In Terms Of

Tag: Grace Dunham

  • Hot or Not

    “Aesthetics” of “Female” “Attractiveness”
    Friday, May 15, 2015
    Frieze Talks
    Frieze New York, Randall’s Island, New York

    “I sense some confusion,” observed Casey Jane Ellison, an artist and comedian who hosted a panel called “‘Aesthetics’ of ‘Female’ ‘Attractiveness’” at Frieze New York. Like a daytime talk-show host, she began with a monologue of observational humor—which included a fear of going bald and the dating scene for bulimics—but the audience didn’t laugh. Full of disconnects in timing, diction, and subject matter, her introduction desperately need an applause sign, if not a laugh track. Ellison placed the blame on us: “Art audiences are just kind of like—don’t touch me—you know what I mean?” No, I don’t. “It’s like, get involved,” she implored. “This is about all of us.” Ellison’s awkward monologue made me appreciate the jump-cut edits in her online television programs such as What the F*shion? The non sequiturs were making things slightly better: “Does the truth set you free? No, it will set you on fire.” And, closer to the panel’s topic: “We live in a postmodern world. Are we posthot?”

    Casey Jane Ellison speaks

    Ellison introduced the speakers one by one, as they took the stage: the artist, activist, and filmmaker Leilah Weinraub; the writer and activist Grace Dunham; the activist and writer Reina Gossett; and the blogger Karley Sciortino. The host’s first questions to them were “Are you feeling safe?” and “How fat do you feel today?” The speakers answered stiffly, probably feeling like the audience did during the monologue. Her next question was more promising: “What was the first object or product you bought that propagated your own objectivity?” Ellison got the conversation rolling with her own experience. As a little girl, she faced with a snack choice at a 7-11 convenience store, choosing a protein bar over candy—even though the caloric intake was (presumably) the same. Perhaps misunderstanding Ellison’s question, Gossett said that paying for school defined her objecthood, and Weinraub came to a similar realization when she “became a vaccinated citizen of the world.” (Her hippie parents apparently didn’t get her shots for mumps and scarlet fever.) Understanding the question way too literally, Dunham said she was born an object and argued that culture objectifies us. Fortunately, Sullivan played the game, describing how she intentionally dressed provocatively in her late teens to early twenties to make herself a sex object, for validation.

    The panelists’ responses set the tone for the next hour, with the four guests dodging Ellison’s seemingly random inquiries. “Are you earning enough, as a woman,” Ellison asked. Dunham replied, “Nobody actually asked me my gender identity,” and the host responded, “Can I explain? It doesn’t matter—do you know what I mean?” Weinraub was thankful for her access to resources; Sciortino mentioned something about making money peeing on submissive men. For a while Gossett tepidly criticized economic sexism and enforced gender binaries. It didn’t seem like the conversation was going anywhere until Sciortino cited studies revealing that physically attractive people—the hyper feminine and masculine kind—are perceived by many as better at doing their taxes, more honest, and able to get better rates on loans.

    Ellison segued into a segment called “Do You Trust This Face?” for which the panelists responded to images projected on the screen behind them. Weinraub compared a photograph of young Hillary Clinton with the female robot from the film Ex Machina and and riffed on artificial intelligence. While she looks forward to machine realizing a mind of its own, Ellison was skeptical and offered ways to fight malevolent machines: “You just unplug the thing,” she interjected. “They’re battery powered … then you don’t charge the battery.” Ellison then asked the panelists to rate their hotness on a scale of one to ten. While Dunham unsurprisingly resisted the notion of “setting yourself up for a system you don’t want to be in,” Gossett admitted to wanting to be told she looks good. Sciortino considered herself an 8.5 in Manhattan’s East Village, which she said translates to 9.5 in Bushwick, Brooklyn. Dunham eventually gave herself a zero—a number lower than the scale’s minimum—because she wanted to choose an extreme. Despite her nonparticipation, she brought up an excellent point: many individuals are less than desirable and invisible in culture, such as the disabled, people with AIDS, prisoners, homeless people, transgendered people, and other gender-nonconforming people. Weinraub likewise disagreed with Ellison’s game and awarded herself a zero; she got a high five from Dunham.

    Casey Jane Ellison asks the important questions

    The blonde, busty, and leggy Sciortino observed that appealing bodies are changing. During her high school years in the early 2000s, the “super pro ano” body type of Calista Flockhart, the Olsen twins, and Mischa Barton reigned. “You could see everyone’s backbone on the red carpet,” Sciortino commented. In pornography, though, she has observed a trend toward natural, flat-chested, confident women actors, identifying Sasha Grey, Stoya, and Tori Black as owners of slim bodies that aren’t blonde and busty, which contrasts the norm. Watching porn, Sciortino admitted, has helped her with own body image. “Things bounced around. I was like, that’s hot.” For Sciortino, the newest wave of feminism is defined by individuality. Since there are no more magazines to emulate, she said, women should be the best “you” they can be. Instead of appearing masculine intentionally, as feminists did in the 1970s, women are free to be whatever they want, including wearing “the sluttiest microdress you can find.” Sciortino joked: “No matter what we look like, someone wants to watch you have sex.”

