Your work seems to display or critique certain aspects
of queer culture, like gay bars (that whole queer arts
community you mentioned!), drag queens, etc. Based on
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I would say that my appropriation of drag in particular
is done so to show the public how it can be transgressed
(radical drag). Although drag was rooted in activism
in the 60s, it has now become commodified in a way that
is ultra problematic: presenting demeaning stereotypes
of women for entertainment. That being said, transexuality
is something completely different-I would never say
'gender disphoria' as is often mentioned when talking
about transsexuals. I think it is healthy to embrace
gender in any way one chooses, instead of prescribing
to societal values and rules. There is something really
liberating about pushing gender representation. I realize
more and more that I have both masculine and feminine
demeanors, and I rarely think that I am appropriating
'women's' images or culture. I see it as a much more
polymorphous thing, especially as a queer man. But I
do tend to agree that there is a general misogyny in
the gay world, and some male queer artists construct
barriers to women by maintaining very exclusionary professional
circles where women are not included. Outside of these
circles, I could care less who gay men engage with.
Some people say that dykes are pretty exclusionary,
but I argue that this is due in part to societal violence
and abuse against women by men. It's not an excuse for
sexism, but rather an explanation in sorts.
Also, I think it's healthy for queers to question our
position in society now and to critique some aspects
of queer life. Many queers today are quite content about
their social status and human rights, although not that
much has changed for queers outside of metropolitan
areas in the last decades. Even in Toronto, I wouldn't
think you could get out of a gaybash if you kissed a
boyfriend in a primarily hetero space. Are we then just
tolerated? Do art institutions just tolerate queer artists
as well?
The lack of criticism in general in Canada is having
very adverse effects: established artists who have been
showing derivative, unengaging or irrelevant works for
the last 15 years still ride on their reputations from
the 60's and 70's, and now take up a majority of professional
exhibition space in Canada with arguably bad art. Just
across the border, American artists who have a bad show
can have their exhibition careers put on hold for years
because of one bad review in the New York Times. Another
big problem is the incestuous relationship between commercial
and public galleries, as I mentioned earlier.
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