Donjeta
Adji Desir, missing from Florida
- Joined
- Mar 11, 2009
- Messages
- 19,246
- Reaction score
- 546
Washington Post critic Philip Kennicott touched on this in a fantastic piece earlier this year, writing:
In the popular, representational imagery preferred by the Cosbys to the virtual exclusion of socially, politically or racially provocative art women are represented as tortilla makers, flower bearers, sexual objects, faithful mothers or fertility figures.
http://hyperallergic.com/251580/the-sexist-politics-of-the-smithsonians-cosby-exhibition/
Such subtle (or not-so-subtle, depending on who you are) sexism mounts throughout the show. We move from a painting of a tortilla maker who demonstrates the strength and imposing beauty of a working woman to a sculpture of a female figure made from Senegalese kitchen utensils a powerful, poetic statement about valuing the significant contributions women make to family and community. Its abetted by a glaring absence of actual women artists: of the practitioners included whose genders were identifiable (many pieces were made by unnamed African artists), I counted 20 women out of 82 not even a full quarter, and one of those women is the Cosbys daughter. This presentation of women almost entirely as objects and subjects of study, rather than creators and actors with agency, would be shameful on its own; in the context of an exhibition whose very existence is dependent on a man who appears to have spent decades silencing and abusing women, its reprehensible. (Its dependent not only in concept: Camille Cosby is on the board of NMAfA, and the couple gave $716,000 to cover the costs of the exhibition.)