Imagine that she'll have a print run
of 8,000
copies (based on a
number of authors I've
talked to, this is about right — if you're getting more books printed than 8,000, and your advance is $ 3500, you're being seriously low - balled on the advance figure), and she'll sell 6,000
of those in the first year at 8 %
of the cover price
of $ 7.99, giving her $ 3835.20 in print earnings.
Wilke has also participated in a large
number of significant group exhibitions including the forthcoming exhibition Virginia Woolf: an exhibition based on her writing, Tate St Ives (2018); Delirious: Art at the Limits
of Reason, 1950 - 1980, Met Breuer, New York (2017); Body
Talk, Rose Art Museum, Waltham (2017); Feminist Avant - Garde
of the 1970s, ZKM, Karlsruhe (2017), travelling to Stavanger Art Museum, Norway and The Brno House
of Arts, Brno (2018); I Remember Not Remembering, Scottsdale Museum
of Contemporary Art (2017); The Beguiling Siren is Thy Crest, Museum
of Modern Art in Warsaw (2017); Performing for the Camera, Tate Modern, London (2016); Revolution in the Making: Abstract Sculpture by Women, 1947 - 2016, Hauser & Wirth & Schimmel, Los Angeles (2016); Americana: Formalizing Craft, Perez Art Museum, Miami (2013); Aquatopia: The Imaginary
of the Ocean Deep, Nottingham Contemporary (2013); Human Nature, Los Angeles County Museum
of Art (2012); Naked Before the Camera, Metropolitan Museum
of Art, New York (2012); Elles: Women Artists from the Centre Pompidou, Seattle Art Museum (2012); The Body as Protest, Albertina Museum, Vienna (2012); Ourselves, Australian Centre for Contemporary Art, Melbourne (2012); The Original
Copy: Photography
of Sculpture, 1839 to Today, MoMA, New York and elles@centrepompidou, Centre Pompidou, Paris (2010).
Professor Salby refers to a
number of graphs in his
talk, but I have been unable to track down
copies of these, therefore we'll have to rely on what I'm able to glean from the podcast, and given it's length, I'll only address some
of the more obvious mistakes.