer, lacking historical perceptions nor authority are subjects to being abused..….this is due to change. (M. Sharon, 2007–11–04)

NON-PROFIT WOMAN ARTIST (BEIJING, NGO Conference, 95)    (Video symposium, Tel-Aviv, 99) – 2007 (Filmography)
By Miriam Sharon

Museums, Art Institutions, Representatives of global art shows etc., function as elitist institutions when their curators act as sole decision-makers, with relation to policy concerning the choice of artist & exhibition to be shown under their roof & leadership…Thus they take the credit of innovators & inventors of Art Movements, changing the real facts in the arts, on their grass-roots avant-garde art movements. In order to bring the real authentic facts in the arts on their formation & remain faithful to actual history, on its art streams with its artists innovators on top, those museums should in the first place change their elitist policies & the hierarchical, authoritative status among curator/artist. The artist should thus work autonomously & his/her choice should not be made according to personal choice of its curator, but according to historical facts of his/her work in situ, & with relation to art movements when they happened. (See; Cubism, Expressionism, etc.) Such artists should be given the possibility to show on the totality of their work (which was banned from art institutions for ages & from its public…) Retrospectives as such are shown in Cinematheques, when film directors are shown on all variety of their work. The artist will be in charge, partly & together with the museum, for the funds necessary for such display of work, beside decision-making concerning the art show itself. The democratization of art within all elitist art institutions, will ban the personal choices of its past sole rulers made for their proteges & for their own benefit; thus bring to light all grass-roots movements in the art banned from the art establishment for sexist, racist & ruling class reasons by those who behaved as an exclusive private club. The choice of works & exhibitions ought to be made according to the innovative works done in situ, such as was the case with known past movements; as Cubism, Abstract-Expressionism or Avant-garde Feminism*

* The writer of this essay belong, specifically, to the ecological feminist art stream, as one of its innovator…M.S. 07