    Agreeing with Sciortino’s views on porn, Gossett identified a “trans moment” in which fashion models appear in editorial spreads, though she noted that murder rates for this population are still high. Sciortino noted members of this group are sacrificing their privacy and safety to become accepted into mainstream culture, not unlike how gay men in the 1950s came out and were harassed, a move that slowly led toward their acceptance into straight society decades later. Dunham warned against outsiders assimilating into a culture that had previously rejected you. It was curious that no one mentioned the recent announcement of the former Olympic athlete Bruce Jenner revealing himself as a woman, Caitlyn.

    “What is a whore?” Ellison inquired, but no one responded, so she moved onto a game called “There’s Suffering in That,” for which the panelists briefly responded to seemingly random photographs pulled from the internet. Everyone missed the crass American patriotism in an image of a woman’s hand, wrapped in red, white, and blue beads and holding up her index finger in a “We’re Number 1” way. Weinraub said the image made her happy, but I couldn’t help but picture a crowd of drunken bros at a sports bar chanting USA! USA! USA! The panelists somehow found suffering in two photos of cute dogs wearing sweaters. Weinraub experienced numbness and deep pain in a photo of a cake pop, but a seaside resort photo appealed to her “maximalist nature.”

    A family with fame and success: Carroll Dunham, Grace Dunham, Lena Dunham, and Laurie Simmons

    With time running out, Dunham read a short text that she and Gossett wrote together (read the transcript at Slutever). Being hot means having value, the statement began, which can be marketed, assessed, and branded. It can also reflect power and capital. Dunham acknowledged her privileges and advantages: being white, being relatively famous (her parents are artists Carroll Dunham and Laurie Simmons, and her sister is Lena Dunham), possessing a vagina but having sex with women, and having power through association, via her relationship with black trans man. This relationship to power, fame, identity, and marginal authority, she said, makes her critique legitimate. “Those are the reasons why I’m hot,” she concluded. “That’s how hot I am.” The way Dunham reconciled contradictions of value and power without irony or haughtiness impressed me. But she dug deeper, saying that everyone longs for feelings of being known or being loved—which doesn’t necessarily mean being hot physically or aesthetically—and that compliments from the dominant system can make us feel good. An important distinction should be made, Dunham continued, between the self and the evaluated market value of the self. Further, fame can isolate people and push intimacy away, and a longing for fame can be harmful.

    Dunham said that people complain about art fairs and culture—“This fucking art fair,” she hilariously quipped—but at least at Frieze New York the financial aspects, the “economies of evaluation” in her words, are laid bare. (She declared that she was paid $500 for her panel appearance.) Art fairs, Dunham continued, allow people to fill the holes in their hearts, to reproduce the culture of evaluation, for better or worse. What is it about dealing art that makes you feel better or worth something,” she asked art dealers rhetorically. And of others: “Why am I valuable? Who do I want to be? How do I want to be loved?” After hearing this, I felt that we didn’t need Ellison’s faux talk show. Dunham could have read this piece onstage and left it at that.

    In Terms Of count: 5.

    Read

    Zoë Lescaze, “On Porn and Poodles: Casey Jane Ellison, Grace Dunham and Company Talk Sex, Gender, Art,” ARTnews, May 18, 2015.

    Listen

    http://friezeprojectsny.org/talks/aesthetics-of-female-attractiveness/

  • Pawns in the Game

    Sarah Thornton in Conversation with David Kratz and Peter Drake
    Thursday, May 14, 2015
    Spring Lecture Series
    New York Academy of Art, New York

    The cover of Sarah Thornton’s book, 33 Artists in 3 Acts (2014)

    The journalist and sociologist Sarah Thornton was interviewed about her latest book, 33 Artists in 3 Acts (New York: W. W. Norton, 2014), at the New York Academy of Art, where she was also the school’s commencement speaker for this year’s graduating class of MFA students. The book chronicles the upper crust of the contemporary art world—the kind you read about in the Scene and Herd section of Artforum.com—from 2009 to 2013. Benchmarks in conversations and studio visits with the dozens of artists that Thornton interviewed were Jeff Koons, whom she considers to be conservative, and the high-risk Damien Hirst. Other recurring characters include Maurizio Cattelan, Ai Weiwei, and Andrea Fraser, as well as the artist couple Carroll Dunham and Laurie Simmons and their daughters, Grace and Lena Dunham. The people profiled in 33 Artists in 3 Acts, mostly midcareer professionals who were born in the fifties and sixties, are “all the real deal,” she said, with no authenticity and credibility issues. (She would need to write a separate book for emerging artists.)

