Art
She made an artwork that excluded men. A man sued for discrimination
At the Ladies Lounge of Australia’s Museum of Old and New Art (MONA) on the island of Tasmania, only one man is allowed inside: a butler, who serves the women.
The lounge, a conceptual artwork, is decorated with Picassos and other expensive adornments and is separated from the rest of the museum with opulent green curtains. A staff member is posted outside to prevent the entry of any visitor who does not identify as a woman, and guests can indulge in a $325 high tea service featuring fancy finger food.
On Tuesday, one of those excluded men, Jason Lau, argued before the state’s civil and administrative tribunal that the lounge violated anti-discrimination laws by keeping him and the rest of his gender out. He submitted it should cease operating as it currently does.
Catherine Scott, a lawyer representing MONA’s parent company, told the tribunal in her written submissions that Lau’s exclusion was “part of the art itself.”
The American artist behind the lounge, Kirsha Kaechele, who is married to the private museum’s owner, told the tribunal that the practice of requiring women to drink in ladies lounges rather than public bars only ended in parts of Australia in 1970 and that in practice, exclusion of women in public spaces continues.
“It was only recently suggested to me in a pub on Flinders Island that I might prefer to sit in the ladies lounge,” she wrote in her witness statement, referring to an island near Tasmania. “Over history, women have seen significantly fewer interiors.”
Scott wrote that discrimination was legally permitted when it was “designed to promote equal opportunity for a group of people (women) who are disadvantaged.”
Kaechele said in a phone interview she will appeal to the state’s Supreme Court if the tribunal finds against her work and might move it to a venue elsewhere. “We won’t let men in,” she said. “That’s not happening.”
But she said she “got a rise” out of the discrimination complaint and was “pretty excited” when she learned it had been filed over her work. “It carries it out of the museum and into the real world.”
MONA is owned by David Walsh, an eccentric collector who came from a working-class background in Hobart, Tasmania, and made a fortune through gambling.
The museum has made a habit of provocation. MONA and its associated festivals have been protested by Christians, animal rights groups and Indigenous people over various planned works, and its controversial exhibits include a wall of sculpted vulvas taken from real women, as well as a machine that mimics digestion and defecates daily.
Kaechele attended the tribunal Tuesday flanked by 25 female supporters dressed in pointedly court-appropriate attire — think pearls, suits and stockings — and carrying literature on feminism, art and history, she said. When testifying, she read a poem by the Guerrilla Girls, a collective founded in New York in the 1980s that protests sexism in the art world, she added.
“I don’t consider myself a feminist artist, but this particular work is part of a continuum of that type of work,” she said. “So that’s new territory for me as well, and I’m really enjoying it.”
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.
The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.
Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”
With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.
The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.
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