Many sweet and a couple of salty exhibition reviews on my @dunkerskultur exhibition and a couple of interviews about my practise in general. Blah blah. Glad people care enough to discuss! Maybe I’ll write a text why I don’t agree with most of them, neither positive nor negative reviews. Haha 💖
Many sweet and a couple of salty exhibition reviews on my @dunkerskultur exhibition and a couple of interviews about my practise in general. Blah blah. Glad people care enough to discuss! Maybe I’ll write a text why I don’t agree with most of them, neither positive nor negative reviews. Haha 💖
Many sweet and a couple of salty exhibition reviews on my @dunkerskultur exhibition and a couple of interviews about my practise in general. Blah blah. Glad people care enough to discuss! Maybe I’ll write a text why I don’t agree with most of them, neither positive nor negative reviews. Haha 💖
Many sweet and a couple of salty exhibition reviews on my @dunkerskultur exhibition and a couple of interviews about my practise in general. Blah blah. Glad people care enough to discuss! Maybe I’ll write a text why I don’t agree with most of them, neither positive nor negative reviews. Haha 💖
Many sweet and a couple of salty exhibition reviews on my @dunkerskultur exhibition and a couple of interviews about my practise in general. Blah blah. Glad people care enough to discuss! Maybe I’ll write a text why I don’t agree with most of them, neither positive nor negative reviews. Haha 💖
Many sweet and a couple of salty exhibition reviews on my @dunkerskultur exhibition and a couple of interviews about my practise in general. Blah blah. Glad people care enough to discuss! Maybe I’ll write a text why I don’t agree with most of them, neither positive nor negative reviews. Haha 💖
Many sweet and a couple of salty exhibition reviews on my @dunkerskultur exhibition and a couple of interviews about my practise in general. Blah blah. Glad people care enough to discuss! Maybe I’ll write a text why I don’t agree with most of them, neither positive nor negative reviews. Haha 💖
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As promised, here are a handful of times I referenced history and other l references: 1. Cherry Picking My show Cherry Picking from 2018 was mainly built around selfies and still lives. The still life is a medium that a few hundred years back was seen as low in the hierarchy of genres and since women weren’t allowed to do nude studies, was labeled as more suitable for women to partake in. More democratic and easily accessible for nonprofessionals, the painted still life, quite like the selfie, both are artforms that are feminized and low in hierarchy. 2. Pieta Me with my beheaded AI sxx doll Harmony. In the christian creation myth God creates man in the image of himself. When we are creating an AI like iPhones Siri, like the companion app replika or the AI sex doll Harmony – are we being god creating AI in the image of us? Or are we attempting to perfect the human and in this way is AI messiah? 3. Interior scroll A funny pun on Carolee Schneemann’s “Interior scroll” from 1975. My interior scroll is instead a scroll from pinterest where i search for “feminist interior”, playing with the commodification of feminism. Also in nude underwear instead since I performed it on instagram live and couldn’t be nude. 4. L’origine du monde My version called “The end of the world” being an image of the pu**y of my AI sexdoll questioning the fear we have toward AI being better than us and that it might take over all our romantic interactions. 5. 1636 As in the year of the burst of the tulip bubble, a show I made on the value of art, nfts with references to tulips and beanie babies. Just a little economic themed show with a girly aesthetic. 6. I’d rather be an iPhone than a woman Referring to Helen Hesters text “Technically Female” which is a 😛 take from her on Donna Haraway’s quote “I Rather Be A Cyborg Than A Goddess” talking about how we take on laborious tasks previously done by women through technology in the guise of it being less work. 7. Tuvstarr Unsure if a children’s book reference suffices in terms of whatever is asked for in terms of “references”, but Tuvstarr is truly one beloved iconic Swedish image. Want to add more stuff but IG said too long text.
