Word: viewers
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Dates: during 1990-1999
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...approaches to the phenomenon of the female body in visual culture. "Fleshbags" is the most ambitious part of the exhibition because it spans the historical scope of the construction of female sexuality. Displays ranging from details of Botticelli's "Venus" to Manet's "Olympia" to Playboy cartoons remind the viewer that this is not just a criticism of a contemporary issue, but rather the problematic perceptions of the female body have been deeply imbedded and indoctrinated into social standards. The responsibility of art is a central issue; female nudes once considered the norm for art are now re-evaluated...
...large, square and metal, but they convey the symmetry and preposterous nature of surgically enhanced breasts. A montage of porno clips plays on one screen (or nipple, as the case may be). However, a breast implant rests on the screen itself, distorting the image. A plastic casing forces the viewer to stare at the monitor in order to comprehend the video. After an initial shock, the audience becomes conscious of the nature of its gaze: the clinical yet voyeuristic setting renders it incredibly real and perverse. On the other monitor, an educational program informs the viewer of the medical aspects...
...breast implants has powerful effects. In the porno montage, they unmask the misogyny and artificial sex appeal of breasts. With these bags of silicone, these porno actresses have a commodity value. They remain nameless, but hyper-sexualized. In the case of the breast-feeding film, the bags remind the viewer of the physiological value of breasts that a male-oriented culture has trivialized and reduced to a sexual function. In the light of the recent problems with breast augmentation, LoCurto and Outcault offer the viewer a more natural alternative perspective of the female body...
...breasts lie on a bed-like platform. The artists reduce the woman to the sexual organs; her breasts now signify and define female sexuality. The issue at hand slaps the audience in the face--the Playboy cartoon of the man in the museum is put into practice. The viewer, like the man, is caught constructing the image of the woman...
Muller has several alternating ways of presenting Riefenstahl to the viewer, tracing her life both chronologically and geographically. While Riefenstahl does most of the talking in a series of mini-monologues at many of the important places of her life, Muller also engages her in conversation about specific aspects of her life and work...