"My response to the “I am not a feminist” internet phenomenon….
First of all, it’s clear you don’t know what feminism is. But I’m not going to explain it to you. You can google it. To quote an old friend, “I’m not the feminist babysitter.”
But here is what I think you should know.
You’re insulting every woman who was forcibly restrained in a jail cell with a feeding tube down her throat for your right to vote, less than 100 years ago.
You’re degrading every woman who has accessed a rape crisis center, which wouldn’t exist without the feminist movement.
You’re undermining every woman who fought to make marital rape a crime (it was legal until 1993).
You’re spitting on the legacy of every woman who fought for women to be allowed to own property (1848). For the abolition of slavery and the rise of the labor union. For the right to divorce. For women to be allowed to have access to birth control (Comstock laws). For middle and upper class women to be allowed to work outside the home (poor women have always worked outside the home). To make domestic violence a crime in the US (It is very much legal in many parts of the world). To make workplace sexual harassment a crime.
In short, you know not what you speak of. You reap the rewards of these women’s sacrifices every day of your life. When you grin with your cutsey sign about how you’re not a feminist, you ignorantly spit on the sacred struggle of the past 200 years. You bite the hand that has fed you freedom, safety, and a voice.
In short, kiss my ass, you ignorant little jerks.”
You keep these kids ignorant and then suddenly they’re in a situation that they don’t even have the words for and they have no idea what to do,” she says. “They’re not taught how to ask for consent, how to give consent, how to revoke consent and stop mid-way through. They don’t know to use protection or to demand it if it’s absent, they don’t know this will spread STIs and pregnancy. They don’t know it’s not supposed to hurt. Can you believe that? So, so, so many people think that sex is supposed to hurt the partner with a vagina when they have sex for the first time. They think that’s just the way it is, that’s just how it goes. *That* is obscene to me. Enforced ignorance that inevitably results in physical and emotional damage, *that’s* obscenity.
—Rich Goldstein asked me what I consider to be obscene in his article on my work, ‘Oh Joy Sex Toy’: The Internet’s Most Radical Sex-Fueled Comic Strip (via awelltraveledwoman)
Did you know, you can quit your job, you can leave university? You aren’t legally required to have a degree, it’s a social pressure and expectation, not the law, and no one is holding a gun to your head. You can sell your house, you can give up your apartment, you can even sell your vehicle, and your things that are mostly unnecessary. You can see the world on a minimum wage salary, despite the persisting myth, you do not need a high paying job. You can leave your friends (if they’re true friends they’ll forgive you, and you’ll still be friends) and make new ones on the road. You can leave your family. You can depart from your hometown, your country, your culture, and everything you know. You can sacrifice. You can give up your $5.00 a cup morning coffee, you can give up air conditioning, frequent consumption of new products. You can give up eating out at restaurants and prepare affordable meals at home, and eat the leftovers too, instead of throwing them away. You can give up cable TV, Internet even. This list is endless. You can sacrifice climbing up in the hierarchy of careers. You can buck tradition and others’ expectations of you. You can triumph over your fears, by conquering your mind. You can take risks. And most of all, you can travel. You just don’t want it enough. You want a degree or a well-paying job or to stay in your comfort zone more. This is fine, if it’s what your heart desires most, but please don’t envy me and tell me you can’t travel. You’re not in a famine, in a desert, in a third world country, with five malnourished children to feed. You probably live in a first world country. You have a roof over your head, and food on your plate. You probably own luxuries like a cellphone and a computer. You can afford the $3.00 a night guest houses of India, the $0.10 fresh baked breakfasts of Morocco, because if you can afford to live in a first world country, you can certainly afford to travel in third world countries, you can probably even afford to travel in a first world country. So please say to me, “I want to travel, but other things are more important to me and I’m putting them first”, not, “I’m dying to travel, but I can’t”, because I have yet to have someone say they can’t, who truly can’t. You can, however, only live once, and for me, the enrichment of the soul that comes from seeing the world is worth more than a degree that could bring me in a bigger paycheck, or material wealth, or pleasing society. Of course, you must choose for yourself, follow your heart’s truest desires, but know that you can travel, you’re only making excuses for why you can’t. And if it makes any difference, I have never met anyone who has quit their job, left school, given up their life at home, to see the world, and regretted it. None. Only people who have grown old and regretted never traveling, who have regretted focusing too much on money and superficial success, who have realized too late that there is so much more to living than this.