As promised, here are a handful of times I referenced history and other l references: 1. Cherry Picking My show Cherry Picking from 2018 was mainly built around selfies and still lives. The still life is a medium that a few hundred years back was seen as low in the hierarchy of genres and since women weren’t allowed to do nude studies, was labeled as more suitable for women to partake in. More democratic and easily accessible for nonprofessionals, the painted still life, quite like the selfie, both are artforms that are feminized and low in hierarchy. 2. Pieta Me with my beheaded AI sxx doll Harmony. In the christian creation myth God creates man in the image of himself. When we are creating an AI like iPhones Siri, like the companion app replika or the AI sex doll Harmony – are we being god creating AI in the image of us? Or are we attempting to perfect the human and in this way is AI messiah? 3. Interior scroll A funny pun on Carolee Schneemann’s “Interior scroll” from 1975. My interior scroll is instead a scroll from pinterest where i search for “feminist interior”, playing with the commodification of feminism. Also in nude underwear instead since I performed it on instagram live and couldn’t be nude. 4. L’origine du monde My version called “The end of the world” being an image of the pu**y of my AI sexdoll questioning the fear we have toward AI being better than us and that it might take over all our romantic interactions. 5. 1636 As in the year of the burst of the tulip bubble, a show I made on the value of art, nfts with references to tulips and beanie babies. Just a little economic themed show with a girly aesthetic. 6. I’d rather be an iPhone than a woman Referring to Helen Hesters text “Technically Female” which is a 😛 take from her on Donna Haraway’s quote “I Rather Be A Cyborg Than A Goddess” talking about how we take on laborious tasks previously done by women through technology in the guise of it being less work. 7. Tuvstarr Unsure if a children’s book reference suffices in terms of whatever is asked for in terms of “references”, but Tuvstarr is truly one beloved iconic Swedish image. Want to add more stuff but IG said too long text.
As promised, here are a handful of times I referenced history and other l references: 1. Cherry Picking My show Cherry Picking from 2018 was mainly built around selfies and still lives. The still life is a medium that a few hundred years back was seen as low in the hierarchy of genres and since women weren’t allowed to do nude studies, was labeled as more suitable for women to partake in. More democratic and easily accessible for nonprofessionals, the painted still life, quite like the selfie, both are artforms that are feminized and low in hierarchy. 2. Pieta Me with my beheaded AI sxx doll Harmony. In the christian creation myth God creates man in the image of himself. When we are creating an AI like iPhones Siri, like the companion app replika or the AI sex doll Harmony – are we being god creating AI in the image of us? Or are we attempting to perfect the human and in this way is AI messiah? 3. Interior scroll A funny pun on Carolee Schneemann’s “Interior scroll” from 1975. My interior scroll is instead a scroll from pinterest where i search for “feminist interior”, playing with the commodification of feminism. Also in nude underwear instead since I performed it on instagram live and couldn’t be nude. 4. L’origine du monde My version called “The end of the world” being an image of the pu**y of my AI sexdoll questioning the fear we have toward AI being better than us and that it might take over all our romantic interactions. 5. 1636 As in the year of the burst of the tulip bubble, a show I made on the value of art, nfts with references to tulips and beanie babies. Just a little economic themed show with a girly aesthetic. 6. I’d rather be an iPhone than a woman Referring to Helen Hesters text “Technically Female” which is a 😛 take from her on Donna Haraway’s quote “I Rather Be A Cyborg Than A Goddess” talking about how we take on laborious tasks previously done by women through technology in the guise of it being less work. 7. Tuvstarr Unsure if a children’s book reference suffices in terms of whatever is asked for in terms of “references”, but Tuvstarr is truly one beloved iconic Swedish image. Want to add more stuff but IG said too long text.
As promised, here are a handful of times I referenced history and other l references: 1. Cherry Picking My show Cherry Picking from 2018 was mainly built around selfies and still lives. The still life is a medium that a few hundred years back was seen as low in the hierarchy of genres and since women weren’t allowed to do nude studies, was labeled as more suitable for women to partake in. More democratic and easily accessible for nonprofessionals, the painted still life, quite like the selfie, both are artforms that are feminized and low in hierarchy. 2. Pieta Me with my beheaded AI sxx doll Harmony. In the christian creation myth God creates man in the image of himself. When we are creating an AI like iPhones Siri, like the companion app replika or the AI sex doll Harmony – are we being god creating AI in the image of us? Or are we attempting to perfect the human and in this way is AI messiah? 3. Interior scroll A funny pun on Carolee Schneemann’s “Interior scroll” from 1975. My interior scroll is instead a scroll from pinterest where i search for “feminist interior”, playing with the commodification of feminism. Also in nude underwear instead since I performed it on instagram live and couldn’t be nude. 4. L’origine du monde My version called “The end of the world” being an image of the pu**y of my AI sexdoll questioning the fear we have toward AI being better than us and that it might take over all our romantic interactions. 5. 1636 As in the year of the burst of the tulip bubble, a show I made on the value of art, nfts with references to tulips and beanie babies. Just a little economic themed show with a girly aesthetic. 6. I’d rather be an iPhone than a woman Referring to Helen Hesters text “Technically Female” which is a 😛 take from her on Donna Haraway’s quote “I Rather Be A Cyborg Than A Goddess” talking about how we take on laborious tasks previously done by women through technology in the guise of it being less work. 7. Tuvstarr Unsure if a children’s book reference suffices in terms of whatever is asked for in terms of “references”, but Tuvstarr is truly one beloved iconic Swedish image. Want to add more stuff but IG said too long text.