    Wearing white jeans, a black blazer, and athletic sandals, Thornton was interviewed by David Kratz, a silver-fox painter and the president of the New York Academy of Art—a small graduate school that specializes in representational and figurative work—and the painter Peter Drake, who is also dean of academic affairs. Kratz inquired about the image of Gabriel Orozco’s chessboard work, Horses Running Endlessly (1995), which illustrates the book’s introduction. “Is that the art world?” he asked. Calling Orozco a “strategic player” (but not explaining what that meant), Thornton disclosed that the art world isn’t as egalitarian as a chessboard occupied only by knights—the punch line of Orozco’s work.1 Instead, the art world has “kings, queens, and pawns,” though I’d argue that the art world has more sacrificial pieces than power players in its own chess game. Success acculturates artists into the art world, she said, and they must figure out their position. Thornton believes that the art market should be part of an art school’s curriculum and warned against early career burnout from success—a future problem that I imagine many wish they would have.

    Gabriel Orozco, Horses Running Endlessly, 1995, wood, 3 3/8 x 34 3/8 x 34 3/8 in. (artwork © Gabriel Orozco; photograph probably by Yugen)

    Kratz asked about artists whose “crazy” works for them, and whose “crazy” doesn’t. In the former category Thornton placed Grayson Perry, famous in Great Britain but not so much here, who is a happily married transvestite potter with a daughter in college. The aging Young British Artists grumbled, she continued, at his winning the 2003 Turner Prize not because he dresses in women’s clothing but because he produces ceramics. Regarding bad crazy, Thornton said that Yayoi Kusama is the only artist whose craziness is acceptable. Yet if Kusama (b. 1929) were in her thirties today, Thornton said, nobody would accept her kooky behavior.

    High art and functional objects apparently have strong class divisions, at least in England. As a writer, Thornton identifies with craft, though it’s not wrong if an artist employs the labor of others to complete a project. She identified Christian Marclay’s breakout video The Clock (2010) as the example: Marclay had teams watching films but edited much of the footage himself. What is the different between art and craft, Thornton was asked. The concept makes it art, she replied, though the lines can blur. It is possible, Thornton continued, for artists to become craftsmen of their own work, if it becomes slickly produced. Perry, she said, claimed to be able to teach others to make his work, but they cannot make the art he is about to make.

    Drake directed attention back to 33 Artists in 3 Acts, asking Thornton if artists have their own view of success. She recounted how one thread in the book follows Laurie Simmons and Cindy Sherman, two photographers from the Pictures Generation, whom Thornton called “artist soul mates.” While Sherman’s career has certainly been larger than Simmons’s, the disparity hasn’t affected either their creativity or their friendship.

    Damien Hirst, The Crow, 2009, oil on canvas, 90 x 60 in. each (photographed by Prudence Cuming Associates; artwork © Damien Hirst and Science Ltd.)

    Thornton reiterated the importance of Hirst in her narrative, which makes sense for a journalist covering the economic side of the art world. Her profile on the bad-boy artist in the Sunday Times Magazine in 2009 was positive. She changed her tune in a 2010 article in the Economist, for which she researched Hirst’s direct-to-auction sale of his work in fall 2008. Bypassing the traditional dealer/gallery system and heading straight to the deep-pocketed collectors was a move that netted him $200 million. Thornton’s personal access to Hirst ended there, at least until 2013, when she cornered him in Qatar during a press preview for his retrospective Relics. “I don’t know how he feels about the book,” Thornton remarked, “and I don’t know if he reads.” The snark didn’t stop there. Thornton finds Hirst’s recent paintings to be “diabolical,” especially considering that he gave up painting at age 16 and took it up again in his forties. His spot paintings, which were shown in every Gagosian Gallery worldwide in 2012, are the “diffusion line of brand name.” “He lost faith in his practice,” she added, calling him an “interesting sculptor and an opportunistic painter.”

    An audience member asked if any of the artists she wrote about have overcome adversity. They all have, she said, emphasizing that the Chinese Ai and the Chilean artist Eugenio Dittborn have been challenged on political and governmental levels. Another person inquired about the art-world game, which Thornton described as soccer, because it’s always changing. She advised the audience member to “choose your game, be good at it, and make others play it.” She also advised artists to understand social dynamics and etiquette and to not get duped. Some well-established dealers are notorious for not paying artists, Thornton revealed, and advocated banning them from art fairs.

    Someone asked if it is true that the most successful artists have great self-doubt. Yes, she replied, and artists such as Cattelan embrace it. She also implied that Hirst is insecure. The final question from the audience addressed artists and suffering. Thornton’s unexpected, thoughtful response concerned motherhood: artists such as Sherman and Marina Abramović sacrificed having children for their careers. Yet having children, Thornton appended, is not the credibility killer for women artists under 55 that it once was.

    I sensed that Thornton presented herself as outsider to the art world. In her writing, she said, she watches the dynamics of opinion rather than passes judgment. I also sensed disconnect between her and the audience, which routinely failed to respond—with laughter or applause—to her stories at the right moments. A few times Thornton was the only person laughing at her remarks. The setting at the New York Academy of Art was informal, and the attendees seemed to be made up of young artists—the pawns of the art world. This made Thornton’s jet-setting glamor something of a mismatch, but not glaringly so. I was left to wonder what she offered to the school’s graduate students.

    In Terms Of count: 3.

    1 More positively, Thornton interpreted Horses Running Endlessly as a “dance floor in a multicultural club.”