Make a radical change in your lifestyle and begin to boldly do things which you may previously never have thought of doing, or been too hesitant to attempt. So many people live within unhappy circumstances and yet will not take the initiative to change their situation because they are conditioned to a life of security, conformity, and conservation, all of which may appear to give one peace of mind, but in reality nothing is more damaging to the adventurous spirit within a man than a secure future. The very basic core of a man’s living spirit is his passion for adventure. The joy of life comes from our encounters with new experiences, and hence there is no greater joy than to have an endlessly changing horizon, for each day to have a new and different sun. If you want to get more out of life, you must lose your inclination for monotonous security and adopt a helter-skelter style of life that will at first appear to you to be crazy. But once you become accustomed to such a life you will see its full meaning and its incredible beauty.
Watt’s Up? Ceramics and Light / Bernardaud Foundation, Limoges, France
June 13 - November 29, 2014
Watt’s Up? explores the relationship between ceramics and light by presenting some thirty works of art from all over the world, all created in recent years. Oddly enough, this relationship seems to inspire artists more than designers, trained to create objects such as lamps. Perhaps that’s because light transcends objects and gives us a whole new take on the world. Light affects our vision by modifying our perception of space and movement. In addition, there is a symbolic, poetic and mysterious element to it. As the French author Jean Giono once put it, very clever mysteries hide in the light. If light and ceramics go hand in hand, it’s mainly courtesy of porcelain’s unique properties of translucency, which can give light – produced by a candle or a tungsten filament – a soft, poetic aura and elicit a feeling of wonder. Ceramics offers a broad palette of sensations to play with. Faience is heavy, glossy and sensual in its interaction with light. Pottery absorbs lux units and asserts its own material plasticity to counter the intangible nature of light. Porcelain is lightweight and translucent, and the matte aspect of unglazed biscuit forms a striking contrast with the gloss of the glaze. Watt’s Up? is an unprecedented investigation of the latest innovations and know-how, both sensorial and intellectual in scope. As the topic was complex and broke new ground, it took nearly two years of research to bring these thirty or so works together. These works are by fifteen artists exhibiting for the first time in France. They are the result of technical prowess – manual and technical – as well as fresh creative thinking. None of them represent any particular school of thought, creative trend or artistic movement. Each work is an explosion of creativity, born of the artist’s reflections and inspiring a sense of wonder. This exhibition sheds new light on the art of ceramics.
Curated by Cédric Morisset
A double major in art history and cultural management, Cédric Morisset started out in contemporary art and gravitated towards design. He then moved into curating art shows, starting in 2003 at the invitation of the international design biennial in Lisbon and continuing in this line of work for several exhibitions presented in France and other countries, including French Reference (Shanghai and Canton, 2008), Icons of Design (Sao Paulo, 2009) and Nouvelle Vague (Milan, 2011 and 2013). Cédric Morisset contributes articles on design to AD magazine and the daily newspaper Le Figaro on a regular basis. From 2010 to 2012, he served as head curator for the annual AD Interieurs exhibition held by AD magazine. Since 2013, Cédric Morisset has headed the design department at the PIASA auction house in Paris.
Frances & Dominic Bromley, Shoal 1672, 2008, Natural unglazed English fine bone china © Mark Wood Photography
Frances & Dominic Bromley
Since Frances & Dominic Bromley started their design studio Scabetti in 1999, their work in ceramics has earned considerable critical acclaim in the UK and across the world. Their designs are light, precise and elegant, and realised in fine bone china in their studio in Leek, North Staffordshire. Their first venture into light sculpture in 2004, was inspired by moths being attracted to candle light. Drawn to the Light, was composed of sculpted curved elements made out of bone china which appeared to be floating around the central light source. During London’s Design Festival in 2007, the couple presented Shoal, a suspended light sculpture suggesting a school of fish with more than 1500 bone china elements. These pieces paved the way for a series of bespoke commissions, which are now a Scabetti specialty. One commission for the International Maritime Organisation had 3,434 stylised bone china anchors arranged in a 5m tall sculpture and is on permanent display at their London Headquarters. Frances & Dominic Bromley have created Ascension especially for the Watt’s Up exhibition and their imagination has reached new heights. This new installation, made of English fine bone china, features hundreds of human forms that seem to be rising through the air towards the light. The creative talent of this design duo has added poetry to technical expertise.
Frances Bromley (b. 1969) and Dominic Bromley (b. 1971) majored in Industrial Design at Brunel University, London. They live and work in Leek, near Stoke-on-Trent, England.
Jeremy Cole, Cymbidium chandelier, 2012, Porcelain © Lindsay Keats
The master artisan from New Zealand has been highly sought-after by the luxury sector since 2005. His remarkable porcelain lighting fixtures are inspired by the plant kingdom (e.g. flax, aloe vera, a chyrsalis or orchids). In his studio on the other side of the world, he creates beautifully crafted masterpieces that end up in Bulgari or Harry Winston show windows or at Four Seasons hotels. His unique lamps feature spectacular, poetic forms that imitate Nature; his magical lighting can make them look stylish, disturbing or amusing. And the porcelain orchids in his hanging lamp Cymbidium Orchid actually look dead until the light is turned on, making them come vibrantly alive.
