“The most remarkable feature of the show is that the printouts are reflected perfectly in Gagosian’s shiny floor. Thin offerings for anyone who is in possession of a brain.”
— Paddy Johnson, how do I love thee? Let me count the ways….
"A picture taken on October 15, 2014 shows workers setting up a 24-meter-high inflatable sculpture, called "Tree", by US artist Paul McCarthy on the Place Vendome in Paris. The sculpture, which was set up as part of the 41st edition of the FIAC Art Fair scheduled from October 23 to 26, was reduced to a flaccid heap on October 18 after vandals attacked it, cutting the cables with which it was kept in place, leaving it slumped on the pavement and a security guard with no choice but to deflate it, as it for its resemblance to a sex toy. AFP PHOTO/BERTRAND GUAY." (Artdaily.com)
A few thoughts:
“The mild despair and temporary loss of the will to live I experienced on visiting this year’s display may be associated with the fact that three out of the four shortlisted artists are showing a film or video work. James Richards’s film “Rosebud,” 2013, is a visual-aural melange of stills from censored Japanese erotic photographs discovered by the artist in a library, intercut with footage, including bits of somebody’s arms flopping around while they roll around on the floor and other sequences shot half under water. At this point, traditionally, the critic explains why the artist is doing this, but I’m not sure I can…the phrase “willfully recondite” came to mind.”
» In other words, I wanted the site to promote the female gaze. That goal is still laudable and, one year on, I still think it matters: We live in a world that overwhelmingly values and prioritizes male pleasure, and our mainstream pornography treats male viewers as default, whether or not they’re straight, while glossy magazine articles ostensibly for women are all about how to please men (10 Tricks to Make Him Go Wild! Your Own Pleasure?! Who Cares!). Dated ideas about female sexuality linger in our cultural psyche, whispering to us that we simply aren’t visual creatures, that we prefer literary erotica and gently whispered romanticisms, and that most of us are the good type of woman who would fall apart at the sight of a gang bang. We need more sexual material that assumes a female audience, and we need more honest representations of female desire. But the longer I stuck with running Critique My Dick Pic, the less convinced I was that the female gaze is an adequate term.
Madeline Holden, Dick Picky, for the New Inquiry, October 2014.
(…) If the female gaze ends up boiling down to a collection of stereotypes about what heterosexual cis white women like looking at, then it isn’t radical; it’s a hollow rhetorical device that promotes the desires of a narrow group of privileged women while purporting to include us all. So while we shouldn’t stop putting women in the position of gazers, what we really need to cultivate is a plurality of gazes.
We need different types of women, marginalized men, and nonbinary people to vocalize their desires until we destabilize the demand that insists on a single perfect consumer, a uniform gaze designed to tell us what we want instead of answer to it.- fette
I think it’s time to revisit my “the Female Gaze" tag and start a new one called "Plurality of Gazes"
“I realize that I have begun to view the work itself as being either intentionally or unconsciously produced expressly to cater to the 1%. I go into a gallery now and—rightly or wrongly—immediately think, “inoffensive tchotchkes for billionaires and the museums they fund.” I can’t see the work or any ideas behind most of it anymore—if there even are any.”
Kwon Young-Woo at Blum and Poe