As promised, here are a handful of times I referenced history and other l references: 1. Cherry Picking My show Cherry Picking from 2018 was mainly built around selfies and still lives. The still life is a medium that a few hundred years back was seen as low in the hierarchy of genres and since women weren’t allowed to do nude studies, was labeled as more suitable for women to partake in. More democratic and easily accessible for nonprofessionals, the painted still life, quite like the selfie, both are artforms that are feminized and low in hierarchy. 2. Pieta Me with my beheaded AI sxx doll Harmony. In the christian creation myth God creates man in the image of himself. When we are creating an AI like iPhones Siri, like the companion app replika or the AI sex doll Harmony – are we being god creating AI in the image of us? Or are we attempting to perfect the human and in this way is AI messiah? 3. Interior scroll A funny pun on Carolee Schneemann’s “Interior scroll” from 1975. My interior scroll is instead a scroll from pinterest where i search for “feminist interior”, playing with the commodification of feminism. Also in nude underwear instead since I performed it on instagram live and couldn’t be nude. 4. L’origine du monde My version called “The end of the world” being an image of the pu**y of my AI sexdoll questioning the fear we have toward AI being better than us and that it might take over all our romantic interactions. 5. 1636 As in the year of the burst of the tulip bubble, a show I made on the value of art, nfts with references to tulips and beanie babies. Just a little economic themed show with a girly aesthetic. 6. I’d rather be an iPhone than a woman Referring to Helen Hesters text “Technically Female” which is a 😛 take from her on Donna Haraway’s quote “I Rather Be A Cyborg Than A Goddess” talking about how we take on laborious tasks previously done by women through technology in the guise of it being less work. 7. Tuvstarr Unsure if a children’s book reference suffices in terms of whatever is asked for in terms of “references”, but Tuvstarr is truly one beloved iconic Swedish image. Want to add more stuff but IG said too long text.
As promised, here are a handful of times I referenced history and other l references: 1. Cherry Picking My show Cherry Picking from 2018 was mainly built around selfies and still lives. The still life is a medium that a few hundred years back was seen as low in the hierarchy of genres and since women weren’t allowed to do nude studies, was labeled as more suitable for women to partake in. More democratic and easily accessible for nonprofessionals, the painted still life, quite like the selfie, both are artforms that are feminized and low in hierarchy. 2. Pieta Me with my beheaded AI sxx doll Harmony. In the christian creation myth God creates man in the image of himself. When we are creating an AI like iPhones Siri, like the companion app replika or the AI sex doll Harmony – are we being god creating AI in the image of us? Or are we attempting to perfect the human and in this way is AI messiah? 3. Interior scroll A funny pun on Carolee Schneemann’s “Interior scroll” from 1975. My interior scroll is instead a scroll from pinterest where i search for “feminist interior”, playing with the commodification of feminism. Also in nude underwear instead since I performed it on instagram live and couldn’t be nude. 4. L’origine du monde My version called “The end of the world” being an image of the pu**y of my AI sexdoll questioning the fear we have toward AI being better than us and that it might take over all our romantic interactions. 5. 1636 As in the year of the burst of the tulip bubble, a show I made on the value of art, nfts with references to tulips and beanie babies. Just a little economic themed show with a girly aesthetic. 6. I’d rather be an iPhone than a woman Referring to Helen Hesters text “Technically Female” which is a 😛 take from her on Donna Haraway’s quote “I Rather Be A Cyborg Than A Goddess” talking about how we take on laborious tasks previously done by women through technology in the guise of it being less work. 7. Tuvstarr Unsure if a children’s book reference suffices in terms of whatever is asked for in terms of “references”, but Tuvstarr is truly one beloved iconic Swedish image. Want to add more stuff but IG said too long text.
