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Female Artists Fight for Equality. It’s Not a Pretty Picture.

On Thursday, Mnuchin Gallery and Berry Campbell Gallery in New York City will both launch shows dedicated to the work of Lynne Drexler, a painter whose trajectory follows a now-familiar narrative when it comes to women artists: though Drexler kicked off her career to much acclaim, even being compared to van Gogh, she languished in obscurity for most of her life.

It took until 2022 for her works to be reevaluated and command impressive auction results—estimated to sell for $40,000 to $60,000 at Christie’s in March, one of her paintings went for around $1.2 million. Drexler can’t enjoy her success, because she died in 1999.

“The art world loves old ladies and young bad boys,” Marilyn Minter, a deeply cool chronicler, in paintings and photographs, of the sensual mundanities of a woman’s life, told The Daily Beast on Tuesday, “and even if they love you, you’re not gonna succeed on the market over the most mediocre white male."

“There’s never, ever been a female artist that has hit the white heat of somebody like Damien Hirst or Julian Schnabel, where they can’t do anything wrong,” Minter said.

Minter was featured in the 2006 Whitney Biennial, made a film that was displayed in Times Square and has been featured in several solo exhibitions, achieving an impressive level of prestige. Still, the same market restrictions endlessly echo and reverberate, like ripples in an infinite ocean: the most Minter’s work has ever sold for is $269,000.

“I don’t pay attention to the high end of the market because I’m not one of the players, so it’s better for me to not even look at all,” Minter said. “But I’m one of the lucky ones, because I can make a living from my work.”

Earlier in October, contemporary artist Caroline Walker set a new personal auction record at the Frieze London auctions when her painting Indoor Outdoor (2015) sold for $598,081 over an estimate of $67,519–$90,047, Artsy reported last week.

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