Born in 1973 Jeremy Cole is a self-taught artists. He lives and works in Wellington, New Zealand.
Coup de foudre: Goedel Vermandere & Jan Arickx, La Vierge, 2010, Porcelain © Peter Verplancke
Coup de foudre: Goedel Vermandere & Jan Arickx
Goedel Vermandere used to teach school but became a ceramic artist in the mid 2000s. In 2004, she met an event planner named Jan and it was love at first sight… including at the professional level. As a design team, they went on to create light sculptures from cast porcelain that were remarkable for their sensuous quality and their harmony. The pair also works in steel, copper, stainless steel, paper and tree bark. They are always experimenting with new techniques to illuminate porcelain’s transparence more effectively, express a feeling of warmth and fulfillment, and open up new horizons.” Their creations – whether a hanging lamp forming a horizontal line in space, a standing lamp like a totem pole or a suspended lamp as round as a full moon – are striking for their simplicity and originality. One reason is that each of their pieces, which are fired gradually, starting at a low temperature and building up to 1260°C, is fashioned from hundreds of translucent porcelain petals and gives off a soft, romantic light. This talented twosome knows how to use technical skill to create poetry.
Goedel Vermandere (b. 1969) is a school teacher trained in ceramics at Syntra-West, Bruges. Jan Arickx (b. 1959) is an event planner. They live and work in Courtrai, Belgium.
Pucci de Rossi, Cartona, 2007, Porcelain © Made
Pucci de Rossi
Born in Verona, Italy, the artist and designer Pucci de Rossi moved to Paris in 1979. In step with the Memphis Art Movement, launched in Italy in 1981, he influenced the European art and design scene of the 1980s and 1990s. Throughout his career, he developed the wildly poetic side of his nature, not to mention his unbridled imagination. Constantly seeking to reinvent and reinterpret, he liked to use ordinary materials like lead or cardboard to create elegant, highly imaginative objects, and to turn preconceived ideas upside down. Poking fun at the “art or design” controversy, which is still raging, the artist gave everyday objects an ironic narrative treatment that rendered them precious. In the last decade, De Rossi exhibited at art galleries in Paris, such as Catberro, Downtown (François Laffanour) and Anne de Villepoix. Not only did his work impress collectors, but creations bearing his signature made their way into the collections of the Musée des Arts Décoratifs in Paris. His designs were produced by the editor Made who suggested In 2001 to release limited editions of his one-off objects. Among the latter were Dondola (rocking chair with book shelf, 2004) and his Cartona lamp (2005), which is presented in this exhibition and pays tribute – whether intentionally or not – to Arte Povera. Using fine porcelain to imitate humble cardboard, this creation flirts with contrasts and brings a little whimsy to everyday life.
Pucci de Rossi, 1947-2013
Bernadette Doolan, Nostalgia, 2008, Porcelain © Rory Nolan
For more than fifteen years, the Irish artist Bernadette Doolan has been creating works marked by their intimacy. She sets out to capture and express emotions in porcelain and bronze as well as in her paintings. “My work focuses on life, from the cradle to the grave and everything in between… on our dreams, desires and fears” she explains. The work presented in this show is an assemblage of illuminated box panels using engraved porcelain, which looks different depending on whether the lights are on or off. The artist is interested in our memories and in the motifs, landscapes and impressions stored in our subconscious. “I use objects that are meaningful in a personal way, such as the lace from a First Communion dress, to print on the porcelain surface,” comments Bernadette Doolan. “Sometimes, I even use plastic bubble-wrap, because I love the sound that the bubbles make when they pop!” When the panels are illuminated, the pattern communicates the emotions inherent in the private experience to the viewer.
Born in 1973 Bernadette Doolan is a self-taught artist. She lives and works in Wexford, Ireland.
Volker Haug, Rudolf, 2012, Porcelain © Paul Allister
Based in Melbourne, Australia, the German-born designer Volker Haug designs one-off artisanal lighting creations. He got the idea for his clever Rudolf pendant from the double adaptors to be found on plastic lights in Berlin. The designer amused himself dreaming up all sorts of combinations. After a trip to Milan and a conversation with Ingo Maurer, a master of lighting design, Volker Haug returned to Australia determined to use porcelain for his Antler line. Rudolf revisits traditional chandelier design by assembling porcelain modules in every direction, combining industrial style with porcelain craftsmanship; modularity with unity.