As promised, here are a handful of times I referenced history and other l references: 1. Cherry Picking My show Cherry Picking from 2018 was mainly built around selfies and still lives. The still life is a medium that a few hundred years back was seen as low in the hierarchy of genres and since women weren’t allowed to do nude studies, was labeled as more suitable for women to partake in. More democratic and easily accessible for nonprofessionals, the painted still life, quite like the selfie, both are artforms that are feminized and low in hierarchy. 2. Pieta Me with my beheaded AI sxx doll Harmony. In the christian creation myth God creates man in the image of himself. When we are creating an AI like iPhones Siri, like the companion app replika or the AI sex doll Harmony – are we being god creating AI in the image of us? Or are we attempting to perfect the human and in this way is AI messiah? 3. Interior scroll A funny pun on Carolee Schneemann’s “Interior scroll” from 1975. My interior scroll is instead a scroll from pinterest where i search for “feminist interior”, playing with the commodification of feminism. Also in nude underwear instead since I performed it on instagram live and couldn’t be nude. 4. L’origine du monde My version called “The end of the world” being an image of the pu**y of my AI sexdoll questioning the fear we have toward AI being better than us and that it might take over all our romantic interactions. 5. 1636 As in the year of the burst of the tulip bubble, a show I made on the value of art, nfts with references to tulips and beanie babies. Just a little economic themed show with a girly aesthetic. 6. I’d rather be an iPhone than a woman Referring to Helen Hesters text “Technically Female” which is a 😛 take from her on Donna Haraway’s quote “I Rather Be A Cyborg Than A Goddess” talking about how we take on laborious tasks previously done by women through technology in the guise of it being less work. 7. Tuvstarr Unsure if a children’s book reference suffices in terms of whatever is asked for in terms of “references”, but Tuvstarr is truly one beloved iconic Swedish image. Want to add more stuff but IG said too long text.
I mainly got really sweet reviews on my show Cut The Cake, so it is a little petty of me to “answer” the bad ones. But I find it pretty interesting that the people criticizing me do so partly on the basis of me not having enough art historical references. There is something navel-gazing about art historians and art critics who ask artists to reference their field of expertise—art history—and not wanting any new art to be… new? Technically, shouldn’t it be their job to find the bridge through art history? To be a new artist, especially if you have a feminine and glitzy aesthetic like I do, getting taken seriously is a bit of jumping through hoops, which actually means that in a lot of my earlier shows I’ve done my due diligence and included more obvious references. The lack of taking female artists who work with their bodies seriously is something Lauren Elkin points out in her book Art Monsters. This is something the critics once again reinforced. One of them also compared my work to Cindy Sherman’s, stating that my work is different on the basis that it doesn’t position itself far away from what it is trying to critique. She writes this in a way where she doesn’t seem to be aware that this is a critique Sherman received for her earlier work. Even though there are underlying references in my show Cut The Cake, I’ve got to say that I felt the concept and imagery created are so strong that they didn’t need literal references to art history. I also honestly thought I had done enough of the “positioning myself as not a frivolous girl” that I didn’t have to do more of that positioning. 😛
I mainly got really sweet reviews on my show Cut The Cake, so it is a little petty of me to “answer” the bad ones. But I find it pretty interesting that the people criticizing me do so partly on the basis of me not having enough art historical references. There is something navel-gazing about art historians and art critics who ask artists to reference their field of expertise—art history—and not wanting any new art to be… new? Technically, shouldn’t it be their job to find the bridge through art history? To be a new artist, especially if you have a feminine and glitzy aesthetic like I do, getting taken seriously is a bit of jumping through hoops, which actually means that in a lot of my earlier shows I’ve done my due diligence and included more obvious references. The lack of taking female artists who work with their bodies seriously is something Lauren Elkin points out in her book Art Monsters. This is something the critics once again reinforced. One of them also compared my work to Cindy Sherman’s, stating that my work is different on the basis that it doesn’t position itself far away from what it is trying to critique. She writes this in a way where she doesn’t seem to be aware that this is a critique Sherman received for her earlier work. Even though there are underlying references in my show Cut The Cake, I’ve got to say that I felt the concept and imagery created are so strong that they didn’t need literal references to art history. I also honestly thought I had done enough of the “positioning myself as not a frivolous girl” that I didn’t have to do more of that positioning. 😛
