*Both are Ferrel AF*
These series of paintings and photographs are no longer paintings or photographs but merely digital representations of a handmade three dimensional object, shifting their study and their ordinary form. Compressing paintings and photographs to fit our devices of choice eliminates the intended experience and the grand awe of the work itself. Invoking a different understanding and attitude through glitching causes audiences to take a step back and mull over the contrast between standing in front of a painting and looking at it online as a JPEG. They are still masterpieces but interrupted and interpreted in a “unconventional” manner, “disputing the operating templates of creative practice; fight genres and expectations, the foreign input, the work (wrongly encoded syntaxes that lead to forbidden leakages and data promiscuity), the hardware and the software (the channel that shows functional collisions and the audience who is in charge of the reception).” The name for my body of work came to me as I was reminiscing on the work of art titled, “C’est nest pas un Pipe” (This is not a pipe). I wanted to reflect that the most of the women we see in art are nude women and most of them have been painted by white males. These are women but they are not. They are paintings or photographs, which have been digitally compressed, of women.
“These are not women in art” is a collection of Glitch Art and Dirty New Media aimed to criticize how women have been portrayed in art through the ages while also commenting on how we process digitized works of contemporary and historical art masterpieces. Too often women are put and forced into criticism and become vulnerable to the eyes of many, specifically the “male gaze”. I chose to glitch these particular works because of their received criticism, their implied meanings, and their erotic connotations. Like so many women before me have done and like myself, will continue to do, we invite audiences and onlookers to contemplate women and their role in art, and how women artists have been marginalized, sexualized, and still do not receive equal praise. We can begin to combat these stereotypes firstly, by addressing the difference between sexual empowerment and sexual objectification in today’s entertainment which unfortunetly relies on the mass media to be the arbiter of success. I hope to inspire a shift of discourse in the modern world of art.
My interest in the role of women in art spurred when I was first introduced to the “Guerrilla Girls” a group of females dedicated to
“The French poet, Rimbaud, predicted that the next great crop of writers would be women. He was the first guy who ever made a big women’s liberation statement, saying that when women release themselves from the long servitude of men they’re really gonna gush. New rhythms, new poetries, new horrors, new beauties. And I believe in that completely. (1976 Penthouse interview)”
PRE Glitch Art by:
John Singer Sargent
Jean Auguste- Dominique Ingres
Kate Moss (unknown)
Faceless image courtesy of Romina Ressia
Modern Men painting Women images thanks to: Jeremy Lipking, Brad Kunkle, Matthew Carson, and Malcolm Liepke