Where the Girls Aren't

Art and apartheid: The prime real estate is still a men's club

Far better are pictures of Los Angeles mini-malls, in which Opie gets out of her own way. We see storefronts of a Taiwanese dentist next to an Arab hairdresser next to a Chinese dry cleaner next to an Italian pizzeria run by Vietnamese. Admirers say these pictures are about "urban sprawl." This is totally wrong. These pictures echo Opie's urge for normalcy and are images of hope. The mini-malls are portraits of those who have hung placards outside shops in hopes of making their fortune. I love these pictures.

Karen Kilimnik's Snow White, 2004
photo: Courtesy of 303 Gallery, New York
Karen Kilimnik's Snow White, 2004


See also:
  • Lonely Hunter
    A fascinating blandness and a rage for normalcy
    Jerry Saltz on Catherine Opie
  • jsaltz@villagevoice.com

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    What I take from this article is that your best guess for the negative system which continues the gender disparity is that it begins (and ends) with whom is and is not exhibited in galleries and museums in the major art markets. 

    Then the male chain hardens along its path: men mostly exhibited, men mostly reviewed, male art mostly collected, so forth. If so, it would seem that it is solely the task of conscientious gallerists and dealers to chop the neck off of this phalliccentric snake? Would you agree?  

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