A Seattle Times review of a recent Madonna tour stop praises the artist for “rocking us as a feminist icon” and applauds the singer for her brazen sexuality: “stripping down to a bra, then pulling her pants down below a thong and baring her cheeks to the Key [Arena].” Even the Guardian’s Freeman, in an ode to Like a Prayer, the writer’s favorite album, speaks longingly about Madonna’s midriff-baring ’80s fashion and the video to the title track, which “featured a woman named Madonna apparently giving a blow job to a black Jesus.”
Through a career that has included crotch-grabbing, nudity, BDSM, Marilyn Monroe fetishizing, and a 1992 book devoted to sex, Madonna has been viewed as a feminist provocateur, pushing the boundaries of acceptable femininity. But Beyoncé’s use of her body is criticized as thoughtless and without value beyond male titillation, providing a modern example of the age-old racist juxtaposition of animalistic black sexuality vs. controlled, intentional, and civilized white sexuality. — All Hail the Queen? | Bitch Media (via npr)
Hopper Drawing opens today! The first major museum exhibition to focus on the drawings and creative process of Edward Hopper, this survey pairs many of the artist’s greatest oil paintings, including Early Sunday Morning (1930), New York Movie (1939), Office at Night (1940) and Nighthawks (1942), with their preparatory drawings and related works.
Top: Edward Hopper (1882–1967), Study for Nighthawks, 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 × 15 in. (28.3 × 38.1 cm). Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange 2011.65; Bottom: Edward Hopper (1882–1967), Nighthawks, 1942. Oil on canvas, 33 1/8 x 60 in. (84.1 x 152.4 cm). The Art Institute of Chicago; Friends of American Art Collection. © The Art Institute of Chicago.
Good morning. Do you have a face? Do you have a cat? Perhaps you’d like to give yourself a catbeard and take a selfie?
Women are afraid of meeting a serial killer. Men are afraid of meeting someone fat. —
When Strangers Click, a 2011 documentary about online dating.
It reminds me of that famous Margaret Atwood quote: “Men are afraid that women will laugh at them. Women are afraid that men will kill them.” It also reminds me of something written by one of the mods of Sex Worker Problems: “Misandry irritates. Misogyny kills.”
I mean, it’s just true.
“Misandry irritates. Misogyny kills.”
That’s it. That’s it right there.
Stop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … [W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art. — Brian Eno (via cavetocanvas)
(Source: jessiethatcher, via cavetocanvas)