new-york

Sue Etkin

Paul Kasmin Gallery / Massimo Audiello Gallery

Surely the irony has not escaped notice that when male artists appropriate domestic objects such as pots and pans (Haim Steinbach), slipcovers or a wedding dress (Robert Gober), tapestries (Meyer Vaisman),or crocheted blankets (Mike Kelley), they are credited with engaging the discourse of commodification, whereas the same artifacts have been essentially off-limits to female artists seeking to develop an authoritative voice. If a woman had put a stack of cookware on a Formica shelf, it would undoubtedly be regarded merely as a distaff symbolizing woman’s work and concerns à la ’70s-style “Womanhouse” feminist art. By contrast, Barbara Kruger, Silvia Kolbowski, Jenny Holzer, and others have charted the contemporary lexical map of feminism by seizing corporate advertising, electronic media, and language in general as sites of patriarchal power and control, in order to rearticulate female

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.