I am reminded of an audition process a conductor friend of mine once explained. The musician plays their instrument and chosen piece behind a screen. Hence no gaze and no gender-based decision on whom to hire. It becomes all about the music (art).
as always, i am so inspired to thought, meditation, and pondering after reading your words.
this week's post also brought me back to a project that i wanted to do years ago. while traveling around the country, i noticed that a majority docents in museums that i visited in large cities were white while the museum staff that walks the space was mostly comprised of people of color. i wanted to interview these people to see what it was like to be in rooms where people were gazing at everything but them. i wondered if they felt invisible. it's a wondering...
Untitled/Portrait of Ross (no relation) absolutely wrecks me. A tiny bit of information about the piece takes it from curious but impenetrable to deeply moving and unforgettable, inviting the viewer to take part emotionally without demanding it via confrontation. This also seems to echo a more fluid and feminine approach, welcoming a longer and more involved experience and/or conversation with the art and the subject.
So interesting. When I have lectured about my work as a fine art photographer, the questions after my presentation are so telling. The men usually ask questions about my "gear", whereas the women tend to ask questions about meaning and my internal process.
In our culture, there is a devaluing, even a mocking, of the feminine approach to art (well, to everything, let's be honest.) Look at the poo-pooing of Yoko Ono's art, which asks questions and begs interaction.and reflection. Then, yes, you have someone like Koons. There are countless examples. The fact that the male director you mentioned was incredulous of DuVernay's use of counselors smacks of not only the discomfort with the feminine, but the belief in the "inferiority" of it - vulnerability defined as weakness, when, especially in acting, it is a strength. I wish we could get rid of the words masculine and feminine as far as the approach to art making or any process or activity, because there is still too much bias applied to the terms. What could we use instead?
So very insightful. Just READING The Description of meaning behind the 175lb candy pile work made me go "awwwwhhh"! Will re-read your essay again and again and sit with it to investigate into my own reactions to art, as well as my own traits when creating a work. I love the M/F graph you made, want to use as an investigative tool for unpacking my ways of viewing, and creating, Art!
I am reminded of an audition process a conductor friend of mine once explained. The musician plays their instrument and chosen piece behind a screen. Hence no gaze and no gender-based decision on whom to hire. It becomes all about the music (art).
as always, i am so inspired to thought, meditation, and pondering after reading your words.
this week's post also brought me back to a project that i wanted to do years ago. while traveling around the country, i noticed that a majority docents in museums that i visited in large cities were white while the museum staff that walks the space was mostly comprised of people of color. i wanted to interview these people to see what it was like to be in rooms where people were gazing at everything but them. i wondered if they felt invisible. it's a wondering...
Untitled/Portrait of Ross (no relation) absolutely wrecks me. A tiny bit of information about the piece takes it from curious but impenetrable to deeply moving and unforgettable, inviting the viewer to take part emotionally without demanding it via confrontation. This also seems to echo a more fluid and feminine approach, welcoming a longer and more involved experience and/or conversation with the art and the subject.
So interesting. When I have lectured about my work as a fine art photographer, the questions after my presentation are so telling. The men usually ask questions about my "gear", whereas the women tend to ask questions about meaning and my internal process.
In our culture, there is a devaluing, even a mocking, of the feminine approach to art (well, to everything, let's be honest.) Look at the poo-pooing of Yoko Ono's art, which asks questions and begs interaction.and reflection. Then, yes, you have someone like Koons. There are countless examples. The fact that the male director you mentioned was incredulous of DuVernay's use of counselors smacks of not only the discomfort with the feminine, but the belief in the "inferiority" of it - vulnerability defined as weakness, when, especially in acting, it is a strength. I wish we could get rid of the words masculine and feminine as far as the approach to art making or any process or activity, because there is still too much bias applied to the terms. What could we use instead?
So very insightful. Just READING The Description of meaning behind the 175lb candy pile work made me go "awwwwhhh"! Will re-read your essay again and again and sit with it to investigate into my own reactions to art, as well as my own traits when creating a work. I love the M/F graph you made, want to use as an investigative tool for unpacking my ways of viewing, and creating, Art!