Hommage No. 5: The Female Gaze - Hommage | Newsprint
January’s issue of Hommage is dedicated to women and their work.
“I remain disinterested in the culture of token representationalism prevalent in popular culture today, as meaningful as I acknowledge it to yet be. I much prefer less, but truer, as a general rule – publications dedicated to their cause, for whom diversity, equity, and inclusion are so integrated into the very existence of the venture as to render such additional consideration unnecessary. Upon reflection, I believed I could attempt to do more within my own project. To some extent, I feel unequal to the task I set myself in deciding to focus exclusively on the work of female artists. My goal at the outset of this process was to disappear as completely into the issue as possible, in order to best honor that specific remit; however, I soon discovered challenges that required me to partially qualify that statement.
Firstly, Hommage is a product of my own biases. I contact the artists, I edit and sequence the work, and even in collaborating with others on building a photo-edit, the final decision on what to print remains my own. Thus, even though my intention is to focus on women and their work, it is as seen with a male gaze. A male gaze, not The Male Gaze, insofar as it’s possible, dear reader, to separate one from the other.
Therefore, the issue is not entirely devoid of work by male artists, but the presence of such is greatly reduced. Thus, the statement is qualified; a few women and their work, as I see it. One small step for one man.”
Jesse Jackson IV
January’s issue of Hommage is dedicated to women and their work.
“I remain disinterested in the culture of token representationalism prevalent in popular culture today, as meaningful as I acknowledge it to yet be. I much prefer less, but truer, as a general rule – publications dedicated to their cause, for whom diversity, equity, and inclusion are so integrated into the very existence of the venture as to render such additional consideration unnecessary. Upon reflection, I believed I could attempt to do more within my own project. To some extent, I feel unequal to the task I set myself in deciding to focus exclusively on the work of female artists. My goal at the outset of this process was to disappear as completely into the issue as possible, in order to best honor that specific remit; however, I soon discovered challenges that required me to partially qualify that statement.
Firstly, Hommage is a product of my own biases. I contact the artists, I edit and sequence the work, and even in collaborating with others on building a photo-edit, the final decision on what to print remains my own. Thus, even though my intention is to focus on women and their work, it is as seen with a male gaze. A male gaze, not The Male Gaze, insofar as it’s possible, dear reader, to separate one from the other.
Therefore, the issue is not entirely devoid of work by male artists, but the presence of such is greatly reduced. Thus, the statement is qualified; a few women and their work, as I see it. One small step for one man.”
Jesse Jackson IV
January’s issue of Hommage is dedicated to women and their work.
“I remain disinterested in the culture of token representationalism prevalent in popular culture today, as meaningful as I acknowledge it to yet be. I much prefer less, but truer, as a general rule – publications dedicated to their cause, for whom diversity, equity, and inclusion are so integrated into the very existence of the venture as to render such additional consideration unnecessary. Upon reflection, I believed I could attempt to do more within my own project. To some extent, I feel unequal to the task I set myself in deciding to focus exclusively on the work of female artists. My goal at the outset of this process was to disappear as completely into the issue as possible, in order to best honor that specific remit; however, I soon discovered challenges that required me to partially qualify that statement.
Firstly, Hommage is a product of my own biases. I contact the artists, I edit and sequence the work, and even in collaborating with others on building a photo-edit, the final decision on what to print remains my own. Thus, even though my intention is to focus on women and their work, it is as seen with a male gaze. A male gaze, not The Male Gaze, insofar as it’s possible, dear reader, to separate one from the other.
Therefore, the issue is not entirely devoid of work by male artists, but the presence of such is greatly reduced. Thus, the statement is qualified; a few women and their work, as I see it. One small step for one man.”
Jesse Jackson IV