Feminist, Artist, Arts Correspondent for Women's Budget Group
Rose Gibbs is a feminist artist and writer who regularly initiates and contributes to talks, symposiums and discussions, including Who’s Holding the Baby? at Tate Britain. She is co-founder of a number of collectives and collaborative projects and has worked with The East London Fawcett Group and Hackney’s SERA group. She has curated exhibitions and shown work at the ICA, The Showroom amongst others art spaces. She is particularly interested in the gender implications of care work and is currently working with a group of activists on shaping a cultural democracy policy manifesto. She runs a small community organisation in the estate where she lives and is the arts correspondent for the Women's Budget Group.
But let us not forget that on the whole sexual harassment is a male problem, a male problem that women are subject to and suffer. If this problem is to go away, it will be men that have to banish it. This stuff doesn't just happen someone does it.
It is no good worrying if you are a father of some girl children who has therefore suddenly awoken to the invidious nature of sexism. There is very little you can do, other than to teach them to distain men and boys and hope that this works as some kind of deterrent when it comes to considering who to work or sleep with later on in their adult lives.
f the events of 2016 come as a surprise - it is because we are failing to communicate or take an interest in people beyond our own small bubbles. A failure that is also seen within our political parties who have not listened to the urgently felt concerns of so many people and thus neglected to provide for the huge changes that neoliberal globalisation has caused.
Frieze is arriving and the art world seems set to eats its own tail. Artists are <a href="https://southwarknotes.wordpress.com/art-and-regeneration/artists-against-regen/" target="_hplink">painfully</a> aware that the process of gentrification, where local residents are priced out of their area begins with them.
What perhaps is disappointing for many women is the extremely conservative way in which Jenner has manifest this identity. Appearing corseted on the front cover of Vanity Fair is hardly a portrayal of a liberated woman: instead it harkens back to a period where gender roles were more entrenched and punishing, for women in particular.
What I wonder here, is how these movements are felt and understood when those images never come to light because the cameras are switched off? By Monday no one is even mentioning Saturday's 250,000 strong protest. Does this mean it may well as not have happened? What I am interested in, and keenly aware of as a feminist, is the problem of preaching to the converted.
The solitary artist as lone figure is a relatively new archetype. The most dominant form of artistic production, a version of which thrives in this hungry market, is the studio workshop with apprentices and journeymen galore.
The fact of rape is a terrible one: it's the inhumanity of deriving sexual pleasure in the face of another person's pain. Where sex might please in the pleasing of others, rape is its opposite. It becomes a violence like none other, a nightmare extreme of Schadenfreude.
I don't think it should surprise anyone that women's pleasure is not top the list when it comes to pornography in the first place- the fact that it is being banned, just further reinforces what we already know: Porn is made for men.
Allen Jones' work doesn't really offer us any thing new and further still it rides on the back of the exploitation of women to his benefit. Even more depressingly he seems to have learnt nothing in the past 40 years: his empathetic faculties seem to fail him, as do his technical abilities.
The notion that men should fear the end of sexism is as absurd and repellent as the notion that white people should fear the end of racism, or straight people should fear the end of homophobia. But should David Cameron fear feminism? Well probably yes.
The problem with Emin's statements is that they propagate damaging myths: about what it is to be an artist, a mother, a woman. And as Virginia Woolf tells us, it far harder to kill a phantom than a reality. It's like looking for nits, or searching for proof for jealousy: resolution can only be reached by discovering what we don't want to be true and in the absence of that we are condemned to continue the search.
About a year ago, I decided I should read Sheryl Sandberg's book Lean In: everyone else had read it, and I thought I should catch up, plus I had enjoyed a profile about her in The New Yorker. As feminist, I felt I should know what other feminists were saying: hopefully I could learn something, find new ways of being a more equal person.
29/09/2014 13:48 BST
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