I mainly got really sweet reviews on my show Cut The Cake, so it is a little petty of me to “answer” the bad ones. But I find it pretty interesting that the people criticizing me do so partly on the basis of me not having enough art historical references. There is something navel-gazing about art historians and art critics who ask artists to reference their field of expertise—art history—and not wanting any new art to be… new? Technically, shouldn’t it be their job to find the bridge through art history? To be a new artist, especially if you have a feminine and glitzy aesthetic like I do, getting taken seriously is a bit of jumping through hoops, which actually means that in a lot of my earlier shows I’ve done my due diligence and included more obvious references. The lack of taking female artists who work with their bodies seriously is something Lauren Elkin points out in her book Art Monsters. This is something the critics once again reinforced. One of them also compared my work to Cindy Sherman’s, stating that my work is different on the basis that it doesn’t position itself far away from what it is trying to critique. She writes this in a way where she doesn’t seem to be aware that this is a critique Sherman received for her earlier work. Even though there are underlying references in my show Cut The Cake, I’ve got to say that I felt the concept and imagery created are so strong that they didn’t need literal references to art history. I also honestly thought I had done enough of the “positioning myself as not a frivolous girl” that I didn’t have to do more of that positioning. 😛
I mainly got really sweet reviews on my show Cut The Cake, so it is a little petty of me to “answer” the bad ones. But I find it pretty interesting that the people criticizing me do so partly on the basis of me not having enough art historical references. There is something navel-gazing about art historians and art critics who ask artists to reference their field of expertise—art history—and not wanting any new art to be… new? Technically, shouldn’t it be their job to find the bridge through art history? To be a new artist, especially if you have a feminine and glitzy aesthetic like I do, getting taken seriously is a bit of jumping through hoops, which actually means that in a lot of my earlier shows I’ve done my due diligence and included more obvious references. The lack of taking female artists who work with their bodies seriously is something Lauren Elkin points out in her book Art Monsters. This is something the critics once again reinforced. One of them also compared my work to Cindy Sherman’s, stating that my work is different on the basis that it doesn’t position itself far away from what it is trying to critique. She writes this in a way where she doesn’t seem to be aware that this is a critique Sherman received for her earlier work. Even though there are underlying references in my show Cut The Cake, I’ve got to say that I felt the concept and imagery created are so strong that they didn’t need literal references to art history. I also honestly thought I had done enough of the “positioning myself as not a frivolous girl” that I didn’t have to do more of that positioning. 😛
I mainly got really sweet reviews on my show Cut The Cake, so it is a little petty of me to “answer” the bad ones. But I find it pretty interesting that the people criticizing me do so partly on the basis of me not having enough art historical references. There is something navel-gazing about art historians and art critics who ask artists to reference their field of expertise—art history—and not wanting any new art to be… new? Technically, shouldn’t it be their job to find the bridge through art history? To be a new artist, especially if you have a feminine and glitzy aesthetic like I do, getting taken seriously is a bit of jumping through hoops, which actually means that in a lot of my earlier shows I’ve done my due diligence and included more obvious references. The lack of taking female artists who work with their bodies seriously is something Lauren Elkin points out in her book Art Monsters. This is something the critics once again reinforced. One of them also compared my work to Cindy Sherman’s, stating that my work is different on the basis that it doesn’t position itself far away from what it is trying to critique. She writes this in a way where she doesn’t seem to be aware that this is a critique Sherman received for her earlier work. Even though there are underlying references in my show Cut The Cake, I’ve got to say that I felt the concept and imagery created are so strong that they didn’t need literal references to art history. I also honestly thought I had done enough of the “positioning myself as not a frivolous girl” that I didn’t have to do more of that positioning. 😛
I mainly got really sweet reviews on my show Cut The Cake, so it is a little petty of me to “answer” the bad ones. But I find it pretty interesting that the people criticizing me do so partly on the basis of me not having enough art historical references. There is something navel-gazing about art historians and art critics who ask artists to reference their field of expertise—art history—and not wanting any new art to be… new? Technically, shouldn’t it be their job to find the bridge through art history? To be a new artist, especially if you have a feminine and glitzy aesthetic like I do, getting taken seriously is a bit of jumping through hoops, which actually means that in a lot of my earlier shows I’ve done my due diligence and included more obvious references. The lack of taking female artists who work with their bodies seriously is something Lauren Elkin points out in her book Art Monsters. This is something the critics once again reinforced. One of them also compared my work to Cindy Sherman’s, stating that my work is different on the basis that it doesn’t position itself far away from what it is trying to critique. She writes this in a way where she doesn’t seem to be aware that this is a critique Sherman received for her earlier work. Even though there are underlying references in my show Cut The Cake, I’ve got to say that I felt the concept and imagery created are so strong that they didn’t need literal references to art history. I also honestly thought I had done enough of the “positioning myself as not a frivolous girl” that I didn’t have to do more of that positioning. 😛
