Raphael Sassower - Political Blind Spots: Reading the Ideology of Images
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Raphael Sassower is professor and chair of philosophy at the University of Colorado, Colorado Springs. He is the author most recently of Confronting Disaster: An Existential Response to Technoscience (Lexington Books 2004), and with Louis Cicotello The Golden Avant-Garde: Idolatry , Commercialism , and Art (Virginia 2000). His research focus is on postmodern technoscience as it relates to a variety of cultural areas, such as aesthetics, pedagogy, and medicine.
Louis Cicotello is professor and former chair of visual and performing arts at the University of Colorado, Colorado Springs. In addition to collaborating with Raphael Sassower on The Golden Avant-Garde, he has been a prolific visual artist, exhibiting collages, assemblages, theatrical sets, and sculptures nationwide. His artworks exemplify the artistic predicament of cultural critique. The collage for the cover of this book was designed by him.
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W e should admit from the outset that aesthetic expression is an expression of something, a viewpoint, an idea, a taste. As such, artists dont work in an intellectual vacuum, no mater how loath they are to discuss their ideas or their ideological commitments. Moreover, whatever is produced and labeled as works of art is undertaken within a certain economic, social, and political context that becomes clear once analysis is allowed. This critical perspective has become evident to the public since John Berger, for example, delivered a series of lectures with accompanying visual representations on BBC (eventually turned into a best-selling book). In it, Berger argues convincingly that even the oil paintings of the Renaissance embodied a bourgeois conviction not only because of the subject matter and the particular expensive medium in which it was delivered, but that a whole set of material conditions and ideological prejudices went into this process of aesthetic consumption. For example, Berger focuses on the male gaze of nude female images as a way of objectifying them and possessing them in ones private chambers. In going through this analysis, Berger shifts art history and art appreciation into a lesson in the politics of aesthetics uncovering (or revealing) or the ideological foundation against which judgment and choice must be made.
Ingress highly detailed oil painting The Grande Odalisque, featuring a nude female sumptuously on display for male pleasure, is exactly an image of consumption that Berger points to in his critique. Illustration 4, the Guerrilla Girls poster Do Women have to be naked to get into the Met. Museum? of 1989, draws on the fine art of Ingress nude as a source for its composition as a strategy typical of many advertising images. The Guerrilla Girls art makes a witty reversal of the politics of those kinds of images as their text from a feminist viewpoint. They mock the exclusive domains of museums and galleries, where male gatekeepers wish to interact with women only as objectified nude images readily available for consumption. More specifically, the posters were displayed on walls outside the museum only to remind the public that their own posters and flyers and other graphic materials were excluded from a show of political posters called Committed to Print at the Museum of Modern Art, ironically on the grounds that what they did wasnt art but politics, (Timmers 199899). The Guerrilla Girls fight the sexism and racism that dominate the art world, and they have been punished for their outspoken critique, as for example, when their poster (listed above) that was originally intended to be part of a billboard series sponsored by the Public Art Fund in New York City was eventually rejected. It was subsequently self-funded for public display on buses and streets by this anonymous group of women artists.
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