“Look, this is what I get to do as a man. I get to portray you like this without asking.”
Of course, different phrases mean different things when they come out of different mouths. By reducing women to their names and their breasts, Beres is reproducing the lamer, creepier effects of focusing on art by women—and calling attention to it—when the ultimate goal of feminism is the full humanization of all genders.
Like “feminist,” “censorship” has to be interpreted in context. Censorship really has two effects: symbolic and actual suppression of material. Since Beres’s print became a cause célèbre after it was censored, it is not being actually suppressed, only more widely circulated. It probably will eventually be displayed. Maybe it will be a successful sales item. (“That thought gives me the creeps,” says Paul Margolis, another Seattle artist, and Mandy Greer’s husband, who points out that it’s hard to come forward about sexual harassment. “I have been sexually harassed on two different occasions in my workplace, and I was not comfortable or brave enough to come forward and say something about it. I simply avoided the work site where the harasser works.”)
Read More | “216 Nipples Later” | Jen Graves | The Stranger